M A I N * N E W S * L I N K S * R E S E R V E S

SUNY Fredonia
Division of Arts and Humanities
ENGL/INDS 240: Introduction to African American Literature and Culture
Spring 2005
Section 1: Fenton 176, MWF 10-10:50
Office: Fenton 240; MWF 2-3, T 10-2, and by appointment; 673-3859
E-mail: simon@fredonia.edu
Web Page: www.fredonia.edu/department/english/simon/

About the Course Web Site

This web site is designed to help you get as much out of this course as possible--you can use it to find out how you will be graded, how to join and use the course listserv, what reading and writing assignments are due and when, what books are on reserve for your use in Reed Library, and how to use the world-wide web for research. Please take the time over the weekend after the first week of classes to read this page carefully and to familiarize yourself with the other pages for this course. Please get in the habit of checking back to this web site to keep track of changes to the tentative schedule (see below) and to find advice on papers, as well as to surf the ever-expanding list of links to interesting web pages related to the course. And please contact me any time (see above for my coordinates) if you have ideas about how to improve these pages or the course as a whole. I hope you enjoy taking this course as much as I enjoy teaching it!

I. Course Description

An examination of major works by African American novelists, poets, dramatists, and essayists (along with selected filmmakers and musicians) in terms of the aesthetic, intellectual, and political concerns of their periods and locations. The course is organized into four geographical (rather than historical) units: country, city, nation, world. We will pay careful attention to relationships between works from the various genres, media, and locations. We will repeatedly ask: in what ways do these artists speak to each other? where do their representations consistently come into tension? how do they interact with the concerns of the dominant society around them, and when do they refuse to do so?

ENGL 240 is part of the core of the minor in African American Studies; you may contact Saundra Liggins (English) for more information about this minor. This course is an elective in the English and English Adolescence Education majors; for non-majors who entered Fredonia before Fall 2001, it satisfies Part IIB of the General College Program (GCP), and, for all students who entered Fredonia in Fall 2001 or after, it satisfies Part VIIIB of the College Core Curriculum (CCC).

II. Rationale

In ENGL 240, as in most courses offered by the English Department, students from a range of majors, minors, and concentrations interact, and the goals of the professional programs are integrated with specific course and general education goals. Achieving these goals (described in Section IV below) will require us to foster academic skills and intellectual habits of reading closely and carefully, thinking critically and creatively, listening actively and attentively, speaking thoughtfully and concisely, and writing clearly and analytically--skills and habits useful to everyone, but of particular importance to future teachers.

III. Textbooks. The textbooks adopted for this course are:

IV. Course Objectives and Outcomes

This course has been approved for Part IIB of the GCP and Part VIIIB of the CCC. As such, it provides an introduction to two disciplines: on the one hand, you will gain a firm footing in the practice of literary and cultural criticism, and on the other, you will become familiar with humanistic inquiry in the disciplines of American Studies and Black Studies. Specifically, this course is designed to enable students to use a variety of sources and interdisciplinary methods to study American and African American culture and definitions of nation and race; gain an awareness of multiple cultures, subcultures, and values both within America and within black America; examine the ways in class, gender, and ethnicity intersect with and complicate notions of an "American" and "African American" identity; understand the ways in which concepts of American and African American identity have repercussions on other cultures; view events, texts, and representations within a cultural context and in connection to one another; develop an appreciation for historical documents and older literature as connected to contemporary experience; use print and electronic resources to locate and share relevant information; apply a critical reading of culture and texts to their daily lives. To achieve these goals, students will

V. Instructional Methods and Activities

The methods used in the classroom will include lecture, in-class writing, guided discovery, open discussion, cooperative group work, and other discussion-oriented activities.

VI. Evaluation and Grade Assignment

Attendance/Preparation/Participation (10%). Regular attendance and thoughtful participation are crucial to your enjoyment of and success in this course. If there is absolutely no way for you to avoid missing a class, you must contact me ahead of time or soon after your absence, preferably by email. Even more important than showing up on time, of course, is coming to class prepared and focused. I expect you to read what has been assigned for a given date at least once (and some texts each day preferably more than that!), along with your peers' responses to it posted to the course listserv (see below), by the time we begin to discuss it in class. This is a discussion rather than a lecture course, after all; although I will provide some context and background for our reading, the bulk of class time will be spent in small- or large-group discussions and activities. Since it's difficult to make good contributions to discussions about a literary work if you haven't read it carefully or thought about it extensively, how well you budget your time outside of class will to a large degree determine how well you do in this class in general and how well you do on this portion of your course grade in particular.

