Eng 2750 Exam 3

Question 1

The Promised Land

Answer 1

Mary Antin

Question 2

“Burning Danger Signals”

Answer 2

Asiatic Exclusion League

Question 3

“A Sweat-Shop Romance”

Answer 3

Abraham Cahan

Question 4

from The Novel Demeuble

Answer 4

Willa Cather

Question 5

“Incident”

Answer 5

Countee Cullen

Question 6

from The Souls of Black Folk

Answer 6

W.E.B. DuBois

Question 7

“America”

Answer 7

Allen Ginsberg

Question 8

from The Negro Artist and the Racial Mountain

Answer 8

Langston Hughes

Question 9

“The Weary Blues”

Answer 9

Langston Hughes

Question 10

“How It Feels to be Colored Me”

Answer 10

Zora Neale Hurston

Question 11

“The Restriction of Immigration”

Answer 11

Henry Cabot Lodge

Question 12

“America”

Answer 12

Claude McKay

Question 13

from A Retrospect

Answer 13

Ezra Pound

Question 14

“In A Station of the Metro”

Answer 14

Ezra Pound

Question 15

“True Americanism”

Answer 15

Theodore Roosevelt

Question 16

“Leaves From the Mental Portfolio of an Eurasian”

Answer 16

Sui Sin Far/Edith Maude Eaton

Question 17

from Up From Slavery

Answer 17

Booker T. Washington

Question 18

“The Red Wheelbarrow”

Answer 18

William Carlos Williams

Question 19

excerpt from Spring and All

Answer 19

William Carlos Williams

Question 20

from The School Days of an Indian Girl

Answer 20

Zitkala-Sa/Gertrude Bonnin

Question 21

“Why I Am A Pagan”

Answer 21

Zitkala-Sa/Gertrude Bonnin

Question 22

“They form the tenement district, or in the newer phrase, the slums of Boston. Anybody who is acquainted with the slums of any American metropolis knows that that is the quarter where poor immigrants foregather, to live, for the most part, as unkempt, half-washed, toiling, unaspiring foreigners; pitiful in the eyes of social missionaries, the despair of boards of health, the hope of ward politicians, the touchstone of American democracy.”

Answer 22

The Promised Land - Mary Antin

Question 23

“Beile felt mortally offended by her commanding tone, and the idea of being paraded before the strangers as a domestic cut her to the quick, as a stream of color rushing into her face indicated. Nevertheless the prospect of having to look for a job again persuaded her to avoid trouble with Zlate, and she was about to reach out her hand for the coin, when David’s exhortation piqued her sense of self-esteem, and she went on with her sewing.”

Answer 23

“A Sweat-Shop Romance” - Abraham Cahan

Question 24

“That’s like America!” Zlate remarked, with an attempt at a scornful smile. “The meanest beggar girl will put on airs.”

Answer 24

“A Sweat-Shop Romance” - Abraham Cahan

Question 25

“I am at a children’s party, given by the wife of an Indian officer whose children were school fellows of mine. I am only six years of age, but have attended a private school for over a year, and have already learned that China is a heathen country, being civilized by England. However, for the time being, I am a merry romping child. There are quire a number of grown people present. One, a white haired old man, has his attention called to me by the hostess…Very interesting little creature!”

Answer 25

Leaves from the Mental Portfolio of an Eurasian - Sui Sin Far/Edith Maude Eaton

Question 26

“A debt owing by my father fills me with shame. I feel like a criminal when I pass the creditor’s door. I am only ten years old. And all the while the question of nationality perplexes my little brain. Why are we what we are? I and my brothers and sisters. Why did God make us to be hooted and stared at?…Why couldn’t we have been either one thing or the other? Why is my mother’s race despised?”

Answer 26

Leaves from the Mental Portfolio of an Eurasian - Sui Sin Far/Edith Maude Eaton

Question 27

“I look into the faces of my father and mother. Is she not every bit as dear and good as he? Why? Why? She sings us the songs she learned at her English school. She tells us tales of China…She tells us over and over again of her meeting with my father in Shanghai and the romance of their marriage. Why? Why?”

Answer 27

Leaves from the Mental Portfolio of an Eurasian - Sui Sin Far/Edith Maude Eaton

Question 28

“I do not confide in my father and mother. They would not understand. How could they? He is English, she is Chinese. I am different to both of them–a stranger, tho their own child.”

Answer 28

Leaves from the Mental Portfolio of an Eurasian - Sui Sin Far/Edith Maude Eaton

Question 29

“I love poetry, particularly heroic pieces. I also love fairy tales. Stories of everyday life do not appeal to me. I dream dreams of being great and noble; my sisters and brothers also.”

