Calendar and evaluation

Diana V. Almeida

modernistlit.flul@gmail.com

“Trees are poems the earth writes upon the sky, We fell them down and turn them into paper,  / That we may record our emptiness.”
                Khalil Gibran (1883-1931)

Calendar and evaluation

September

20

Who we are and what we’re going to do throughout the semester — syllabus, calendar, evaluation proposal, and working strategies (blog)

22

How war shapes the first half of the 20th century worldview

Carl Sandburg (1878-1967

“Grass”. Collective analysis and individual written comment

https://www.poetryfoundation.org/poems/45034/grass-56d2245e2201c

http://modernistlitflul.blogspot.pt/2016/09/history20th-c-world-wars.html

Writing a text analysis

27

The role of literature and the arts in contemporary politics

Martha C. Nussbaum (1947-)

“Cultivating Imagination: Literature and the Arts”, Not for Profit: Why Democracy Needs the Humanities. New Jersey: Princeton University Press, 2010, 95-120.

http://modernistlitflul.blogspot.pt/2012/09/martha-nuusbaum.html

http://modernistlitflul.blogspot.pt/2012/09/martha-nussbaum-2.html

29

The emergence of the woman artist in the patriarchal context

Willa Cather (1873-1943)

http://modernistlitflul.blogspot.pt/2012/09/willa-cather.html

“Flavia and her Artists”

http://www.online-literature.com/willa-cather/1588/

Gilbert, Sandra M., Susan Gubar. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. “The Queen's Looking Glass: Female Creativity, Male Images of Women, and the Metaphor of Literary Paternity."

http://modernistlitflul.blogspot.pt/2016/09/the-madwoman-in-attic.html

http://modernistlitflul.blogspot.pt/2016/09/topicsinfeminism.html

http://modernistlitflul.blogspot.pt/2016/09/misogyny-and-racism1900-1945-and-beyond.html

October

4

Daily landscape and the search for transcendence

Robert Frost (1874-1963)

http://modernistlitflul.blogspot.pt/2012/09/robert-frost.html

“The Pasture”

http://www.poets.org/viewmedia.php/prmMID/22272

“The Road Not Taken”

http://www.poets.org/viewmedia.php/prmMID/15717

“Stopping by the Woods on a Snowy Evening”

https://www.poetryfoundation.org/poems-and-poets/poems/detail/42891

“Mending Wall”

http://www.poets.org/viewmedia.php/prmMID/15719

“Nothing Gold Can Stay”

http://www.poets.org/viewmedia.php/prmMID/19977

Intervention Maria Inês Almeida (MA student, English Dept. FLUL)

6

Modernist poetry in context

Howarth, P. “Why Write like This?” The Cambridge Introduction to Modernist Poetry. Cambridge: Cambridge UP, 2011. 1-32.

11

Integrating the literary heritage in a meaningless world

T.S. Eliot (1888-1965)

http://modernistlitflul.blogspot.pt/2012/09/tseliot.html

“Tradition and the Individual Talent”

http://www.bartleby.com/200/sw4.html

“The Waste Land”

http://www.bartleby.com/201/1.html

13

“The Waste Land”

18

Working towards concision in the Eastern pathway

Ezra Pound (1885-1972)

http://modernistlitflul.blogspot.pt/2012/09/ezra-pound.html

“A Few Don’ts by an Imagist”

http://www.poetryfoundation.org/poetrymagazine/article/335

“In a Station of the Metro”

http://www.poets.org/viewmedia.php/prmMID/15421

“The River-Merchant’s Wife: A Letter”

http://www.poets.org/viewmedia.php/prmMID/15425

“A Pact”

http://www.poemhunter.com/poem/a-pact/

“Statement of Being”

http://www.poemhunter.com/poem/statement-of-being/

“And the Days Are Not Full Enough”

http://www.poemhunter.com/poem/and-the-days-are-not-full-enough/

 “Further Instructions”

http://www.bartleby.com/265/293.html

“A Girl”