Your grade for this segment of the course will be based on a combination of your attendance, the quality of your participation in class and on the class listserv (described below), and your preparation, effort, and improvement over the course of the semester. As there is no final exam in this course, think of my evaluation of your preparation/participation as a different but equally important method of assessing your overall performance in the course. Due to the importance of attendance and participation, more than two unexcused absences will hurt your preparation/participation grade and each non-emergency absence after the fourth will lower your final course grade by a full grade (e.g., with five absences a B+ will become a C+; with seven, it will become an E). Please see Section VIIIB, below, for definitions of excused and emergency absences.

Reading Responses (20%). Detailed instructions for subscribing to and using your section's listserv (engl24001@listserv.fredonia.edu) are given below (see Section VIII), will be discussed in class, and are available on the course web site, along with a troubleshooting guide, at http://www.fredonia.edu/department/english/simon/engl240s05/listserv.htm. This listserv will be your space; I will keep my own input to a bare minimum. Although you may use the listserv in any number of ways, you must use it in the following way: you must come to each class having read and thought about your peers' reading responses, and, over the course of the semester, post a certain number of your own reading responses to the course listserv (keeping in mind that no more than one response per week will receive full credit). Hence, each week you may post a reading response (including at least one sustained observation and one substantive question) that you believe would spark discussion either by 10 pm Sunday for Monday's class, 10 pm Tuesday for Wednesday's class, or by 10 pm Thursday for Friday's class. Advice on generating reading responses can be found elsewhere on the course web site at http://www.fredonia.edu/department/english/simon/engl240s05/rr.htm.

Your grade for this segment of the course will be determined by the number of on-time, passing reading responses you post to the course listserv. Since there are fifteen weeks when reading responses are due in the semester, and since you are allowed seven missed weeks without penalty, 7 or more reading responses=A; 6=B+; 5=B; 4=C+; 3=C, 2=D; 1 or 0=E. The quality of your reading responses will be factored into your preparation/participation grade (see above).

Critical Essays (40%). You are required to write two 4-to-6-page critical essays, each worth 20% of your final course grade. For detailed information and advice on the critical essay, go to http://www.fredonia.edu/department/english/simon/engl240s05/ce.htm.

Your grade for this segment of the course will be determined by the coherence and validity of the paper's arguments, the effectiveness of the paper's structure in conveying your ideas and convincing your audience, and the quality of the paper's prose (including grammar, syntax, and punctuation).

Final Project (30%). I will provide detailed information and advice on the 7-to-10-page final project later in the semester elsewhere on the course web site at http://www.fredonia.edu/department/english/simon/engl240s05/fp.htm.

B. Grading. All work during the semester will be graded on a letter basis (A=outstanding, B=good, C=average, D=bad, E=awful) and converted into a number for purposes of calculating final grades. I use the following conversion system (the number in parentheses is the "typical" or "normal" conversion, but any number in the range may be assigned to a given letter grade):

A+=97-100 (98); A=93-96.99 (95); A-=90-92.99 (91); B+=87-89.99 (88); B=83-86.99 (85); B-=80-82.99 (81); C+=77-79.99 (78); C=73-76.99 (75); C-=70-72.99 (71); D+=67-69.99 (68); D=63-66.99 (65); D-=60-62.99 (61); E=0-59.99 (55)

Your final grade is determined by converting the weighted numerical average of the above assignments into a letter grade, according to the above scale.

C. Portfolio. English and English Adolescence Education majors should be aware of the English department's guidelines for ongoing portfolio submissions.

