340036916-American-Literature-Literary-Period-Overview.ppt
- 1. Overview of American Literature The history of American literature is the literature of American history.
- 2. Native American Period (pre-1620) Oral tradition of song and stories Original authors unknown Written accounts come after colonization Include creation stories, myths, totems archetypes of trickster and conjurer Focuses on the natural world as sacred Importance of land and place What did WE read?
- 3. Colonial Period (1620-1750) Newly arrived colonists create villages and towns and establish new governments while protesting the old ways in Europe Did not consider themselves “Americans” until mid- 18C Enormous displacement of Native-American civilizations French—St Lawrence River Swedes—Delaware River Dutch—Hudson River German and Scots-Irish—New York and Pennsylvania Spanish—Florida Africans (mostly slaves) were throughout the colonies
- 4. Colonial Period (1620-1750) Literature of the period dominated by the Puritans and their religious influence emphasis is on faith in one’s daily life a person’s fate is determined by God all are corrupt and need a Savior theocracy--civil authority in Bible and church nature is revelation of God’s providence and power Puritan work ethic—belief in hard work and simple, no-frills living
- 5. Colonial Period (1620-1750) Writing is utilitarian; writers are amateurs (not professional writers) Writing is instructive—sermons, diaries, personal narratives, Puritan Plain Style– simple, direct
- 6. Colonial Period (1620-1750) Representative authors: Wiliam Bradford (journal) Anne Bradstreet (poetry) Jonathan Edwards (sermon) Mary Rowlandson (captivity narrative) Phillis Wheatley (poetry) What did WE read?
- 7. Revolutionary Period (1750-1815) Writers focused on explaining and justifying the American Revolution After the Revolution, this period becomes known as Early Nationalism. Writers begin to ponder what it really means to be an American. After the War of 1812, which removed the last British troops from North America, there was an even greater focus on nationalism, patriotism, and American identity
- 8. Revolutionary Period (1750-1815) Emphasis on reason as opposed to faith alone; rise of empirical science, philosophy, theology Shift to a more print-based culture; literacy seen as sign of status Instructive in values, highly ornate writing style; highly political and patriotic
- 9. Revolutionary Period (1750-1815) Representative authors: Benjamin Franklin (biography, common sense aphorisms) Patrick Henry (speech) Thomas Paine (pamphlet) Thomas Jefferson (political documents) Abigail Adams (letters) What did WE read?
- 10. Romanticism (1800-1865) Romanticism is a philosophical reaction to the previous decades in which reason and rational thought dominated Emphasis on universal human experience Valuing feeling and intuition over reason Optimistic period of invention, Manifest Destiny, abolition movement, and the “birth” of truly American literature Growth of urban population in the Northeast with growth of newspapers, lectures, debates (especially over slavery and women’s roles) Revolution in transportation, science, Industrial revolution made “old ways” of doing things are now irrelevant
- 11. Romanticism (1800-1865) Writers celebrated individualism, nature, imagination, creativity, and emotions. Interest in fantasy and supernatural Writing can usually be interpreted two ways— surface and in depth Writing is didactic—attempting to shape readers Good will triumph over evil. Strong focus on inner feelings Imagination prized over reason; intuition over fact Blossoming of short stories, novels, and poetry
- 12. Romanticism (1800-1865) Early Romantic authors began the tradition of creating imaginative literature that was distinctly American Washington Irving (folktales) William Cullen Bryant (poetry) James Fenimore Cooper (novels)
- 13. Romanticism (1800-1865) Fireside Poets, the most popular Romantic poets of the time, were read in the home by the fireside because their poetry contained strong family values, patriotism, etc. It has remained popular in elementary schools for memorization. Henry Wadsworth Longfellow Oliver Wendell Holmes James Russell Lowell John Greenleaf Whittier
- 14. Romanticism (1800-1865) Transcendentalism came to America from Europe Belief that man’s nature is inherently good; “divine spark” or “inner-light” Belief that man and society are perfectible (utopia) Stress individualism, self-reliance, intuition Ralph Waldo Emerson (essays, poetry) Henry David Thoreau (essays)
- 15. Romanticism (1800-1865) Dark Romanticism (also known as Gothic or Anti- Transcendentalism) Belief that man’s nature is inherently evil Belief that whatever is wrong with society—sin, pain, evil—has to be fixed by fixing the individual man first. Use of supernatural Strong use of symbolism Dark landscapes, depressed characters Nathaniel Hawthorne (novels, short stories) Herman Melville (novels, short stories, poetry) Edgar Allan Poe (short stories, poetry, literary criticism
- 16. Realism (1850-1900) The Realistic Period, which includes the Civil War, significant industrial inventions, and extensive westward expansion, is one of the most turbulent and creative in American history. Rejection of Romantic view of life as too idealistic Writers turn to real life to articulate the tensions and complex events of the time, rather than idealized people or places. Seek “verisimilitude” by portraying “a slice of life” as it really is Usually objective narrator
- 17. Realism (1850-1900) Realistic authors made it their mission to convey the reality of life, however harsh. Characters reflect ordinary people in everyday life, determined yet flawed, struggling to overcome the difficulties of war, family, natural disasters, and human weaknesses. While good will always triumph over evil, it may not happen in every case in this lifetime Nature is a powerful force beyond man’s control. Racism persisted beyond slavery— Reconstruction, Jim Crow, KKK, etc.