 http://www.poemhunter.com/poem/a-girl/

20

Revising the Classical Myths from a female perspective

H. D. (1886-1961)

http://modernistlitflul.blogspot.pt/2012/09/hd.html

“Helen”

https://www.poets.org/poetsorg/poem/helen

“Leda”

http://www.poetryfoundation.org/poem/177449

“Eurydice”

http://www.poetryfoundation.org/poem/182485

“Orchard”

http://www.poets.org/viewmedia.php/prmMID/22581

“Oread”

 http://www.poets.org/viewmedia.php/prmMID/21295

“Song”

http://www.poemhunter.com/poem/song-201/

25

From a New England debutante to a queer poet

Amy Lowell (1874-1925)

http://modernistlitflul.blogspot.pt/2012/09/amy-lowell.html

“The Poet’s Trade”

http://www.poets.org/viewmedia.php/prmMID/16037

“The Sisters”

https://www.poetrynook.com/poem/sisters-3

“A Lover”

http://www.poemhunter.com/poem/a-lover-4/

“The Bath”

https://www.poetryfoundation.org/poems-and-poets/poems/detail/42993

“Penumbra”

https://www.poetryfoundation.org/poems-and-poets/poems/detail/42989

27

The craft of rewriting and recontextualization

Marianne Moore (1887-1972)

http://modernistlitflul.blogspot.pt/2012/09/marianne-moore.html

“Poetry”

http://www.poemhunter.com/poem/poetry/

“Silence”

https://www.poets.org/poetsorg/poem/silence-2

“Soujourn in the Whale”

https://www.poets.org/poetsorg/poem/sojourn-whale

“To a Steam Roller”

https://www.poets.org/poetsorg/poem/steam-roller

“Black Earth”

https://www.poetryfoundation.org/poems-and-poets/poems/detail/51565

“Roses Only”

http://www.poemhunter.com/poem/roses-only/

November

3

The philosopher poet

Wallace Stevens

http://modernistlitflul.blogspot.pt/2016/09/wallace-stevens.html

“The House Was Quiet and The World Was Calm”

https://www.poetryfoundation.org/poems-and-poets/poems/detail/57607

“The Idea of Order at Key West”

https://www.poetryfoundation.org/poems-and-poets/poems/detail/43431

“The Poem that Took the Place of a Mountain”

https://www.poetryfoundation.org/poems-and-poets/poems/detail/57500

“Not Ideas About the Thing but the Thing Itself”

https://www.poetryfoundation.org/poems-and-poets/poems/detail/52143

Intervention Jeffrey Childs (Professor at Universidade Aberta)

8

Celebrating the commonplace

William Carlos Williams (1883-1963)

http://modernistlitflul.blogspot.pt/2012/09/william-carlos-william.html

“This Is Just to Say”

https://www.poets.org/poetsorg/poem/just-say

“The Red Wheelbarrow”

 https://www.poets.org/poetsorg/poem/red-wheelbarrow

“To a Poor Old Woman”

https://www.poetryfoundation.org/poems/51653/to-a-poor-old-woman#poem

“A Sort of Song”

http://www.poemhunter.com/poem/a-sort-of-a-song/

“A Love Song”

http://www.poets.org/viewmedia.php/prmMID/19911

“The Young Housewife”

https://www.poemhunter.com/poem/the-young-housewife/

Turn in your essay

10

Dialogues between US modernist poetry and the visual arts

“Sea Poppies”, H.D.

 http://www.poetryfoundation.org/poem/177768

“Sea Rose”, H.D.