VII. Bibliography. Some of the following works may be found on reserve at the circulation desk in Reed Library (click here for the reserves list):

A. Contemporary References

B. Classic References

C. Key Journals

VIII. Course Schedule and Policies

A. Tentative Course Schedule. The following course schedule is subject to revision--please refer here regularly for updates to this schedule, notes on the texts, and suggestions for further reading. Please recall that you need to submit 7 reading responses to earn an A for that segment of your final grade (see Section VI). You should read the introductory essay to each unit well before beginning it (click on the links in the titles of each unit's heading). These essays will help you see why it is crucial to be aware that each day's reading assignment is designed to offer multiple ways of comparing and contrasting the readings--why it is crucial for you to be an active, engaged, critical reader in this course. Rather than giving equal attention to all texts for a given day, you should be looking for interesting relations between them and focusing in on the texts and relations that you find most significant. I will expect you to gain familiarity with all the readings but to choose at least a couple each day that you have analyzed particularly carefully. Scanning the biographical headnotes and bibliographical endnotes in the Norton, referring back to the Norton's timeline, and using the links page to gain further insights into the readings can help you orient yourself and read more critically. Please see me at the earliest sign of a problem if you want individualized advice on how to handle the reading load in the course. (Key: NA=The Norton Anthology of African American Literature [2nd ed.])

Tradition, Culture, Race, Identity

Week 1: Intro

F 1/21 Introductions

Week 2: Overview

M 1/24 Henry Louis Gates, Jr., and Nellie McKay, "Introduction: Talking Books" [NA xxxvii-xlvii]; "Timeline: African-American Literature in Context" [NA 2695-2705]; 1773: Phillis Wheatley, "To Maecenas" [NA 217-218]; 1851: Sojourner Truth, "Ar'n't I a Woman?" [NA 246-249]; 1895: Frances E.W. Harper, "Songs for the People" [NA 503-504]; 1899: Paul Laurence Dunbar, "Sympathy" [NA 922]; 1907: W.E.B. Du Bois, "The Song of the Smoke" [NA 691-692]; 1908: James Weldon Johnson, "O Black and Unknown Bards" [NA 794-795]; listen to CD 1.1-10

W 1/26 1921, 1930: Langston Hughes, "The Negro Speaks of Rivers" and "Afro-American Fragment" [NA 1291, 1300-1301]; 1925: Countee Cullen, "Yet Do I Marvel" and "Heritage" [NA 1341, 1347-1350] and Marita Bonner, "On Being Young--a Woman--and Colored" [NA 1244-1247]; 1928: Zora Neale Hurston, "How It Feels to Be Colored Me" [NA 1030-1033]; 1937: Margaret Walker, "For My People" [NA 1619-1620]; 1945: Gwendolyn Brooks, "kitchenette building" [NA 1625]; 1951: Langston Hughes, "Harlem" [NA 1308-1309]; listen to CD 1.11-22, 2.7,9,11

F 1/28 1968: Etheridge Knight, "The Idea of Ancestry" [NA 1908-1909] and Nikki Giovanni, "Nikki-Rosa" [NA 2098]; 1973, 1974: Alice Walker, "Everyday Use" and "In Search of Our Mothers' Gardens" [NA 2430-2442]; 1977, 1978: Audre Lorde, "Poetry Is Not a Luxury" and "A Litany for Survival" [NA 1923-1926]; 1978: Maya Angelou, "Still I Rise" [NA 2156-2157]; 1982: Amiri Baraka, "Wailers" [NA 1945-1946]; 1983: Paule Marshall, "The Making of a Writer: From the Poets in the Kitchen" [NA 2189-2195]; listen to CD 1.23-27, 2.16-17


Week 3: Vernacular

M 1/31 Robert O'Meally, "Introduction: The Vernacular Tradition" [NA 3-8]; 1921: James Weldon Johnson, Preface to The Book of American Negro Poetry [NA 883-905]; 1934: Zora Neale Hurston, "Characteristics of Negro Expression" and excerpts from Mules and Men [NA 1041-1062]

W 2/2 1899: Charles Chesnutt, "The Goophered Grapevine" [NA 604-612]; 1900: James Weldon Johnson, "Sence You Went Away" [NA 793]; 1895-1903: Paul Laurence Dunbar, "An Ante-Bellum Sermon," "When Malindy Sings," "We Wear the Mask," "A Cabin Tale," "Philosophy," and "The Poet" [NA 912-914, 916-917, 918-921, 925, 927]; 1901, 1912: James Carrothers, "Me 'n' Dunbar" and "Paul Laurence Dunbar" [NA 788-789]

