Lesson+plan(s)

Jemayne L. King Dr. K. Sherwood ENGL 871: Topics in Postmodern Literature 3 July 2012 **“Fostering Understanding: The components of the Narrative” ENG 132 Introduction to Literature (ground class)** There are many different ways to foster student engagement and learning in the post modern academic classroom. With the advancements in technology and social media, instructors should not be without pedagogical options. Archaic methods of pedagogy alone are not enough to stimulate the minds of today’s millennial student. In an effort to better teach elements of the narrative this lesson plan utilizes various forms of the narrative including the novel, short stories, spirituals, speeches, and poems with electronic literature and social media (Twitter) to foster understanding and to boon student enhancement.
 * __Lesson Plan Development__**
 * __Concept Definitions__**
 * Electronic Literature: excludes print literature that has been digitized, is by contrast “digital born”, a first-generation digital object created on a computer and (usually) meant to be read on a computer (Hayles 3)
 * Plot: The sequence of events that take place in a narrative/story
 * Setting: the time and place in which a narrative/story takes place
 * Characterization: the method used to present the personality of a character in a narrative/story
 * Atmosphere: the general mood or feeling established in a piece of literature created through word choice and pacing
 * Point of view: the perspective of the narrator EX: 1st person or 3rd person
 * Conflict: the central issue that drives the action of a narrative/story EX: Internal or External

This lesson will familiarize students with the social network twitter and with elements of the narrative digital and traditional. The combined trajectory of the lesson will assist in introducing students to electronic literature. Though students use various applications of technology daily; they may not be knowledgeable of the intricacies of electronic literature. This plan will afford students the opportunity to connect traditional elements of the narrative with electronic literature. These elements include: This assignment is semester long and is worth 25% of the semester’s grade. Students must select a work used in the ENG 132: Introduction to Literature course. Once a text is selected, student must choose a character from the selected text to be the subject of their project. The student will then create a Twitter account in the name of the selected character. Once the character selection has been approved and the account verified by the instructor, students will tweet from the perspective of the character for the entire semester. Students may choose to continue the story arc or take the selected texts in a new direction once the previous option has been exhausted. Characters from the traditional narratives may only be selected once. The digital selections may be selected more than once as there are only four choices. If students procure the same character from a digital selection, the twitter accounts will be numbered. EX: ENG132InanimateAlice 1, ENG132InanimateAlice 2 Additionally, students will complete and submit daily writing responses to the previous meeting’s reading assignment. The responses will be two pages in length and will be completed at the outset of the meeting. **__Digital Literature Selections__** Donna Leishman // Kate Pullinger // // Michael Mateas & Andrew Stern //** Author description: ** //Façade// is an artificial intelligence-based art/research experiment in electronic narrative—an attempt to move beyond traditional branching or hyper-linked narrative to create a fully-realized, one-act interactive drama. Integrating an interdisciplinary set of artistic practices and artificial intelligence technologies, the authors undertook a five year collaboration to engineer a novel architecture for supporting emotional, interactive character behavior and drama-managed plot. You, the player, using your own name and gender, play the character of a longtime friend of Grace and Trip, an attractive and materially successful couple in their early thirties. During an evening get-together at their apartment that quickly turns ugly, you become entangled in the high-conflict dissolution of Grace and Trip's marriage. No one is safe as the accusations fly, sides are taken and irreversible decisions are forced to be made. By the end of this intense one-act play you will have changed the course of Grace and Trip's lives, motivating you to re-play the drama to find out how your interaction could make things turn out differently the next time. // Jaime Alejandro //** Author description: ** //Golpe de gracia// is an interactive multimedia piece that combines text, illustration, audio, modeling, and animation and tells the story of a character who undergoes a "near death" experience; this particular situation also functions as a metaphor for the cultural transitions of the present moment. The text is comprised of three "narrative worlds": Cadáver exquisito, Línea mortal and Muerte digital (Exquisite Corpse, Mortal Line, and Digital Death, respectively) and four "deepening rooms" (games, reading texts, study, and construction). The work offers several different degrees of interaction that range from taking decisions in order to follow the routes, all the way up to the collective construction of the text, along the way participating in several interactive games. //Golpe de gracia// also has an educative and communicative purpose, which is to make us aware of, and to contribute to, the development of collective knowledge. In this respect, each of the narrative worlds offers the development of one or several possible actions, different strategies to facilitate interaction, as well as offering a sort of "encyclopedic" environment that eases the process of contextualizing and in-depth search among the several topics particular to the actual narrative **__Daily Classroom activity/assignment__** students will complete and submit daily writing responses to the previous meeting’s reading assignment. The responses will be two pages in length and will be completed at the outset of the meeting. (Jenzabar quiz grade) **__Text Options/Plan Outline__**
 * __Lesson Overview:__**
 * Setting
 * Characterization
 * Atmosphere
 * Point of View
 * Conflict
 * Author description: ** //Deviant: The Possession of Christian Shaw// is an animated interactive graphic based on the historical story of Christian Shaw and her demonic possession. Set in 1696 amongst the witch trials, this project explores new ways of experiencing a story — harnessing the allure of mystery and uneasy tensions and plucking the participant's sense of social responsibility.
 * Author description: ** //Inanimate Alice// depicts the life of a young girl growing up in the early years of the 21st century through her blog and episodic multimedia adventures that span her life from childhood through to her twenties. It has been created to help draw attention to the issue of electro-sensitivity and the potentially harmful pollution resulting from wireless communications.
 * **Text:** Gilyard, Keith and Anissa Wardi. //African American Literature//. New York: Longman, 2004. Print.
 * Walker, Alice. //By the Light of My Father’s Smile.// New York: Random House, 1998. Print.
 * Milstein, Sarah. //The Twitter Book.// Vallejo: O’Reily Media, 2011. print.
 * Cashmore, Pete. //Twitter Tips, Tricks, and Tweets.// Hoboken: Wiley, 2009. Print.