http://www.poets.org/viewmedia.php/prmMID/22957

and

Georgia O’Keeffe (1887-1986)

https://modernistlitflul.blogspot.pt/2016/10/georgia-okeeffe.html

Imogen Cunningham (1883-1976)

https://modernistlitflul.blogspot.pt/2016/10/imogen-cunningham-1883-1976.html

“Madonna of the Evening Flowers”, Amy Lowell

https://www.poemhunter.com/poem/madonna-of-the-evening-flowers/

and

Our Lady (1999), Alma Lopez (contemporary Chicano artist)

http://www.sfreporter.com/santafe/article-7526-shame-as-it-ever-was.html

http://www.almalopez.net/

Ekphrasis

“Venus Transiens”, Amy Lowell

http://www.poetryfoundation.org/poetrymagazine/poem/2286

 The Birth of Venus (1482-85), Sandro Botticelli (1445-1510)

http://www.uffizi.org/artworks/the-birth-of-venus-by-sandro-botticelli/

“Landscape with the Fall of Icarus”, William Carlos Williams

http://www.poets.org/viewmedia.php/prmMID/15828

http://www.english.illinois.edu/maps//poets/s_z/williams/icarus.htm

Landscape with the Fall of Icarus (nd), Pieter Bruegel the Elder (c. 1525-1569)

https://www.google.com/culturalinstitute/beta/exhibit/MgIyXpmuNdcLJg

“The Great Figure”, William Carlos Williams

http://www.poets.org/viewmedia.php/prmMID/19475

http://www.english.illinois.edu/MAPS/poets/s_z/williams/figure.htm

I Saw the Figure Five in Gold (1928), Charles Demuth (1883-1935)

https://www.khanacademy.org/humanities/art-1010/art-between-wars/american-art-wwii/a/charles-demuth-i-saw-the-figure-5-in-gold

15

Writing the tip of the iceberg

Ernest Hemingway (1899-1961)

http://modernistlitflul.blogspot.pt/2012/09/ernest-hemingway.html

“Hills Like White Elephants”

http://faculty.weber.edu/jyoung/English%202500/Readings%20for%20English%202500/Hills%20Like%20White%20Elephants.pdf

17

The Harlem Renaissance

http://www.history.com/topics/black-history/harlem-renaissance

Alain Locke (1886-1954)

“The New Negro”

http://nationalhumanitiescenter.org/pds/maai3/migrations/text8/lockenewnegro.pdf

Zora Neale Hurston (1891-1960)

http://modernistlitflul.blogspot.pt/2012/09/zora-neale-hurston.html

“How It Feels to Be Colored Me”

http://grammar.about.com/od/60essays/a/theireyesessay.htm

Jacob Lawrence (1917-2000)

Migration Series

http://modernistlitflul.blogspot.pt/2016/11/jacob-lawrencemigration-series.html

22

Democratic poetry for black liberation

Langston Hughes (1902-1967)

http://modernistlitflul.blogspot.pt/2012/09/langston-hughes.html

“I, Too”

https://www.poets.org/poetsorg/poem/i-too

“Let America Be America Again”

http://www.poets.org/viewmedia.php/prmMID/15609

“The Negro Speaks of Rivers”

https://www.poets.org/poetsorg/poem/negro-speaks-rivers

“Madam and her Madam”

https://www.poets.org/poetsorg/poem/madam-and-her-madam

“Po’ Boy Blues”

http://www.poets.org/viewmedia.php/prmMID/15608

“Life Is Fine”

http://www.poets.org/viewmedia.php/prmMID/15611

“Will V-Day Be Me-Day Too?”

http://www.poets.org/viewmedia.php/prmMID/16422

“Advertisement for the Waldorf Astoria”

http://www.poemhunter.com/poem/advertisement-for-the-waldorf-astoria/

“Democracy”

http://www.poemhunter.com/poem/democracy/

24

Fictional autobiography and the quest for a voice

Zora Neale Hurston (1891-1960)

Their Eyes Were Watching God

29

Their Eyes Were Watching God

December

6

White Southern writers and the race question

William Faulkner (1897-1962)

http://modernistlitflul.blogspot.pt/2012/09/william-faulkner.html

“That Evening Sun Go Down”

http://xroads.virginia.edu/~ma01/white/anthology/faulkner.html

13

Lyrical short story and dialogue with the male canon. Photographic practice and fiction writing

Eudora Welty (1909-2001)

http://modernistlitflul.blogspot.pt/2012/09/eudora-welty.html

The Golden Apples, “June Recital”

15

“June Recital”

20

Creative writing inspired by verses of modernist poetry

Turn in — Your list of posts in our blog (print)

January

Test

Evaluation

Presences – 5%

Participation and written exercises – 15%

Oral presentation – 20%

Essay – 30%

Written test – 30%

1. Presences

Counted on every class. Working students will automatically have half of the presences. During classes, your PC and mobile phone should be used only for research related to our course and when I explicitly ask you to do so — don’t let a screen shut you off from your surroundings!