F 2/4 1922, 1926: Langston Hughes, "Mother to Son," "Homesick Blues," and "Po' Boy Blues" [NA 1292, 1296-1297]; 1927-1931: Sterling Brown, "Odyssey of Big Boy," "Long Gone," "Southern Road," and "Tin Roof Blues" [NA 1248-1252, 1257-1258]; 1937: Zora Neale Hurston, from Their Eyes Were Watching God [NA 1063-1070]; 1972: Ishmael Reed, "Railroad Bill, a Conjure Man" [NA 2053-2058]; 1978: Ntozake Shange, "Nappy Edges" [NA 2556-2557]

Week 4: Slavery

M 2/7 William Andrews, "Introduction: The Literature of Slavery and Freedom" [NA 151-162]; 1845: Frederick Douglass, Narrative of the Life, Preface, Chapters I-IV [NA 387-406]; 1861: Harriet Jacobs, Incidents in the Life of a Slave Girl, Preface, Chapters I, II, V [NA 280-289]; 1979: Octavia Butler, Kindred, Prologue-"The Fire" (9-51); 1987: Toni Morrison, "The Site of Memory" [NA 2290-2299]

W 2/9 1845: Frederick Douglass, Narrative of the Life, Chapters V-IX [NA 406-421]; 1861: Harriet Jacobs, Incidents in the Life of a Slave Girl, Chapters X, XIV [NA 289-295]; 1979: Octavia Butler, Kindred, "The Fall" (52-107)

F 2/11 1845: Frederick Douglass, Narrative of the Life, Chapter X [NA 421-440]; 1861: Harriet Jacobs, Incidents in the Life of a Slave Girl, Chapters XVII, XXI, XXIX [NA 295-305]; 1979: Octavia Butler, Kindred, "The Fight" (108-188)

Week 5: Migration

M 2/14 1845: Frederick Douglass, Narrative of the Life, Chapter XI-Appendix [NA 440-452]; 1861: Harriet Jacobs, Incidents in the Life of a Slave Girl, Chapters XXXIX-XLI, [NA 306-315]; 1979: Octavia Butler, Kindred, "The Storm"-Epilogue (189-264)

W 2/16 Frances Smith Foster and Richard Yarborough, "Introduction: Literature of the Reconstruction to the New Negro Renaissance, 1865-1919" [NA 541-554]; 1895: Ida B. Wells, from "A Red Record" [NA 676-686]; 1903: Paul Laurence Dunbar, "The Haunted Oak" [NA 923-924]; 1906: W.E.B. Du Bois, "A Litany of Atlanta" [NA 689-691]; 1916: James Weldon Johnson, "Brothers" [NA 798-800]; 1919: Claude McKay, "If We Must Die" [NA 1007]; 1923: Jean Toomer, "Portrait in Georgia" and "Blood-Burning Moon" [NA 1186-1191]; 1927: Langston Hughes, "Song for a Dark Girl" [NA 1299]; 1932, 1980: Sterling Brown, "Sam Smiley" and "Old Lem" [NA 1263-1266]; 1938: Richard Wright, "Long Black Song" [NA 1419-1436]; 1965: James Baldwin, "Going to Meet the Man" [NA 1750-1761]

F 2/18 1928: Nella Larsen, Quicksand, Chapters 1-4 [NA 1086-1101]; 1988: August Wilson, Joe Turner's Come and Gone [NA 2459-2504]


Week 6: Segregation I

M 2/21 NO CLASS: Reading Day

W 2/23 1901: Booker T. Washington, Up From Slavery, Chapter XIV [NA 594-602]; 1903: W.E.B. Du Bois, The Souls of Black Folk, Chapter III [NA 699-708]; 1912: James Weldon Johnson, The Autobiography of an ex-Coloured Man, Chapters I-XI [NA 803-883]; 1929: Jessie Redmon Fauset, Plum Bun: A Novel without a Moral, Chapters I-II [NA 976-983]

F 2/25 1937, 1942, 1945: Richard Wright, "The Ethics of Living Jim Crow, an Autobiographical Sketch," "The Man Who Lived Underground," and Black Boy, Chapter XVI [NA 1411-1419, 1436-1470, 1477-1487]; 1945, 1952: Ralph Ellison, "Richard Wright's Blues" and Invisible Man, Prologue and Epilogue [NA 1538-1555, 1565-1570]