“Po’Sandy” 350 || Walker, //By The Light of My Father’s Smile// ||
 * **// Week 1: Getting Started //** ||
 * * Introduction to the course and overview of course policies and procedures
 * Introduction to Literary Genres and Terms
 * Milstein, Sarah. //The Twitter Book//
 * Cashmore, Pete. //Twitter Tips, Tricks, and Tweets//
 * ** The landscape of //Deviant: The Possession of Christian Shaw// **
 * **// Inanimate Alice //**
 * // Façade //
 * // Golpe de gracia (Knock Out) // ||
 * ** Weeks 2-4: FICTION ** ||
 * Morrison, from //Beloved// 37 ||
 * Johnson, from //Middle Passage// 41 ||
 * Bontemps, from //Black Thunder// 64 ||
 * Gaines, from //A Gathering of Old Men// 100 ||
 * Dash, from //Daughters of the Dust// 107 ||
 * Kelley from //A Different Drummer// 204 ||
 * Toomer, from //Cane// 261 ||
 * Wright, “Big Boy Leaves Home” 272 ||
 * Hurston, from //Their Eyes Were// . . . 306 ||
 * Naylor, from //Mama Day// 311 ||
 * Chestnutt, “Goophered Grapevine” 338
 * Whitehead, from //John Henry Days// 382 ||
 * Shange, from Sassafrass, Cypress . . . 389 ||
 * Ansa, from //Baby of the Family// 428 ||
 * Baldwin, “Sonny’s Blues” 476 ||
 * Dunbar, from //The Sport of Gods// 566 ||
 * Morrison, from //Jazz// 670 ||
 * Ellison, from //Invisible Man// 675 ||
 * Flowers from //Another Good Lovin Blues// 685 ||
 * McMillian from //Mama// 732 ||
 * Wright from //Native Son// 799 ||
 * Himes from //If He Hollers Let Him Go// 815 ||
 * Petry from //The Street// 825 ||
 * Johnson from “Free” 1178 ||
 * Brooks from //Maud Martha// 1183 ||
 * Walker from //The Color Purple// 1214 ||
 * Williams from //The Man Who Cried. . .// 1272 ||
 * Bambara, “The Lesson” 1298


 * ** Weeks 5-7//:// DRAMA ** ||
 * Wilson //Joe Turner’s Come and Gone 45// ||
 * Hansberry //A Raisin in the Sun 840// ||