2. Participation

During classes, please share your reading competencies with our community, discussing the verbal and visual texts included in the corpus. Use our blog to post any material you consider useful for enlarging our perspectives on these texts; you will have personalized feedback on all your posts.

Blog ­— modernistlitflul.blogspot.pt

Access by the email — modernistlit.flul1@gmail.com, using the password faculdadeletras [log into the email and open another window on the address www.blogger.com and you will have immediate access to the blog]

In the last class, please bring a list of your posts to be considered for evaluation.

3. Oral presentation

Groups of 3 students have to choose one of the literary texts included in our calendar, research on it, post 3 topics for reflection on the blog (at least a week before your presentation date) and prepare a 10-minute oral presentation for the class.

You must select your author till September 29

Send me an email for modernistlit.flul@gmail.com [note that this is a different email from the students’ address], including in Cc all the students that belong to your group [follow this procedure for all emails] AND talk to me in class to schedule your presentation.

All groups must have (at least) one meeting with me before the presentation.

4. Essay

Choose another author (not the same you have picked for the group work) and turn in an essay on one of his texts. The essay must have at most 5 pages (using the ‘normal’ Word margins), in Times New Roman 12, 1 space and a half. You must turn it in printed no later than November 8.

Read “How to Write a Literary Analysis Essay” (available in the ‘Red Photocopies’ along with all other bibliography) and consult the Style Sheet at https://modernistlitflul.blogspot.pt/2012/09/style-sheet.html

If you decide to write your essay in English, consider going to WILL Lab (Writing, Innovation, Learning & Language Laboratory) and having a one-to-one session with one of your peer tutors. Room 1.23, Wednesday, Thursday and Friday, from2 to 4 pm.

For a meeting, send an mail to — WillLab_UL@letras.ulisboa.pt

5. Written test

You may use your notes.

    January — 2h (with an extra half hour)

Please turn in / present your work at the set dates, or they won’t be accepted and will count as a zero in the above-presented formula to calculate your final mark.

* Let us enjoy and learn with each other throughout the semester *

Programa_Syllabus

1.Nome da unidade curricular

Literatura dos EUA (1900-1945) / US Literature (1900-1945)

2.Ciclo de estudos

1.º / 1st

3.Docente responsável e respectivas horas de contacto na unidade curricular

Diana Vieira de Campos Almeida

45h TP + 15h O

4.Outros docentes e respectivas horas de contacto na unidade curricular

NA

5.Objectivos de aprendizagem

Reconhecer a importância da produção artística como repositório cultural e identitário.

Compreender os contextos culturais e a produção literária e artística, nos E.U.A. e nas comunidades expatriadas, durante o período modernista.

Aprofundar competências de leitura e escrita analítica.

Desenvolver uma imaginação empática.

5.Learning outcomes of the curricular unit

To recognize the importance of artistic production as a repository of culture and identities.

To understand the cultural contexts and the literary and artistic production, in the US and in the expatriate communities, during the modernist period.

To expand reading and analytical competences.

To develop an empathic imagination.