Answer 29

Leaves from the Mental Portfolio of an Eurasian - Sui Sin Far/Edith Maude Eaton

Question 30

“Fundamentally, I muse, all people are the same. My mother’s race is as prejudiced as my father’s. Only when the whole world becomes as one family will human beings be able to see clearly and hear distinctly. I believe that some day a great part of the world will be Eurasian. I cheer myself with the thought that I am but a pioneer. A pioneer should glory in suffering.”

Answer 30

Leaves from the Mental Portfolio of an Eurasian - Sui Sin Far/Edith Maude Eaton

Question 31

“A miserable, cowardly feeling keeps me silent. I am in a Middle West town. If i declare what I am, every person in the place will hear about it the next day. The population is in the main made up of working folks with strong prejudices against my mother’s countrymen. The prospect before me is not an enviable one–if I speak. I have no longer an ambition to die at the stake for the sake of demonstrating the greatness and nobleness of the the Chinese people.”

Answer 31

Leaves from the Mental Portfolio of an Eurasian - Sui Sin Far/Edith Maude Eaton

Question 32

“With a great effort I raise my eyes from my plate. ‘Mr. K.,’ I say, addressing my employer, ‘the Chinese people may have no souls, no expression on their faces, be altogether beyond the pale of civilization, but whatever they are, I want you to understand that I am–I am a Chinese.’”

Answer 32

Leaves from the Mental Portfolio of an Eurasian - Sui Sin Far/Edith Maude Eaton

Question 33

“I am under a tropic sky, meeting frequently and conversing with persons who are almost as high up in the world as birth, education and money can set them. The environment is peculiar, for I am also surrounded by a race of people, the reputed descendants of Ham, the son of Noah, whose offspring, it was prophesied, should be the servants of the sons of Shem and Japheth.”

Answer 33

Leaves from the Mental Portfolio of an Eurasian - Sui Sin Far/Edith Maude Eaton

Question 34

“As I am a descendant, according to the Bible, of both Shem and Japheth, I have a perfect right to set my heel upon the Ham people; but tho I see others around me following out the Bible suggestion, it is not in my nature to be arrogant to any but those who seek to impress me with their superiority…‘It is unnecessary,’ she says, ‘to thank a black person for a service.’”

Answer 34

Leaves from the Mental Portfolio of an Eurasian - Sui Sin Far/Edith Maude Eaton

Question 35

“During this time I seemed to hang in the heart of chaos, beyond the touch or voice of human aid. My brother, being almost ten years my senior, did not quite understand my feelings. My mother had never gone inside of a schoolhouse, and so she was not capable of comforting her daughter who could read and write. Even nature seemed to have no place for me. I was neither a wee girl nor a tall one; neither a wild Indian nor a tame one. This deplorable situation was the effect of my brief course in the East and the unsatisfactory “tenth” in a girl’s years.”

Answer 35

The School Days of an Indian Girl - Zitkala-Sa/Gertrude Bonnin

Question 36

“In the second journey to the East I had not come without some precaution. I had a secret interview with one of our best medicine men, and when I left his wigwam I carried securely in my sleeve a tiny bunch of magic roots. This possession assured me of friends wherever I should go. So absolutely did I believe in its charms that I wore it through all the school routine for more than a year. Then, before I lost my faith in the dead roots, I lost the little buckskin bag containing all my good luck.”

Answer 36

The School Days of an Indian Girl - Zitkala-Sa/Gertrude Bonnin

Question 37

“To those of my race who depend on bettering their condition in a foreign land or who underestimate the importance of cultivating friendly relations with the Southern white man, who is their next-door neighbor, I would say ‘Cast down your bucket where you are’–cast it down in making friends in every manly way of the people of all races by whom we are surrounded.”

Answer 37

Up From Slavery - Booker T. Washington

Question 38

“Cast it down in agriculture, mechanics, in commerce, in domestic service, and in the professions. And in this connection it is well to bear in mind that whatever other sins the South may be called to bear when it comes to business, pure and simple, it is in the South that the Negro is given a man’s chance in the commercial world, and in nothing is this Exposition more eloquent than in emphasizing this chance.”

Answer 38

Up From Slavery - Booker T. Washington

Question 39

“As we have proved our loyalty to you in the past, in nursing your children, watching by the sick-bed of your mothers and fathers, and often following them with tear-dimmed eyes to their graves, so in the future, in our humble way, we shall stand by you with a devotion that no foreigner can approach, ready to lay down our lives, if need be, in defence of yours, interlacing our industrial, commercial, civil, and religious life with yours in a way that shall make the interests of both races one. In all things that are purely social we can be as separate as the fingers, yet one as the hand in all things essential to mutual progress.”