“Goree” 52 “Dust” 56 || “View from RosehillCemetery” 99 || “Letter to Samson Occum” 130 || “The Judgment Day” 164 || “It is Deep” 228 || From //Flight to Canada”// 366 || “Midwinter Blues” 459 “Ma Man” 460 “WideRiver” 460 “Flatted Fifths” 461 “Jam Session” 462 “The Backlash Blues” 462 || “Lee Morgan” 474 || “Jazz Is My Religion” 506 “Him the Bird” 506 || “O-JAZZ-O” 508 || “Solo Finger Solo” 521 || “Ornate with Smoke” 537 “Riffs” 542 “My History” 544 || “February in Sydney” 549 || “Make/n My Music” 552 || “We’re Tight, Soul-Tight. . .” 724 “Indigenous Daughter. . .” 728 “Choreo-Empres’ Leg-a-cy” 729 “Wishing. . .” 731 || “MapleValley Branch Library. . .”743 “My Mother. . .” 745 || “Flight of the California. . .” 747 “Dominoes” 749 “Low English” 750 “Sears Life” 751 “South Central. . .” 752 || “Kennywood” 758 “Three Legged Chairs” 759 “Spooked” 759 “Seamstress” 760 “A Ghosted Blues” 761 || “Street Play” 763 “Women at the House. . . 764 || “Anyone Heard from. . .” 770 || “Harlem [2]” 839 || “My Little Dreams” 1178 || “Where Is the Love?” 1193 “A New Politics of Sexuality” 1199 “Report from the Bahamas” 1204 || “From the DarkTower” 1257 || “Enslaved” 1259 “Outcast” 1259 || “Sonnet to a Negro in. . .” 1261 || “Malcolm X” 1265 || **__Lesson Objectives:__**
 * **// Weeks 8-10: //**** POETRY ** ||
 * Hayden, “Middle Passage” 20 ||
 * Dumas “Ark of Bones” 25 ||
 * Hoagland “Homecoming” 49
 * Dunbar “A Death Song” 62 ||
 * Cullen “A Brown Girl Dead” 63 ||
 * Walker “Burial” 96
 * Hammon “A Evening Thought . . .” 127 ||
 * Wheatley “On Being Brought . . .” 130
 * Harper from “Moses: A Story . . .” 136 ||
 * Dunbar “An Ante-Bellum Sermon” 159 ||
 * “God’s Gonna Set This World on Fire” 161 ||
 * “Dry Bones” 162 ||
 * Johnson “O Black and Unknown Bards” 163
 * Hayden “Runagate Runagate” 167 ||
 * Baraka “When We’ll Worship Jesus” 222 ||
 * Rodgers “Jesus Was Crucified” 225
 * “There’s No Hiding Place . . .” 229 ||
 * Braxton “Apocalypse” 233 ||
 * Breedlove “The New Miz Praise . . .” 234 ||
 * Walker “Southern Song” 260 ||
 * “The Signifying Monkey” 336 ||
 * “Railroad Bill” 359 ||
 * Reed “Railroad Bill “A Conjure Man” 360
 * “Stagolee” 374 ||
 * “The Sinking of the Titanic” 375 ||
 * Knight “I Sing of Shine” 377 ||
 * “John Henry” 378 ||
 * Tolson “The Birth of John Henry” 382 ||
 * Whitehead from //John Henry Days// 383 ||
 * Hughes “The Weary Blues” 458
 * Evans “Liberation Blues” 473
 * Joans “Jazz Is” 505
 * Kaufmann “His Horn” 508
 * Baraka “AM/TRAK” 509 ||
 * Sanchez “a/coltrane/poem” 515 ||
 * Cortez “Into This Time” 518
 * Plumpp “Law Giver in the Wilderness” 534
 * Komunyakaa “Elegy for Thelonius” 548
 * Jackson “Billie in Silk” 550
 * Gilmore “d.c.-harlem suite” 553 ||
 * Redmond “City Night Storm” 723
 * Dove “The Zulus” 740
 * Coleman “Fast Eddie” 746
 * Steptoe “Window Shopping” 757
 * Muhammad “Detroit” 762
 * Gilyard “The Hatmaker” 766
 * Mosley “The Thief” 781 ||
 * Hughes “Tell Me” 839
 * G.Johnson “The Heart of a Woman” 1177
 * Jordan “A Song of Sojourner Truth” 1191
 * Hughes “My People” 1253 ||
 * Cullen “Heritage” 1254
 * McKay “If We Must Die” 1258
 * H. Johnson “Poem” 1260
 * Walker “For My People” 1262 ||
 * Brooks “The Mother” 1263
 * Provide a close reading for a selected text
 * Think critically about elements of the narrative
 * Think critically from the perspective of a character
 * Use new technology (social media and digital literature) for pedagogy
 * __ Critical Reading and Thinking Skills __**