6.Conteúdos programáticos

I O papel das humanidades na sociedade

II Literatura dos EUA 1900-1945

1. Emergência da mulher artista: Willa Cather

2. A natureza como espelho: Robert Frost

3. A comunidade dos expatriados: T.S. Eliot. Ezra Pound. H. D.

4. Voz poética e experiência quotidiana: Amy Lowell. Marianne Moore. Wallace Stevens. William Carlos Williams

5. Harlem Renaissance: Langston Hughes. Zora Neale Hurston

5. Lost Generation: Ernest Hemingway

7. Perspetivas sulistas: William Faulkner. Eudora Welty

6.Syllabus

I. The role of the humanities in society

II. US Literature 1900-1945

1. The emergence of the woman artist: Willa Cather

2. Nature as a mirror: Robert Frost

3. The expatriate community: T.S. Eliot. Ezra Pound. H. D.

4. Poetic voice and daily experience: Marianne Moore. Wallace Stevens. William Carlos Williams 

5. Harlem Renaissance: Langston Hughes. Zora Neale Hurston

5. Lost Generation: Ernest Hemingway

7. Southern perspectives: William Faulkner. Eudora Welty

7.Demonstração da coerência dos conteúdos programáticos com os objectivos de aprendizagem da unidade curricular

Começamos por refletir no papel das humanidades como repositório de valores culturais axiomáticos para compreender a especificidade dos contextos históricos. Os textos são, pois, lidos numa dinâmica que procura clarificar paradigmas culturais mais vastos.

A abordagem diacrónica permite rever tendências e compreender a emergência do “novo” apregoado pelas vanguardas modernistas. O corpus (incluindo poesia, conto, romance e ensaio) é representativo da produção estético-literária de autores estado-unidenses e ilustra as férteis tensões das comunidades em diáspora pela Europa. A proliferação de pequenas publicações é associada ao fervor criativo deste período e à emergência de novas vozes oriundas de comunidades excluídas (por motivos raciais, geográficos ou de género). Os alunos constroem, pois, uma visão abrangente da diversidade artístico-cultural deste período.

São estimuladas competências de leitura analítica e criativa, através do “close reading" e do diálogo intersemiótico com materiais diversificados.

7.Demonstration of the syllabus coherence with the curricular unit's objectives

We start by reflecting on the role of the humanities as repositories of cultural values axiomatic to understand the specificity of historical contexts. Texts will be seen as dynamic blueprints that clarify larger cultural paradigms.

The diachronic approach allows us to revise trends and to understand the emergence of the “new” proclaimed by the modernist vanguards. The corpus (including poetry, short story, novel, and essay) is representative of the literary and aesthetic production of US authors and illustrates the productive tensions of the diasporic communities in Europe. The emergence of the “small press” is related to the creative furor of the period and to the emergence of new voices from marginalized communities (for racial, geographic, and gender reasons). Students build, thus, an encompassing vision of the cultural and artistic diversity of the period.

Analytical and creative reading competencies are stimulated, through “close reading” and through the intersemiotic dialogue with diverse materials.

8.Metodologias de ensino

São usados diversos métodos para contextualizar os textos/movimentos literários do programa: desde material disponível na internet (ex. blogue da cadeira, modernistlitflul.blogspot.pt, um fórum de discussão participativa, com recursos bibliográficos diferenciados, incluindo entradas para cada um dos autores estudados), até aulas expositivas (com suporte audiovisual) e de discussão dos textos constantes na bibliografia. As metodologias na sala de aula são diversificadas, incluindo trabalhos de grupo, comentário de texto individual, “tempestades cerebrais”, debates, apresentações de trabalhos. Os critérios de avaliação são os seguintes: Presenças – 5%; Participação e exercícios escritos – 15%; Projeto de pesquisa e apresentação oral – 30%; Análise de texto – 20%; Teste escrito – 30%. O projeto de pesquisa é acompanhado em regime de tutoria.

8.Teaching methodologies

We use several methods to contextualize the literary texts/movements in the syllabus:  from Internet material (ex. our blog, modernistlitflul.blogspot.pt, a participatory discussion forum, with diversified bibliographical resources, including entries for each of the authors under study), to expository classes (with audiovisual resources) and others where we discuss the texts included in the bibliography. Class methodologies are diversified, including group work, individual text analysis, brainstorming, debates, work presentations. The evaluation criteria are the following: Attendance – 5%; Participation and written exercises – 15%; Research project and oral presentation – 30%; Text analysis – 20%; Written exam – 30%. The research project is monitored in tutorial meetings.