Answer 39

Up From Slavery - Booker T. Washington

Question 40

“I think, though, that the opportunity to freely exercise such political rights will not come in any large degree through outside or artificial forcing, but will be accorded to the Negro by the Southern white people themselves, and that they will protect him in the exercise of those rights. Just as soon as the South gets over the old feeling that it is being forced by ‘foreigners,’ or ‘aliens,’ to do something which it does not want to do, I believe that the change in the direction that I have indicated is going to begin. In fact, there are indications that it is already beginning in a slight degree.”

Answer 40

Up From Slavery - Booker T. Washington

Question 41

“the problem of the Twentieth Century is the problem of the color-line.”

Answer 41

The Souls of Black Folk - W.E.B. DuBois

Question 42

“Then it dawned upon me with a certain suddenness that I was different from the others; or like, mayhap, in heart and life and longing, but shut out from their world by a vast veil. I had thereafter no desire to tear down that veil, to creep through; I held all beyond it in common contempt, and lived above it in a region of blue sky and great wandering shadows.”

Answer 42

The Souls of Black Folk - W.E.B. DuBois

Question 43

“this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity. One ever feels his two-ness, –an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder.”

Answer 43

The Souls of Black Folk - W.E.B. DuBois

Question 44

“Next to this achievement comes Mr. Washington’s work in gaining place and consideration in the North. Others less shrewd and tactful had formerly essayed to sit on these two stools and had fallen between them; but as Mr. Washington knew the heart of the South from birth and training, so by singular insight he intuitively grasped the spirit of the age which was dominating the North. And so thoroughly did he learn the speech and thought of triumphant commercialism, and the ideals of material prosperity, that the picture of a lone black boy poring over a French grammar amid the weeds and dirt of a neglected home soon seemed to him the acme of absurdities.”

Answer 44

The Souls of Black Folk - W.E.B. DuBois

Question 45

“Is it possible, and probable, that nine millions of men can make effective progress in economic lines if they are deprived of political rights, made a servile caste, and allowed only the most meagre chance for developing their exceptional men?”

Answer 45

The Souls of Black Folk - W.E.B. DuBois

Question 46

“But so far as Mr. Washington apologizes for injustice, North or South, does not rightly value the privilege and duty of voting, belittles the emasculating effects of caste distinctions, and opposes the higher training and ambition of our bright minds”

Answer 46

The Souls of Black Folk - W.E.B. DuBois

Question 47

“An ‘Image’ is that which presents an intellectual and emotional complex in an instant of time.”

Answer 47

A Retrospect - Ezra Pound

Question 48

“It is the presentation of such a ‘complex’ instantaneously which gives that sense of sudden liberation; that sense of freedom from time limits and space limits; that sense of sudden growth, which we experience in the presence of the greatest works of art.”

Answer 48

A Retrospect - Ezra Pound

Question 49

“It is better to present one Image in a lifetime than to produce voluminous works.”

Answer 49

A Retrospect - Ezra Pound

Question 50

“three propositions (demanding direct treatment, economy of words, and the sequence of the musical phrase)”

Answer 50

A Retrospect - Ezra Pound

Question 51

“I reply: To refine, to clarify, to intensify that eternal moment in which we alone live there is but a single force–the imagination. This is its book. I myself invite you to read and to see.”

Answer 51

Spring and All - William Carlos Williams

Question 52

“Oh life, bizarre fowl, what color are your wings? Green, blue, red, yellow, purple, white, brown, orange, black, grey?”

Answer 52

Spring and All - William Carlos Williams

Question 53

“In any discussion of the novel, one must make it clear whether one is talking about the novel as a form of amusement, or as a form of art”

Answer 53

The Novel Demeuble - Willa Cather

Question 54

“The novel manufactured to entertain great multitudes of people must be considered exactly like a cheap soap or a cheap perfume, or cheap furniture. Fine quality is a distinct disadvantage in articles made for great numbers of people who do not want quality but quantity, who do not want a thing that ‘wears,’ but who want change, - a succession of new things that are quickly thread-bare and can be lightly thrown away.”

Answer 54

The Novel Demeuble - Willa Cather

Question 55

“‘realism’ asserts itself in the cataloguing of a great number of material objects, in explaining mechanical processes, the methods of operating manufactories and trades, and in minutely and unsparingly describing physical sensations”

Answer 55

The Novel Demeuble - Willa Cather

Question 56

“There are hopeful signs that some of the younger writers are trying to break away from mere verisimilitude, and, following the development of modern painting, to interpret imaginatively the material and social investiture of their characters; to present their scene by suggestion rather than by enumeration.”

