ENC1143 Lecture Notes - Lecture 16: Roaring Twenties, Net., White Supremacy

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Published on 19 Nov 2016
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Recap:
- Early 19th century: Romanticism (Shelley)
- Late 19th century: Realism (Tolstoy)
- Early 20th century: Modernism (Faulkner)
- Agai, the te Modeis is poleati eause it just efes to o.
o Now = this moment? This week? This year? Who knows.
o Very non-descript but it is a legitimate literary movement and school of thought.
- Modernism
o Should be called Anti-Modernism in the way that the members often criticized the
modern world.
Belieed if people didt fid e alues to eplae the oid Gods role
left), modern society would be left in a hyper industrial world where war
can break out for no good reason.
o Motto: Make it new.
Even now, we value original and unique ideas.
Associated with the avant-garde (taken from a militant term; referred to
the people on the front lines)
Hemingway
- The Sun Also Rises has characters based on real people, including Hemingway himself.
- Jake is the eades ido to Euope, akig hi a iside.
o This would have been valuable to Americans because most of them just stayed in
the U.S. and probably wondered what life was like in Europe.
Faulkner
- An accomplished author; won 2 Pulitzer Prizes and one Nobel Prize.
- Style is alinear.
o The characters are constantly plagued by their pasts.
- Content: Criticism of the South (despite his love for his roots) and its obsession with its
past.
- Uses Compson family to depict the racism, sexism, etc. that is perpetuated by Southern
families that the South cannot move past.
- In The Sound and the Fury, Bejis iailit to diffeetiate between Caddy and a golf
add is eiiset of Wittesteis ok that states ods hae o eaig he
taken out of context).
- Fathe aied Jaso o his ak-> indicative of how racism/sexism/ways of thinking
continues because children often carro hat thee ee thought.
o Jason becomes the same sexist and racist man his father was.
o The fat thei aes ae the sae is aothe aspet that foeshadoed Jaso J.s
development.
- Quetis silee is hi puttig togethe the eets ad Nas ievitable death.
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- His lie aout Who ill do ou ashig o, fathe? that Queti at see a old
beyond what affects him—Na is aout to die ut hes oied aout ho ill ash his
clothes and the dishes.
o Faulkes itiue that uges eades to see a world beyond your own life and
what will impact your own life.
Langston Hughes
- Modeiss otto ake it e ad the Hale ‘eaissae is a suoeet ithi
it that created it a collective identity.
o A variety of African-American people of different milieu are gathered into a
collective identity.
o Ous i a ua eioet, hih is uial. Those i ual aeas ouldt
easily collaborate or gather for reasons like that.
o Gave rise to jazz music. Harlem Renaissance Jazz is music that is spontaneous and
organic.
We a eate geat usi ithout the tehialities of these lassial
sogs.
Never hear the same song twice, further reinforcing the motto of
Modernism.
o The new forms created in the Harlem Renaissance becomes such a huge part of
African-American identity because what was established within society was clearly
against people of color.
- Hughes called his work spontaneous poetry/verse. He would perform his poetry.
o He, its the fist feestle appe.
- The Nego “peaks of ‘ies
o Contains no words typically associated with African-Americans (especially in terms
of appearance), other than the geographical allusions.
Establishes the deep pride in his heritage and its physical roots.
- I, Too
o too – I a hee as ell. Dot foget aout e.
o the sees alost aout a putuatio; alost like a theat saig just ou
ait.
Also iialis siila to Whitas tet.
o Growing animosity. His response to combat white supremacy and to establish the
African-American presence.
- A Dea Defeed
o Alludes to the American Dream
Gadualis ioles aitig fo ou tu, dot o, oull get ou
hae.
- Economic BG Info:
o Itea s ad s: ‘oaig Teties ad the the Geat Depessio.
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o Roaring for rich white people, but for everyone else, not so much.
o 99: stok aket ashes ail eause it ast egulated ell at all laissez-
faire).
o “tok akets dietio is elated oe to pshologial deisios.
Many people who had people in the market took it out because they were
fearful (as opposed to greedy, which would boost the stock market
gaphs dietio.
Keynes recognizes these boom and bust tendencies; figures out to create
a floo just i ase of a stok akets pluge that ould eate a stiulus,
which would come from the government, as some sort of net.
This auses det hih is ot eil util ou igoe it o dot allo fo it to
be paid off).
So the government began to tax to make up for the debt when the stock
markets gets to a big enough number.
Franklin D. Roosevelt
- Not a fan of Keynes.
- Feuetl etioed as Aeias geatest pesidet.
o Won four elections with 75% voting for him.
- Utilized mass media very well.
o Using the radio gave the citizens a sense of being a part of something so much
bigger than themselves.
Steinbeck
- Focused on micro-topics and the personal. The individual vs the group.
- Ca e osideed Aeias Natioal Epi, as it eoles aoud suh a ide age of
people on American soil.
- Motgage etolog: death otat
- Focused on people who come from the same rural background.
- Desperate times, desperate measures.
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