9.Demonstração da coerência das metodologias de ensino com os objectivos de aprendizagem da unidade curricular

Pretende-se que os alunos desenvolvam uma leitura crítica e imaginativa do mundo, pelo que são incentivados a refletir sobre os materiais estudados numa perspetiva abrangente, considerando os textos literários no contexto histórico, cultural e político. As aulas são calendarizadas e os alunos acompanham a discussão com pesquisa prévia.  As aulas expositivas consolidam a informação da nossa bibliografia relevante e diversificada — ex. antologias recentes sobre modernismo; recursos disponíveis online, indicados no blogue da cadeira (modernistlitflul.blogspot.pt), como os sites da Poetry Foundation (poetryfoundation.org), da Poets Organization (poets.org), da Modern American Poetry (english.illinois.edu/maps/index.htm) com textos críticos sobre muitos dos autores considerados e de “Voices and Visions” (learner.org/catalog/extras/vvspot/index.html) que disponibiliza uma série de vídeos sobre os autores estudados. Os alunos são incentivados a questionar e a discutir os textos analisados em aula e o seu conhecimento e experiência são valorizados na construção do saber.

Realça-se a metodologia do “close reading”, especialmente produtiva com textos poéticos (maioritários no programa), e a prática do diálogo intersemiótico — a leitura de textos verbais como teia de referências culturais que aponta para outros textos verbais e visuais. Estas competências são desenvolvidas ao longo do semestre, para permitir que os alunos elaborem o seu projeto de investigação — escolher um texto literário de um dos autores estado-unidenses estudados; relacioná-lo com um texto visual; preparar uma apresentação oral e uma discussão na aula. Para mais, os alunos usam o blogue para dar a ver o seu work in progress e comentar o trabalho dos colegas, numa construção colaborativa do saber. Por outro lado, os alunos têm oportunidade de: analisar um texto teórico fora da aula (enunciado disponibilizado 15 dias antes da data de entrega); ouvir trabalhos dos colegas lidos na sala de aula; confrontar o seu texto com uma resposta modelo disponibilizada no blogue da cadeira. As produções verbais dos alunos recebem feedback a nível sintático, ortográfico, semântico e estrutural (coesão e coerência, sequencialização informacional). O teste escrito de consulta inclui o comentário de um dos excertos estudados na aula e a análise da obra de um dos escritores estudados ao longo do semestre.

Espera-se, pois, que os alunos entendam a base cultural da produção literária e a evolução do panorama estético estado-unidense, desde 1900 até 1945, e consigam propor a leitura de um objeto artístico situando-o no seu contexto de produção. Para mais, os alunos são encorajados a fortalecer as suas faculdades críticas e imaginativas para compreenderem intervenções estéticas diversificadas e poderem fruir a literatura e arte contemporâneas de modo esclarecido e criativo.

9.Demonstration of the coherence between the teaching methodologies and the learning outcomes

Students are expected to further their ability to read the world critically and creatively, so they are invited to reflect on our objects of inquiry in an encompassing perspective, situating them in context (artistic, cultural, political). Students engage in discussion after having done some research themselves, and read the text assigned to each class. Expository classes consolidate the information of our relevant and diversified bibliography — ex. recent anthologies about modernism (vide bibliography); online resources referred to in our blog (modernistlitflul.blogspot.pt), such as the following sites: Poetry Foundation (poetryfoundation.org); Poets Organization (poets.org), Modern American Poetry (english.illinois.edu/maps/index.htm) with critical texts about several of the writers considered, and “Voices and Visions” (learner.org/catalog/extras/vvspot/index.html) with a series of videos on some of our authors. Students are expected to question and to discuss the texts studied in class and their knowledge and experience are integrated into the learning process.