 * recognize the main ideas in an assigned reading
 * identify the writer’s purpose in a piece of prose
 * distinguish between fact and opinion
 * recognize various prose modes (e.g. narration, description, analysis, and argumentation)
 * make inferences based on assigned readings
 * Distinguish prose genres (e.g. story, essay, editorial, etc.)
 * exercise active reading practice by using “marginalia” writing or annotating to comment on and question assigned readings
 * paraphrase a prose passage


 * __ Speaking and Listening __**


 * use proper pronunciation especially for new vocabulary words
 * use clear enunciation
 * use appropriate voice modulation
 * use formal and informal modes of oral presentation
 * use gestures appropriately
 * follow oral instructions in completing a task
 * take lecture notes

**__Required Materials__** __ http:// [|www.twitter.com] // __ //__ http: __//__ [|www.jcsu.edu] /students__ __ [] __ [] ( The landscape of //Deviant)// [] (Inanimate alice) // [] (Façade) // // [] (Golpe de gracia) // Bell, A. (2010). //The possible worlds of hypertext fiction.// Houndmills, Basingstoke, Hampshire; New York: Palgrave Macmillan.Bolter, J. D. (1999). //Remediation: understanding new media.// Cambridge, Mass.: MIT Press.Ciccoricco, D. (2007). //Reading network fiction.// Tuscaloosa: University of Alabama Press.Funkhouser, C. (2007). //Prehistoric digital poetry: an archaeology of forms, 1959-1995.// Tuscaloosa: University of Alabama Press. The instructor will monitor the twitter account throughout the semester but offer commentary on each student’s content twice formally during the mid-term and final periods. Informally the instructor will offer commentary via the twitter @ reply. All students will need to follow @solefood (or the preceding instructor’s twitter account) in order to be identified. When the student in question would like to share tweets with course mates, he/she will use the hash tag “#JCSUINTROLIT. This assignment will account for 25% of the semester grade. Final evaluation will be assessed at semester’s end and tabulated with the grades from the rest of the course work. Course grade will be posted and housed via jenzabar.
 * Gilyard, Keith and Anissa Wardi. //African American Literature//. New York: Longman, 2004. Print.
 * Walker, Alice. //By the Light of My Father’s Smile.// New York: Random House, 1998. Print.
 * Milstein, Sarah. //The Twitter Book.// Vallejo: O’Reily Media, 2011. print.
 * Cashmore, Pete. //Twitter Tips, Tricks, and Tweets.// Hoboken: Wiley, 2009. Print.
 * Computer access
 * Internet access
 * University provided JCmail account
 * __Websites__**
 * __ Electronic Literature Bibliography __**
 * Print Resources**
 * __Assessment/Evaluation__**


 * __Discussion questions (classroom)__**


 * 1) What are some differences between traditional narratives and digital narratives?
 * 2) Are traditional and digital narratives read the same way?
 * 3) What concepts or skills do you take from your traditional narrative reading experiences that can be applied to your digital narrative reading experiences?
 * 4) Compare and contrast Alice Walker’s //By the Light of My Father’s Smile// with Pullinger’s //Inanimate Alice//.