Week 7: Renaissance I

M 2/28 Arnold Rampersad, "Introduction: Harlem Renaissance, 1919-1940" [NA 953-962]; 1925: Alain Locke, "The New Negro" [NA 984-993]; 1926: W.E.B. Du Bois, "Criteria of Negro Art" [NA 777-784]; CRITICAL ESSAY I due by 5 pm

W 3/2 1927: Rudolph Fisher, "The Caucasian Storms Harlem" [NA 1236-1243]; 1940: Langston Hughes, from The Big Sea [NA 1325-1339]

F 3/4 1926: George Schuyler, "The Negro-Art Hokum" [NA 1221-1223] and Langston Hughes, "The Negro Artist and the Racial Mountain" [NA 1311-1314]; 1932: Wallace Thurman, Infants of the Spring, Chapter XXI [NA 1270-1278]

Week 8: Renaissance II

M 3/7 1925: Rudolph Fisher, "The City of Refuge" [NA 1225-1236]; 1928: Nella Larsen, Quicksand, Chapters 5-11 [NA 1102-1123]; 1934: Langston Hughes, "The Blues I'm Playing" [NA 1315-1325]

W 3/9 1918: Claude McKay, "Harlem Shadows" [NA 1006] and Georgia Douglas Johnson, "The Heart of a Woman" [NA 994]; 1923, 1925: Langston Hughes, "Jazzonia" and "The Weary Blues" [NA 1293-1295]; 1925: Angelina Weld Grimké, "The Black Finger" [NA 969]; 1927: Helene Johnson, "Sonnet to a Negro in Harlem" [NA 1353] and Gwendolyn Bennett, "To a Dark Girl" [NA 1268]

F 3/11 1955: James Baldwin, "Notes of a Native Son" [NA 1713-1727]; 1973: Stevie Wonder, "Living for the City" [NA 76-77]; 1995: Samuel Delany, from Atlantis: Model 1924 [NA 2393-2411]

Week 9: Segregation II

M 3/14 Deborah McDowell and Hortense Spillers, "Introduction: Realism, Naturalism, Modernism, 1940-1960" [NA 1355-1368]; 1953: Gwendolyn Brooks, Maud Martha [NA 1649-1696]

W 3/16 1945-1960: Gwendolyn Brooks, poems from "a song in the front yard" to "A Lovely Love" [NA 1626-1640]; 1946: Ann Petry, from The Street [NA 1504-1516]

F 3/18 1959: Lorraine Hansberry, A Raisin in the Sun [NA 1771-1830]

Week X: R'n'R

M 3/21-T 3/29 NO CLASSES: Spring Break


Week 10: Color Lines

W 3/30 1903: W.E.B. Du Bois, The Souls of Black Folk, "The Forethought," Chapters I, XIII, XIV, "The After-Thought," [NA 692-699, 748-766]; 1940: W.E.B. Du Bois, Dusk of Dawn, Chapter 5 (97-133)

F 4/1 1940: W.E.B. Du Bois, Dusk of Dawn, Chapters 6-7 (134-220)

Week 11: Black America

M 4/4 1773, 1776: Phillis Wheatley, "To the Right Honourable William, Earl of Dartmouth" and "To His Excellency General Washington" [NA 221-222, 225-226]; 1829: David Walker, from Appeal [NA 228-238]; 1831, 1835: Maria Stewart, "Religion and the Pure Principles of Morality" and "Lecture" [NA 251-255]; 1848: Henry Highland Garnet, "An Address to the Slaves of North America" [NA 346-352]; 1852: Frederick Douglass, from "What to the Slave Is the Fourth of July?" [NA 462-473]; 1853: James Whitfield, "America" [NA 484-487]; CRITICAL ESSAY II due by 5 pm

W 4/6 1903: Paul Laurence Dunbar, "The Fourth of July and Race Outrages" [NA 927-928]; 1913: James Weldon Johnson, "Fifty Years" [NA 796-798]; 1921: Claude McKay, "America" [NA 1008]; 1925: Langston Hughes, "I, Too" [NA 1295]; 1944: Melvin Tolson, "Dark Symphony" [NA 1371-1374]; 1958: Ralph Ellison, "Change the Joke and Slip the Yoke" [NA 1570-1578]