Answer 56

The Novel Demeuble - Willa Cather

Question 57

“How wonderful it would be if we could throw all the furniture out of the window; and along with it, all the meaningless reiterations concerning physical sensations, all the tiresome old patterns, and leave the room as bare as the stage of a Greek theatre, or as that house into which the glory of Pentacost descended; leave the scene bare for the play of emotions, great and little–for the nursery tale, no less than the tragedy, is killed by tasteless amplitude

Answer 57

The Novel Demeuble - Willa Cather

Question 58

“The Negro artist works against an undertow of sharp criticism and misunderstanding from his own group and unintentional bribes from the whites. ‘O, be respectable, write about nice people, show how good we are,’ say the Negroes. ‘Be stereotyped, don’t go too far, don’t shatter our illusions about you, don’t amuse us too seriously. We will pay you,” say the whites. Both wouldn’t have told Jean Toomer not to write ‘Cane.” The colored people did not praise it. The white people did not buy it. Most of the colored people who did read ‘Cane’ hate it. They are afraid of it. Although the critics gave it good reviews the public remained indifferent. Yet ‘Cane’ contains the finest prose written by a Negro in America. And like the singing of Robeson, it is truly racial.”

Answer 58

The Negro Artist and the Racial Mountain - Langston Hughes

Question 59

Americanization/The American Creed or Thesis

Answer 59

• Associated with Nina Baym
• a broad term used to explain how the newly arrived immigrant could be turned into an American citizen
• a concerted movement to turn immigrants into Americans, including classes, programs, and ceremonies focused on American speech, ideals, traditions and customs
• American Thesis is the set of propositions about America which the nation presents to itself and to the outside world
• American Thesis/Creed associated with Anatol Lieven

Question 60

Jacksonian or Frontier Tradition/Nativism

Answer 60

• Associated with Anatol Lieven
• a strong sense of White identity and violent hostility to other races
• Producerist ethos = valuing people who make goods

Question 61

Ballad

Answer 61

• Narrative poem composed in short stanzas
• “Incident” by Countee Cullen is an example of a hymns stanza ballad
• often adapted for singing and dancing
• popular ballad, short ballad, hymns
• tell a story embodying folk wisdom or depicting heroic adventures

Question 62

Sonnet

Answer 62

• “America” by Claude McKay is an example
• Poem composed of fourteen lines of iambic pentameter with some for of alternating end rhyme and a turning point that divides the poem into two parts
• structure allows to present a theme, situation, or problem and then seek to resolve the theme or problem, or to comment on the situation
• Petrarchan & Shakespearean

Question 63

Free Verse

Answer 63

• “America” by Allen Ginsberg is an example
• No consistent meter, rhyme scheme, or pattern
• Tends to follow the rhythm of natural speech

Question 64

Imagism

Answer 64

• Associated with Nina Baym
• Part of Modernism
• Movement that favored the precision of imagery and clear, sharp language
• Often viewed as a succession of creative moments

Question 65

Modernism

Answer 65

• Ezra Pound, Langston Hughes, ..anybody read in the 4th unit!
• Any work produced between WWI & WWII
• Response to crisis brought about by transformations of modernity
• Modernist works are fragmented
• “Make it New!”
• Fragmented syntax, perspective, voice, tone
• Multiple perspectives shown simultaneously
• Figure out what the meaning is for yourself in a modernist work, not straightforward and clear
• Psychological effects

Question 66

Chinese Exclusion Act

Answer 66

• “Burning Danger Signals”, Asiatic Exclusion League
• U.S. Federal law to ban Chinese Immigration to the U.S. for 10 years
• If caught in the U.S. were either imprisoned or deported

Question 67

Dawes Act

Answer 67

• Congressman Henry Dawes
• Federal government divided tribal lands into 160 acres & gave them to individual tribal members. The U.S. government would hold land allotted to individual Indians in a trust for 25 years so the Indian would not sell the land or be swindled out of it
• Attack on the relationship between man and land ownership

Question 68

Atlanta Exposition Address

Answer 68

• Booker T. Washington
• Speech in which Washington said that in order for African Americans to advance they needed to stay in the South and work rather than get an education
• Non-threatening message to white audience
• If African Americans work hard & do what they are supposed to, they will be rewarded; race won’t matter
• Says racism is irrational, it will disappear, displaces racial issues onto class problems

Question 69

Armory Show

Answer 69

• Marcel Duchamp & Max Beckmann
• Exhibit of American Avant-Garde artists
• Shift in a way of thinking, a way of art; modernist shift
• Caused riots & dramatic headlines in the press

Question 70

Harlem Renaissance

Answer 70

• Langston Hughes & Zora Neale Hurston
• Collective term for the output of African-American writers & artists during the period 1918-1930s
• Themes of alienations, marginality, the use of folk elements (oral tradition, blues, jazz), relationship between popular & elite (white patronage)
• Art as politics: racism, Black separatism, assimilation