** University’s Grading Scale: 10 point scale ** __ A __ 90-100 __B__ 80-89 __C__ 70-79 __D__ 60-69 __F__ Below 60

There are many different ways to foster student engagement and learning in the post modern academic classroom. With the advancements in technology and social media, instructors should not be without pedagogical options. Archaic methods of pedagogy alone are not enough to stimulate the minds of today’s millennial student. In an effort to better teach elements of the narrative this lesson plan utilizes various forms of the narrative including the novel, short stories, spirituals, speeches, and poems with electronic literature and social media (Twitter) to foster understanding and to boon student enhancement. This lesson will familiarize students with the social network twitter and with elements of the narrative. The combined trajectory of the lesson will assist in introducing students to traditional and electronic literature. Though students use various applications of technology daily; they may not be knowledgeable of the intricacies of electronic literature. This plan will afford students the opportunity to enhance classroom discussion and student engagement in regard to elements of the narrative. These elements include:
 * “Fostering Understanding: Do you hear me now? Using Twitter to enhance classroom discussion and a understanding of course readings (Digital and Traditional) ENG 132 Introduction to Literature (Hybrid class)**
 * __Lesson Plan Development__**
 * __Concept Definitions__**
 * Electronic Literature: excludes print literature that has been digitized, is by contrast “digital born”, a first-generation digital object created on a computer and (usually) meant to be read on a computer (Hayles 3) Plot: The sequence of events that take place in a narrative/story
 * Setting: the time and place in which a narrative/story takes place
 * Characterization: the method used to present the personality of a character in a narrative/story
 * Atmosphere: the general mood or feeling established in a piece of literature created through word choice and pacing
 * Point of view: the perspective of the narrator EX: 1st person or 3rd person
 * Conflict: the central issue that drives the action of a narrative/story EX: Internal or External
 * __Lesson Overview:__**
 * Setting
 * Characterization
 * Atmosphere
 * Point of View
 * Conflict

**__Digital Literature Selections__** Donna Leishman // Kate Pullinger // // Michael Mateas & Andrew Stern //** Author description: ** //Façade// is an artificial intelligence-based art/research experiment in electronic narrative—an attempt to move beyond traditional branching or hyper-linked narrative to create a fully-realized, one-act interactive drama. Integrating an interdisciplinary set of artistic practices and artificial intelligence technologies, the authors undertook a five year collaboration to engineer a novel architecture for supporting emotional, interactive character behavior and drama-managed plot. You, the player, using your own name and gender, play the character of a longtime friend of Grace and Trip, an attractive and materially successful couple in their early thirties. During an evening get-together at their apartment that quickly turns ugly, you become entangled in the high-conflict dissolution of Grace and Trip's marriage. No one is safe as the accusations fly, sides are taken and irreversible decisions are forced to be made. By the end of this intense one-act play you will have changed the course of Grace and Trip's lives, motivating you to re-play the drama to find out how your interaction could make things turn out differently the next time. // Jaime Alejandro //** Author description: ** //Golpe de gracia// is an interactive multimedia piece that combines text, illustration, audio, modeling, and animation and tells the story of a character who undergoes a "near death" experience; this particular situation also functions as a metaphor for the cultural transitions of the present moment. The text is comprised of three "narrative worlds": Cadáver exquisito, Línea mortal and Muerte digital (Exquisite Corpse, Mortal Line, and Digital Death, respectively) and four "deepening rooms" (games, reading texts, study, and construction). The work offers several different degrees of interaction that range from taking decisions in order to follow the routes, all the way up to the collective construction of the text, along the way participating in several interactive games. //Golpe de gracia// also has an educative and communicative purpose, which is to make us aware of, and to contribute to, the development of collective knowledge. In this respect, each of the narrative worlds offers the development of one or several possible actions, different strategies to facilitate interaction, as well as offering a sort of "encyclopedic" environment that eases the process of contextualizing and in-depth search among the several topics particular to the actual narrative
 * Author description: ** //Deviant: The Possession of Christian Shaw// is an animated interactive graphic based on the historical story of Christian Shaw and her demonic possession. Set in 1696 amongst the witch trials, this project explores new ways of experiencing a story — harnessing the allure of mystery and uneasy tensions and plucking the participant's sense of social responsibility.
 * Author description: ** //Inanimate Alice// depicts the life of a young girl growing up in the early years of the 21st century through her blog and episodic multimedia adventures that span her life from childhood through to her twenties. It has been created to help draw attention to the issue of electro-sensitivity and the potentially harmful pollution resulting from wireless communications.