F 4/8 1963, 1964: Martin Luther King, Jr., "I Have a Dream" and "Letter from Birmingham Jail" [NA 107-109, 1896-1908]; 1973: Leon Forrest, from There Is a Tree More Ancient than Eden [NA 2354-2376]; 1986: Essex Hemphill, from Conditions, XXI and XXIV [NA 2645-2646, 2647-2648]

Week 12: Black Arts

M 4/11 Houston Baker, "Introduction: The Black Arts Movement, 1960-1975" [NA 1831-1850]; 1968: Hoyt Fuller, "Towards a Black Aesthetic" [NA 1853-1859], Larry Neal, "The Black Arts Movement" [NA 2039-2050], and Maulana Karenga, "Black Art: Mute Matter Given Force and Function" [NA 2086-2090]; 1971: Addison Gayle, Introduction to The Black Aesthetic [NA 1912-1918]; 1972: Ishmael Reed, "Neo-HooDoo Manifesto" [NA 2062-2066]

W 4/13 NO CLASS: Reading Day

F 4/15 1960-1981: Gwendolyn Brooks, poems from "Malcolm X" to "when you have forgotten Sunday: the love story" [NA 1640-1649]; 1967-1969: Haki R. Madhubuti, all poems [NA 2091-2096]; 1968: Nikki Giovanni, all poems [NA 2096-2101] and June Jordan, "In Memoriam: Martin Luther King, Jr." [NA 2017-2018]; 1969: Mari Evans, "Status Symbol" and "I Am a Black Woman" [NA 1851-1852], Carolyn Rodgers, "Jesus Was Crucified" and "It Is Deep" [NA 2123-2126], and Amiri Baraka, poems from "A Poem for Black Hearts" to "Black Art" [NA 1881-1884]; 1969-1974: Sonia Sanchez, all poems [NA 1964-1967]; 1972-1980: Lucille Clifton, "the lost baby poem," "malcolm," and "homage to my hips" [NA 2032-2033]; 1970: James Alan McPherson, "A Solo Song: For Doc" [NA 2101-2117]; 1984: John Edgar Wideman, from Brothers and Keepers [NA 2379-2386]


Week 13: Shadows of Slavery

M 4/18 1899: Charles Chesnutt, "The Passing of Grandison" [NA 613-624]; 1925: Arthur Schomburg, "The Negro Digs Up His Past" [NA 963-967]; 1940: W.E.B. Du Bois, Dusk of Dawn, "Apology"-Chapter 3 (xxix-49); 1962: Robert Hayden, "Middle Passage" [NA 1520-1524]; PROPOSAL for FINAL PROJECT due in class

W 4/20 Barbara Christian and Cheryl Wall, "Introduction: Literature since 1975" [NA 2127-2139]; 1974: Albert Murray, from Train Whistle Guitar [NA 2141-2154]; 1975: Gayl Jones, from Corregidora [NA 2560-2566]

F 4/22 1980: Toni Cade Bambara, from The Salt Eaters [NA 2082-2085]; 1985: John Edgar Wideman, "Damballah" [NA 2386-2392]; 1986: Charles Johnson, "The Education of Mingo" [NA 2544-2552]; 1995: Harryette Mullen, "[tom-tom can't catch]" [NA 2641]

Week 14: Diaspora and Empire

M 4/25 1852: Martin Delany, from The Condition, Elevation, Emigration and Destiny of the Colored People of the United States [NA 258-278]; 1940: W.E.B. Du Bois, Dusk of Dawn, Chapter 4 (50-96)

W 4/27 1923: Marcus Garvey, "Africa for the Africans" and "The Future as I See It" [NA 997-1003]; 1940: W.E.B. Du Bois, Dusk of Dawn, Chapter 8 (221-267)

F 4/29 1940: W.E.B. Du Bois, Dusk of Dawn, Chapter 9 (268-326); 1953: Melvin Tolson, from Libretto for the Republic of Liberia [NA 1375-1380]; 1964: Malcolm X, from The Autobiography of Malcolm X [NA 1860-1876]; CRITICAL ESSAY III due by 5 pm

Week 15: Global Politics

M 5/2 1928: Nella Larsen, Quicksand, Chapters 12-17 [NA 1123-1145]; 1953: James Baldwin, "Stranger in the Village" [NA 1705-1713]; 1967: John A. Williams, from The Man Who Cried I Am [NA 1876-1895]