- 18. Realism (1800-1855) Transitional writers which span the Romantic and Realistic Periods express Transcendental ideas in poetry with realistic detail. Experimented with new poetic techniques such as free verse and slant rhyme. Walt Whitman (poetry) Emily Dickinson (poetry)
- 19. Realism (1850-1900) Civil War writers are primarily concerned with the war, slavery, and to a lesser extent, women’s suffrage. Abraham Lincoln Robert E. Lee Mary Chesnut Sojourner Truth Harriet Beecher Stowe John Parker Frederick Douglass What did WE read?
- 20. Realism (1850-1900) Local color writers (also known as Regionalists) focused on a particular region of the country, seeking to represent accurately the culture and beliefs of that area. Emphasized accurate portrayals of the physical landscape as well as the habits, occupations, and speech (dialect) of the area’s people
- 21. Realism (1850-1900) Local color writers include, among others: Mark Twain (the Mississippi River valley) Bret Harte (the West, particularly the mining camps of California) Kate Chopin (the South, particularly Louisiana) Willa Cather (the Midwest, particularly Nebraska) Mary Wilkins Freeman (the New England area)
- 22. Realism (1850-1900) Mainline realistic authors include several well-known poets Paul Laurence Dunbar Edgar Lee Masters
- 23. Naturalism (1880-1940) Realism took a cynical turn to Naturalism when literary writers were exposed to the views of three authors whose scientific or political works appeared near the end of the century. Charles Darwin—biological determinism Sigmund Freud—psychological determinism Karl Marx—socio-economic determinism
- 24. Naturalism (1880-1940) Naturalistic writers focused on grim reality, observed characters much as scientists might observe laboratory animals, and sought to discover the natural laws which govern human lives. Naturalists viewed nature and the universe as indifferent, even hostile, to man.
- 25. Naturalism (1880-1940) The universe of the naturalists is godless, cold, and indifferent. Life often seems meaningless. Fate = chance (no free will) The characters in these works are often helpless victims—trapped by nature, the environment, or their own heritage. Jack London (novels, short stories) Stephen Crane (novels, short stories, poetry) Edwin Arlington Robinson (poetry) Ambrose Bierce (short stories)
- 26. Modernism (1900-1950) Modern Period writers were affected by World War I, World War II, fear of communism, and the beginning of the Cold War Roaring 20’s, the Great Depression, commercialism increased population lingering racial tensions after slavery and Reconstruction technological changes rise of the youth culture fear over eroding traditions
- 27. Modernism (1900-1950) Modern writers are known for themes of alienation and disconnectedness frequent use of irony and understatement experimentation with new literary techniques in fiction and poetry: stream of consciousness interior dialogue fragments trying to create a unique style rise of ethnic and women writers
- 28. Modernism (1900-1950) The Lost Generation writers were a group of Americans who chose to live in Paris after WWI. Their writing explored themes of alienation and change and confronted people’s fears, despair, and disillusionment. T. S. Eliot (poetry) F. Scott Fitzgerald (fiction) Ernest Hemingway (fiction)
- 29. Modernism (1900-1950) Imagists were a subgroup of the Lost Generation that created a new kind of poetry. Imagist poetry, which highly resembles Japanese haiku, concentrates on creating a word picture, a snapshot of a moment in time Ezra Pound William Carlos Williams Wallace Stevens
- 30. Modernism (1900-1950) Writers in the Harlem Renaissance represent a flourishing of African- American authors in a cultural movement that also included music and art These writers had two goals to write about the African-American experience to create a body of literature by African- American authors that could rival anything written by anyone else
- 31. Modernism (1900-1950) Harlem Renaissance writers included, among others: Langston Hughes (poetry) Zora Neale Hurston (fiction) Claude McKay (poetry) Countee Cullen (poetry) Arna Bontemps (poetry) Helene Johnson (poetry) James Weldon Johnson (poetry)
- 32. Modernism (1900-1950) Southern Renaissance writers follow in the footsteps of the earlier local color writers in their focus on the South. Katherine Ann Porter William Faulkner Flannery O’Connor
- 33. Modernism (1900-1950) Traditional poets in the Modern Period include such writers as Carl Sandburg Robert Frost Experimental poets in the Modern Period include such writers as e. e. cummings
Editor's Notes
- #1: Day 1 - Review
- #2: Day 1 – Review; stop and discuss.
