WCAG guidelines<\/a>) and here https:\/\/donnamcampbell.net. (Note: This is not in Bold but in Heading 3.)<\/p>\nFall 2026<\/h3>\nEnglish 210 [HUM], Readings in American Literature: Immigrants, Outcasts, and Exiles. T – Th 12:05-1:20, Avery 104 (Pullman)<\/h4>\n
English 210, Readings in American Literature: Immigrants, Outcasts, and Exiles, is an introduction to short fiction, poetry, and nonfiction narratives from the nineteenth- through the twenty-first centuries. It has been approved as fulfilling the American literature requirement for English Education majors.<\/p>\n
We won\u2019t read work from all periods and movements in American literature, but you\u2019ll learn about important movements and trends through our course theme \u201cImmigrants, Outcasts, and Exiles,\u201d since many works of American literature address the issues of inclusion and exclusion from a dominant culture.<\/p>\n
Our class is a space for distraction-free discussions and writing about literature.\u00a0 All written work will be completed in class using pen and paper.<\/p>\n
English 494 [CAPS]: Jazz Age\/Harlem Renaissance (Pullman and Global Campus)<\/h4>\n
Like the 2020s, the 1920s, called \u201cThe Jazz Age\u201d by F. Scott Fitzgerald, was a time of great cultural change brought about by technological advances, youth culture, the liberation of women, increasing voter rights, an emphasis on higher education, and increasing racial tolerance and respect for African American contributions to American culture (The Harlem Renaissance). Yet also like the 2020s, it was an era of vast income inequality and economic uncertainty with historical consequences that differed from the hope implied by \u201cJazz Age\u201d and \u201cHarlem Renaissance.\u201d The basic principles of the course are to examine the mythology surrounding the era, to explore the cultural work that such a mythology has performed for later generations, and to investigate the ways in which such a mythology has obscured the political and racial tensions of the period.<\/p>\n
Topics include the rise of modernism, post-WWI racial tensions, social unrest (the bonus marchers and the Palmer raids), race and the rise of the New Negro, ethnicity and restrictive immigration laws, Prohibition, the rise of gangster culture, cultural types (sheiks, flappers, and so on), freedom in sexual mores (including what critics are now calling the \u201cgay Harlem Renaissance\u201d), new technologies, the role of film as a disseminator of popular culture, and the emancipation of women.\u00a0 Although we will discuss modernism, this isn\u2019t a course in modernism\u2019s \u201cgreatest hits\u201d with the usual suspects: T.S. Eliot, Ezra Pound, Gertrude Stein, and so on. Rather, our focus is on popular and literary culture: the fiction, poetry, movies, music, and art of the era.<\/p>\n
Among the authors to be studied are the following: F. Scott Fitzgerald, Jean Toomer, Ernest Hemingway, Dorothy Parker, Claude McKay, and Nella Larsen. Films include Harold Lloyd\u2019s\u00a0The Freshman<\/em>\u00a0and Oscar Micheaux\u2019s\u00a0Within Our Gates,\u00a0<\/em>the earliest feature film by an African American director. We’ll also watch a recent film adaptation of \u00a0Nella Larsen’s\u00a0Passing<\/em>.<\/em>\u00a0We\u2019ll listen to the music of the era and identify its cultural references, including poems by Langston Hughes and others.<\/p>\nThis is a 3-credit course that provides UCORE CAPS fulfillment upon completion.<\/p>\n
Required Texts<\/p>\n
Fitzgerald, F. Scott.\u00a0Tender is the Night. Scribner, 1995. ISBN\u00a0<\/em>978-0684801544
\nHemingway, Ernest.\u00a0The Sun Also Rises. Scribner, 1995. ISBN\u00a0<\/em>0684800713 (see module for a free version)
\nLarsen, Nella.\u00a0Quicksand. Penguin,\u00a09781891396991)\u00a0<\/em>\u00a0(see module for a free version)
\nLewis, David Levering.\u00a0The Harlem Renaissance Reader. Penguin, 1995. ISBN\u00a0<\/em>0140170367
\nToomer, Jean.\u00a0Cane.\u00a0<\/em>Norton Critical Ed., 3rd ed. Norton,.<\/p>\nLucasfilm biography of Edith Wharton for which I was interviewed (2007):<\/p>\n
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