This assignment is semester long and is worth 5% of the semester’s grade. Students must engage each other and the course instructor daily (at least once) via twitter.com To accomplish this students are required to establish a twitter account. All students must follow the instructor’s twitter account in order to be identified. To engage in dialog with course mates, he/she will use the hash tag “#JCSULITHYBRID”. The assignment includes the following: The assignment is semester long and will be applied to the following course readings:
 * Asking questions
 * Posting observations from assigned readings
 * Sharing any information that may be useful to classmates regarding successful course matriculation and completion.
 * **Text:** Gilyard, Keith and Anissa Wardi. //African American Literature//. New York: Longman, 2004. Print.
 * Walker, Alice. //By the Light of My Father’s Smile.// New York: Random House, 1998. Print.
 * Milstein, Sarah. //The Twitter Book.// Vallejo: O’Reily Media, 2011. print.
 * Cashmore, Pete. //Twitter Tips, Tricks, and Tweets.// Hoboken: Wiley, 2009. Print.

**__Daily Classroom activity/assignment__** students will complete and submit daily writing responses to the previous meeting’s reading assignment. The responses will be two pages in length and will be completed at the outset of the meeting. (Jenzabar quiz grade)

“Po’Sandy” 350 || Walker, //By The Light of My Father’s Smile// ||
 * **// Week 1: Getting Started //** ||
 * * Introduction to the course and overview of course policies and procedures
 * Introduction to Literary Genres and Terms
 * Milstein, Sarah. //The Twitter Book//
 * Cashmore, Pete. //Twitter Tips, Tricks, and Tweets// ** The landscape of **// Deviant: The Possession of Christian Shaw //
 * // Inanimate Alice //
 * // Façade //
 * // Golpe de gracia (Knock Out) // ||
 * ** Weeks 2-4: FICTION ** ||
 * Morrison, from //Beloved// 37 ||
 * Johnson, from //Middle Passage// 41 ||
 * Bontemps, from //Black Thunder// 64 ||
 * Gaines, from //A Gathering of Old Men// 100 ||
 * Dash, from //Daughters of the Dust// 107 ||
 * Kelley from //A Different Drummer// 204 ||
 * Toomer, from //Cane// 261 ||
 * Wright, “Big Boy Leaves Home” 272 ||
 * Hurston, from //Their Eyes Were// . . . 306 ||
 * Naylor, from //Mama Day// 311 ||
 * Chestnutt, “Goophered Grapevine” 338
 * Whitehead, from //John Henry Days// 382 ||
 * Shange, from Sassafrass, Cypress . . . 389 ||
 * Ansa, from //Baby of the Family// 428 ||
 * Baldwin, “Sonny’s Blues” 476 ||
 * Dunbar, from //The Sport of Gods// 566 ||
 * Morrison, from //Jazz// 670 ||
 * Ellison, from //Invisible Man// 675 ||
 * Flowers from //Another Good Lovin Blues// 685 ||
 * McMillian from //Mama// 732 ||
 * Wright from //Native Son// 799 ||
 * Himes from //If He Hollers Let Him Go// 815 ||
 * Petry from //The Street// 825 ||
 * Johnson from “Free” 1178 ||
 * Brooks from //Maud Martha// 1183 ||
 * Walker from //The Color Purple// 1214 ||
 * Williams from //The Man Who Cried. . .// 1272 ||
 * Bambara, “The Lesson” 1298


 * ** Weeks 5-7//:// DRAMA ** ||
 * Wilson //Joe Turner’s Come and Gone 45// ||
 * Hansberry //A Raisin in the Sun 840// ||