- #3: Day 1 - Review
- #4: Day 1 - Review
- #5: Day 1 - Review
- #6: Day 1 – Review; stop and discuss.
- #7: Day 1 - Review
- #8: Day 1 - Review
- #9: Day 1 – Review; stop and discuss.
- #10: Day 2 – Cornell Notes
- #11: Day 2 – Cornell Notes
- #12: End of day 2 and all of day 3: Have students engage in Cornell Notes. Stop here and read “The Devil and Tom Walker” (textbook page 310) and “Thanatopsis” (textbook page 328). Discuss elements of Romanticism within the pieces with the students.
- #13: Day 4: Have students engage in Cornell Notes. Stop and read “A Psalm of Life,” “The Tide Rises, The Tide Falls” (textbook pages 338/338), “The Chambered Nautilus,” “Old Ironsides” (textbook pages 340/344), “The First Snowfall” (textbook page 354), and the passage from “Snowbound” (textbook page 346). See Guaranteed Curriculum for literature circle instructions. Discuss elements of Romanticism within the pieces with the students.
- #14: Day 4: Have students engage in Cornell Notes. Stop and read excerpt from “Self-Reliance” or “Nature” (pages 360/365) and excerpt from “Walden” (page 370). Discuss elements of Romanticism within the pieces with the students.
- #15: Days 5 and 6: Have students engage in Cornell Notes. Stop and read “The Fall of the House of Usher,” “The Masque of the Red Death,” excerpt from Moby Dick, or “The Minister’s Black Veil” (textbook pages 402, 427, 452, 456) and “The Raven” (textbook page 437). Discuss elements of Romanticism within the pieces with the students.
- #16: Day 7: Have students engage in Cornell Notes.
- #17: Day 7: Have students engage in Cornell Notes.
- #18: Day 7: Have students engage in Cornell Notes. Stop and read a piece (or pieces) by Whitman (pages 508-518) and a piece (or pieces) by Dickinson (pages 524-533). Discuss elements of Realism within the pieces with the students.
- #19: Day 7: Have students engage in Cornell Notes; stop and discuss.
- #20: Day 8: Have students engage in Cornell Notes.
- #21: Days 8 and 9: Have students engage in Cornell Notes. Stop and read any piece by Mark Twain (textbook pages 634-670), “A Wagner Matinee” (textbook page 705), or “The Story of an Hour” (textbook page 758). Discuss elements of Realism within the pieces with the students.
- #22: Days 8 and 9: Have students engage in Cornell Notes.
- #23: Day 10: Have students engage in Cornell Notes.
- #24: Day 10: Have students engage in Cornell Notes.
- #25: Days 10 and 11: Have students engage in Cornell Notes. Stop and read “The Open Boat” (textbook page 710) or “The Law of Life” (textbook page 744). Discuss elements of Naturalism within the pieces with the students.
- #26: Day 12: Have students engage in Cornell Notes.
- #27: Day 12: Have students engage in Cornell Notes.
- #28: Days 12 and 13: Have students engage in Cornell Notes. Stop and read “The Love Song of J. Alfred Prufrock” (textbook page 928) and either “Winter Dreams” (textbook page 936) or “In Another Country” (textbook page 968). Discuss elements of Modernism within the pieces with the students.
- #29: Day 14: Have students engage in Cornell Notes. Stop and read “In a Station of the Metro” (textbook page 912), “Spring and All” (textbook page 916), and “This is Just to Say” (textbook page 917). Discuss elements of Modernism within the pieces with the students.
- #30: Day 15: Have students engage in Cornell Notes.
- #31: Day 15: Have students engage in Cornell Notes. Stop and read “Harlem” (textbook page 898) and “Any Human to Another” (textbook page 852). Discuss elements of Modernism within the pieces with the students.
- #32: Days 15 and 16: Have students engage in Cornell Notes. Stop and read “The Jilting of Granny Weatherall” (textbook page 988), “A Rose for Emily” (textbook page 1018), or “The Life You Save May Be Your Own” (textbook page 1032). Discuss elements of Modernism within the pieces with the students.
- #33: Day 17: Have students engage in Cornell Notes. Stop and read “Chicago” or “Grass” (textbook pages 888/892), a selection by Robert Frost other than “Nothing Gold Can Stay” (which will be used later in the unit - textbook pages 896-903), and “anyone lived in a pretty how town” (textbook page 920). Discuss elements of Modernism within the pieces with the students.