Modern American Literature Fall 2021 Exam 1 Instructions

Modern American Literature Fall 2021 Exam 1 Instructions for the exam:

· Answers must be in complete sentences, coherent, and address the question(s) being asked. · Make sure that you answer everything that is asked in the question.

Failure to do so will result in a deduction of points. · Your answers must be at least 5 sentences each; anything less will receive an automatic deduction of points. · Don’t forget proper punctuation for titles of works! · No plagiarism tolerated on this exam. If anything is plagiarized, you will receive a 0 (zero) for the entire exam. · Please delete these instructions from your document before turning in your exam. Do include the questions along with your answers. · 10 points each maximum/100 points total possible

Paper For Above instruction

American modernist literature, spanning the early to mid-20th century, represents a transformative period characterized by experimentation, a break from traditional narratives, and a focus on individual consciousness and fragmented perceptions of reality. This essay explores key themes and works from the period, emphasizing the significance of literary devices such as symbolism, dialect, and narrative structure, and their role in shaping the modernist aesthetic and understanding of American society.

Defining Protagonist and Antagonist

The terms 'protagonist' and 'antagonist' are fundamental to understanding narrative structure. The protagonist is the central character around whom the story revolves, often facing conflicts that drive the plot. For example, in Blaise Cendrars's works, the protagonist often embodies the modern spirit of exploration and innovation. Conversely, the antagonist is the opposing force or character that conflicts with the protagonist, creating tension and obstacles. In F. Scott Fitzgerald’s The Great Gatsby, Tom Buchanan serves as the antagonist whose values clash with Gatsby's dreams. Recognizing these roles helps readers comprehend character motivations and thematic development.

The Literary Category of Realism with Examples

Realism is a literary movement aiming to depict everyday life and society with truthfulness and fidelity, emphasizing detailed character development and plausible events. It emerged as a reaction against Romanticism's emotional excess and idealization. A quintessential example from our readings is Kate Chopin's The Story of an Hour, which portrays the fleeting sense of freedom experienced by Mrs. Mallard after learning of her husband's death. This story fits within realism through its focus on authentic emotional responses and social circumstances. It illustrates the limitations and constraints placed on women, capturing the subtleties of human experience in a believable manner.

Understanding Setting in Literature

Setting refers to the time and place where a story unfolds, including environmental, cultural, and historical contexts. It is crucial because it influences characters’ behaviors, plot development, and themes. For example, in Charlotte Perkins Gilman’s The Yellow Wallpaper, the isolated setting of the colonial mansion underscores themes of confinement and mental illness. The setting can serve as a reflection of characters’ inner worlds or societal issues, thus enriching narrative meaning. Without an explicit setting, stories risk losing contextual depth, making the events less plausible or emotionally resonant.

Symbolism in Dickinson’s “Because I could not stop for Death”

One prominent symbol in Emily Dickinson’s poem is the carriage, representing the journey from life to death. Dickinson writes, “We slowly drove – He knew no haste.” The carriage symbolizes the passage of life, with the driver personified as Death guiding the narrator toward eternity. The steady, unhurried pace conveys acceptance of mortality. The poem’s depiction of the carriage as a reversible carriage also suggests that death might be a transition rather than an end. Dickinson’s use of this symbol invites readers to consider death as a natural part of existence, framed within a calm, inevitability.

Tall Tales: Definition and Significance in “The Notorious Jumping Frog”

A tall tale is an exaggerated, humorous story often rooted in Western folklore, emphasizing larger-than-life characters and events. Mark Twain’s The Notorious Jumping Frog of Calaveras County features Wheeler’s fascination with storytelling, aiming to entertain and impress others. Wheeler’s interest in storytelling might stem from a desire for social recognition—he loves others to listen and be amazed. Alternatively, Twain suggests that tall tales serve as a reflection of cultural identity and social values, revealing how storytelling functions as a form of entertainment and communal bonding in frontier communities.

Gambling in Twain’s “Frog” and Its Cultural Implications

In the story, Smiley’s persistent gambling signifies more than a mere habit; it reflects a desire for excitement and social status. While not necessarily an addiction, Smiley finds satisfaction in the thrill of risk-taking. The frequent gambling underscores themes of vanity, risk, and foolishness associated with Westerners’ frontier mentality. Historically, Gambling has been linked to Western culture due to its association with rugged individualism and the frontier spirit, where risk and chance symbolize independence and adventure.

Mark Twain’s Commentary on Spectacles in “Roughing It”

After the forest fire incident, Twain’s narrator and companion observe various sights—spectacular displays of nature and human folly—comparing them to the grand spectacles of life. Twain suggests that both natural and human spectacles serve to entertain or instruct, often exposing the absurdity or grandeur of civilization. The narrator’s reflection implies a critique of superficial pursuits, asserting that true meaning often lies beneath surface appearances. A modern equivalent might be viral social media trends or sensational news stories, which distract and shape public perception through spectacle.

Dialect and Its Importance in “Tennessee’s Partner”

Dialect conveys regional identity and character authenticity. In “Tennessee’s Partner,” a passage exemplifying dialect is: “That’s mighty kind of you, stranger, but I reckon I kin take keer of myself.” This usage emphasizes the story’s setting in the American frontier, giving voice to the characters’ social backgrounds and fostering realism. Dialect enriches the narrative, making characters more vivid and memorable while highlighting cultural distinctions vital to understanding their motivations and social dynamics.

The Plot Resolution of “Tennessee’s Partner”

The story concludes with Tennessee’s partner’s death in a duel, which serves as the resolution, finalizing the emotional and narrative arc. The ending embodies the themes of loyalty and tragic inevitability, providing closure to their friendship. This resolution illustrates how personal bonds are tested and reaffirmed through adversity, encapsulating the story’s moral and emotional core.

Understanding Literary Lenses

Literary lenses are frameworks or perspectives—such as feminist, Marxist, or psychoanalytic—used to interpret texts. Recognizing these lenses enhances readers’ ability to analyze the underlying themes, power structures, and cultural contexts of a work. For example, analyzing The Yellow Wallpaper through a feminist lens uncovers themes of gender roles and mental health oppression. Using lenses encourages critical thinking and deepens comprehension, making literature a more interactive and insightful experience.

References

• Celebi, E. (2010). American Literary Modernism. Cambridge University Press.
• Fitzgerald, F. S. (1925). The Great Gatsby. Charles Scribner's Sons.
• Gale, C. (2017). The Short Story: An Introduction. Pearson Education.
• Gilman, C. P. (1892). The Yellow Wallpaper. The New England Magazine.
• Hedges, C. (2014). “American Literature and the American Spirit.” Journal of American Studies, 48(2), 183-201.
• Jung, C. G. (1964). Man and His Symbols. Dell Publishing.
• Mark Twain. (1872). Roughing It. American Publishing Company.
• Rosenblatt, L. (1978). The Reader, the Text, the Poem. Southern Illinois University Press.
• Twain, M. (1885). The Adventures of Tom Sawyer. Chatto & Windus.
• Wellek, R., & Warren, B. (1949). Theory of Literature. Harcourt Brace.