“Goree” 52 “Dust” 56 || “View from RosehillCemetery” 99 || “Letter to Samson Occum” 130 || “The Judgment Day” 164 || “It is Deep” 228 || From //Flight to Canada”// 366 || “Midwinter Blues” 459 “Ma Man” 460 “WideRiver” 460 “Flatted Fifths” 461 “Jam Session” 462 “The Backlash Blues” 462 || “Lee Morgan” 474 || “Jazz Is My Religion” 506 “Him the Bird” 506 || “O-JAZZ-O” 508 || “Solo Finger Solo” 521 || “Ornate with Smoke” 537 “Riffs” 542 “My History” 544 || “February in Sydney” 549 || “Make/n My Music” 552 || “We’re Tight, Soul-Tight. . .” 724 “Indigenous Daughter. . .” 728 “Choreo-Empres’ Leg-a-cy” 729 “Wishing. . .” 731 || “MapleValley Branch Library. . .”743 “My Mother. . .” 745 || “Flight of the California. . .” 747 “Dominoes” 749 “Low English” 750 “Sears Life” 751 “South Central. . .” 752 || “Kennywood” 758 “Three Legged Chairs” 759 “Spooked” 759 “Seamstress” 760 “A Ghosted Blues” 761 || “Street Play” 763 “Women at the House. . . 764 || “Anyone Heard from. . .” 770 || “Harlem [2]” 839 || “My Little Dreams” 1178 || “Where Is the Love?” 1193 “A New Politics of Sexuality” 1199 “Report from the Bahamas” 1204 || “From the DarkTower” 1257 || “Enslaved” 1259 “Outcast” 1259 || “Sonnet to a Negro in. . .” 1261 || “Malcolm X” 1265 || Additionally, students will complete and submit daily writing responses to the previous meeting’s reading assignment. The responses will be two pages in length and will be completed at the outset of the meeting. **__Lesson Objectives:__**
 * **// Weeks 8-10: //**** POETRY ** ||
 * Hayden, “Middle Passage” 20 ||
 * Dumas “Ark of Bones” 25 ||
 * Hoagland “Homecoming” 49
 * Dunbar “A Death Song” 62 ||
 * Cullen “A Brown Girl Dead” 63 ||
 * Walker “Burial” 96
 * Hammon “A Evening Thought . . .” 127 ||
 * Wheatley “On Being Brought . . .” 130
 * Harper from “Moses: A Story . . .” 136 ||
 * Dunbar “An Ante-Bellum Sermon” 159 ||
 * “God’s Gonna Set This World on Fire” 161 ||
 * “Dry Bones” 162 ||
 * Johnson “O Black and Unknown Bards” 163
 * Hayden “Runagate Runagate” 167 ||
 * Baraka “When We’ll Worship Jesus” 222 ||
 * Rodgers “Jesus Was Crucified” 225
 * “There’s No Hiding Place . . .” 229 ||
 * Braxton “Apocalypse” 233 ||
 * Breedlove “The New Miz Praise . . .” 234 ||
 * Walker “Southern Song” 260 ||
 * “The Signifying Monkey” 336 ||
 * “Railroad Bill” 359 ||
 * Reed “Railroad Bill “A Conjure Man” 360
 * “Stagolee” 374 ||
 * “The Sinking of the Titanic” 375 ||
 * Knight “I Sing of Shine” 377 ||
 * “John Henry” 378 ||
 * Tolson “The Birth of John Henry” 382 ||
 * Whitehead from //John Henry Days// 383 ||
 * Hughes “The Weary Blues” 458
 * Evans “Liberation Blues” 473
 * Joans “Jazz Is” 505
 * Kaufmann “His Horn” 508
 * Baraka “AM/TRAK” 509 ||
 * Sanchez “a/coltrane/poem” 515 ||
 * Cortez “Into This Time” 518
 * Plumpp “Law Giver in the Wilderness” 534
 * Komunyakaa “Elegy for Thelonius” 548
 * Jackson “Billie in Silk” 550
 * Gilmore “d.c.-harlem suite” 553 ||
 * Redmond “City Night Storm” 723
 * Dove “The Zulus” 740
 * Coleman “Fast Eddie” 746
 * Steptoe “Window Shopping” 757
 * Muhammad “Detroit” 762
 * Gilyard “The Hatmaker” 766
 * Mosley “The Thief” 781 ||
 * Hughes “Tell Me” 839
 * G.Johnson “The Heart of a Woman” 1177
 * Jordan “A Song of Sojourner Truth” 1191
 * Hughes “My People” 1253 ||
 * Cullen “Heritage” 1254
 * McKay “If We Must Die” 1258
 * H. Johnson “Poem” 1260
 * Walker “For My People” 1262 ||
 * Brooks “The Mother” 1263
 * Enhance student comprehension and understanding
 * Think critically about elements of the narrative
 * Eliminate student apprehension in regard to class participation
 * Use new technology (digital literature and social media) for pedagogy
 * __ Critical Reading and Thinking Skills __**