W 5/4 1980: June Jordan, "Poem About My Rights" [NA 2019-2021]; 1983: Ntozake Shange, "Bocas: A Daughter's Geography" [NA 2557-2559] and Rita Dove, "Parsley" [NA 2614-2616]; 1985: Michelle Cliff, "Within the Veil" [NA 2505-2508]; 2000: June Jordan, from Soldier: A Poet's Childhood [NA 2027-2030]

F 5/6 wrap up course

Week 16: Wrapping Up

F 5/13 FINAL PROJECT due by 5 pm

B. Class Policies

1. Attendance. As stated in Section VI above, barring emergencies each absence after the fourth will lower your final course grade by a full grade. Be aware that absences due to emergencies are the only absences that will not be counted toward your total for the semester. Emergencies include but are not limited to death in the family, hospitalization or serious illness, and natural disasters; scheduled and unavoidable school-sponsored events (games, meets, performances, etc.) are also counted as emergencies for the purpose of this attendance policy. Besides emergencies, the only other absences that won't affect your participation/preparation grade are excused absences. Please notify the instructor over email, in advance if possible and, if not, as soon after the absence as possible, if you wish an absence to be considered as an emergency or excused absence; the decision will be made at the instructor's discretion.

2. Course Listserv. You are required to subscribe to your section's listserv and to read and think about your peers' observations and discussion questions before each class meeting. To subscribe to your section's listserv, compose an email message to listserv@listserv.fredonia.edu, leave the subject line blank, and write this exact command in the body of message: subscribe ENGL24001 Your Name. Please be sure to delete any signature or other text that may appear in the body of your message, as it will only confuse the very literal-minded machine that handles listserv subscriptions. Very soon after sending this message, you will receive an email from the machine that handles subscriptions asking you to confirm your subscription; please follow the instructions in this email carefully, as you are not subscribed to the listserv until you have done so. Soon after doing this, you will receive another email message from the machine that handles subscriptions informing you that you are indeed subscribed to your section's listserv and laying out basic information about the listserv. Save this message--it's very useful. Once you get this message, you will begin receiving messages from others who are subscribed to the listserv; you also will be authorized to send messages to them by composing a message to the machine that distributes messages to those who are subscribed to the listserv. To do so, simply send an email message to ENGL24001@listserv.fredonia.edu. It is highly recommended that you either save a copy of every message you send to the course listserv (many email programs automatically save all messages sent in a "sent mail" folder) or "cc:" yourself whenever you send a message to the listserv, as your listserv participation will be graded both quantitatively and qualitatively (see Section IV, above) and it is possible that technical or human error could result in your messages being lost in transit, accidentally deleted, misfiled, or miscounted. Please familiarize yourself with the college's "Computer and Network Usage Policy" (College Catalog 2003-2005, pp. 241-246) and check with your instructor first before posting something to your section's listserv that is not directly related to the course.

3. Late Assignments. Late reading responses and final projects will not be accepted or graded. Other assignments will be accepted and graded but will lose one-third of a grade per day late (e.g., a paper turned in two days past the due date that would have otherwise received an A- would be penalized two-thirds of a grade and thus receive a B). Only students who ask for an extension at least two days before the due date will be granted one; asking for an extension on the final project means that your final grade for the semester will be an incomplete (I), and that you must turn in your final project before the end of the following semester so that the I becomes a grade other than an E.

4. Plagiarism and Academic Honesty. To plagiarize is "to steal and pass off as one's own the ideas or words of another" (Webster's Seventh New Collegiate Dictionary). SUNY Fredonia strongly condemns plagiarism and takes severe action against those who plagiarize. Disciplinary action may extend to suspension from privileges or expulsion from college. Please familiarize yourself with the college's "Academic Integrity Policy" (College Catalog 2003-2005, pp. 237-239, see also p. 225) and check with your instructor if you have any questions about it.

M A I N * N E W S * L I N K S * R E S E R V E S

ENGL 240: Introduction to African American Literature and Culture, Spring 2005
Created: 1/18/05 9:27 am
Last modified: 5/3/05 12:29 pm
See www.fredonia.edu/department/english/simon/engl240f03/ for the Fall 2003 version of this course, www.fredonia.edu/department/english/simon/engl240/ for the Spring 2001 version, and www.fredonia.edu/department/english/simon/en240/ for the Fall 1999 version.