 * recognize the main ideas in an assigned reading
 * identify the writer’s purpose in a piece of prose
 * distinguish between fact and opinion
 * recognize various prose modes (e.g. narration, description, analysis, and argumentation)
 * make inferences based on assigned readings
 * Distinguish prose genres (e.g. story, essay, editorial, etc.)
 * exercise active reading practice by using “marginalia” writing or annotating to comment on and question assigned readings
 * paraphrase a prose passage
 * __ Speaking and Listening __**


 * use proper pronunciation especially for new vocabulary words
 * use clear enunciation
 * use appropriate voice modulation
 * use formal and informal modes of oral presentation
 * use gestures appropriately
 * follow oral instructions in completing a task
 * take lecture notes

**__Required Materials__** __ http:// [|www.twitter.com] // __ //__ http: __//__ [|www.jcsu.edu] /students__ __ [] __ __ [] __ [] ( The landscape of //Deviant)// [] (Inanimate alice) // [] (Façade) // // [] (Golpe de gracia) //
 * Gilyard, Keith and Anissa Wardi. //African American Literature//. New York: Longman, 2004. Print.
 * Walker, Alice. //By the Light of My Father’s Smile.// New York: Random House, 1998. Print.
 * Milstein, Sarah. //The Twitter Book.// Vallejo: O’Reily Media, 2011. print.
 * Cashmore, Pete. //Twitter Tips, Tricks, and Tweets.// Hoboken: Wiley, 2009. Print.
 * Computer access
 * Internet access
 * JCSU LearningHouse access information
 * __Websites__**

Bell, A. (2010). //The possible worlds of hypertext fiction.// Houndmills, Basingstoke, Hampshire; New York: Palgrave Macmillan.Bolter, J. D. (1999). //Remediation: understanding new media.// Cambridge, Mass.: MIT Press.Ciccoricco, D. (2007). //Reading network fiction.// Tuscaloosa: University of Alabama Press.Funkhouser, C. (2007). //Prehistoric digital poetry: an archaeology of forms, 1959-1995.// Tuscaloosa: University of Alabama Press. Hansen, M. B. N. (2004). //New philosophy for new media.// Cambridge, Mass.: MIT Press.Hayles, N. K. (1999). //How we became posthuman: virtual bodies in cybernetics, literature, and informatics.// Chicago, Ill.: University of Chicago Press.Hayles, N. K. (2002). //Writing machines.// Cambridge, Mass.: MIT Press.Hayles, N. K. (2005). //My mother was a computer : digital subjects and literary texts//
 * __ Electronic Literature Bibliography __**
 * Print Resources**

The instructor will monitor the twitter account throughout the semester but offer commentary on each student’s content twice formally during the mid-term and final periods. Informally the instructor will offer commentary via the twitter @ reply. All students will need to follow @solefood (or the preceding instructor’s twitter account) in order to be identified. When the student in question would like to share tweets with course mates, he/she will use the hash tag “#JCSULITHYBRID”. This assignment will account for 5% of the semester grade. Final evaluation will be assessed at semester’s end and tabulated with the grades from the rest of the course work. Course grade will be posted and housed via jenzabar.
 * __Assessment/Evaluation__**
 * __Discussion questions (classroom)__**


 * 1) What are some differences between traditional narratives and digital narratives?
 * 2) Are traditional and digital narratives read the same way?
 * 3) What concepts or skills do you take from your traditional narrative reading experiences that can be applied to your digital narrative reading experiences?
 * 4) Compare and contrast Alice Walker’s //By the Light of My Father’s Smile// with Pullinger’s //Inanimate Alice//.

** University’s Grading Scale: 10 point scale ** __ A __ 90-100 __B__ 80-89 __C__ 70-79 __D__ 60-69 __F__ Below 60