I wish to emphasize the “close reading” methodology, especially productive with poetic texts (the majority of the syllabus) and the intersemiotic dialogue practice — reading verbal texts as a network of cultural references, pointing towards other verbal and visual texts. These competencies are fostered throughout the semester to support students to develop their research project — to choose a work by one of the US writers studied and relate it to a visual text, preparing an oral presentation and a discussion in class. Furthermore, students use the blog to show their work in progress and to comment on their colleagues’ works, building collaborative knowledge. Students also have the opportunity to analyze a theoretical text at home (the text will be assigned 15 days before the comment is due), to listen to some of their colleagues’ essays read in class, and to compare their own texts with a model answer posted in our blog. I provide syntactic, orthographic, semantic, and structural feedback (cohesion, coherence, informational sequentialization) on the students’ written production. The open-book test includes the comment of one of the texts studied in class and the analysis of a representative work by one of the writers studied during the semester.

Thus, students should end the semester able to: understand the cultural basis of literary production and the evolution of the US artistic scene, from 1900 to 1945; read an artistic object situating it in its production context. Moreover, students are encouraged to strengthen their critical and imaginative faculties in order to understand diversified aesthetic interventions and to enjoy contemporary literature and arts in an informed and creative manner.

10.Bibliografia

Bayam, Nina (Ed.). The Norton Anthology of American Literature: 1865 to Present. New York: Norton, 2009.

Butler, C. Modernism. A Very Short Introduction. Oxford: Oxford UP, 2010.

Howarth, P. The Cambridge Introduction to Modernist Poetry. Cambridge: Cambridge UP, 2011.

Davis, A. (Ed.). The Cambridge Companion to Modernist Poetry. Cambridge: Cambridge UP, 2007.

Lewis, David. The Portable Harlem Renaissance Reader. New York: Penguin, 1995.

Linett Maren Tova (Ed.) The Cambridge Companion to Modernist Women Writers. Cambridge: Cambridge UP, 2010.

Nussbaum, Martha C. Not for Profit: Why Democracy Needs the Humanities. New Jersey: Princeton University Press, 2010.

Ross, Stephen (Ed.). Modernism and Theory: A Critical Debate. New York: Routledge, 2009.

                                                                                                                    

All literary texts, except the novel Their Eyes Were Watching God (Hurston) and the short story cycle The Golden Apples (Welty),  are available online.

Further research material at

http://modernistlitflul.blogspot.pt/search/label/Bibliografia

Style Sheet

Identification of the article and author:

Title: Times New Roman; uppercase and lowercase characters; size 12; 1,5 spaces; centred; bold.

Author: 3 spaces (2 x 1,5) below the title; centred.

Affiliation: after the author’s name.

Text and Quotations:

Text: Times New Roman, size 12; 1,5 spaces; justified

Sub-paragraph: avoid using automatic numbering

Parts of the work: avoid using only uppercase characters

Notes: write the note number after the text. Do not separate it from the text with one space

Tabs: Do not indent paragraphs. Use first line indentation. 

Quotations with 4 or more lines: do not use quotation marks; indent to the left, 1,75 cm; set off from the text; size 12; 1 space

Quotations in the text: use quotation marks and, if you use punctuation marks after the quotation, place them after closing the quotation marks

Parenthetical reference in the text: in brackets/parentheses, author’s last name and page number. Separate author’s last name and page number with one space: ex.: (Postman 3-4)
One work by the author of two or more works: place a comma after the author’s last name, add a shortened version of the title of the work, and supply the page number(s): ex.: (Toffler, Future 211)

When using the author’s name in your sentence: place only the page number(s) of the source in parentheses: ex.: (25)

Footnotes: use to supply brief commentary or additional information. Use reference models 5 and 6. 

List of Works Cited:

Works cited: at the end of the document. Paginate this section as a continuation of the text; centred title; Times New Roman; size 12; bold

Order: list entries in alphabetical order according to the last name of the author

If you are listing more than one work by the same author, alphabetize the Works according to the title. Instead of repeating the author’s name, type three hyphens.

Books:

When citing a book, provide the following information: Author’s last name, first name. Book Title. Additional information. City of publication: Publisher, publication date

Sample Entries:

A book by one author:  
Light, Richard J. Making the Most of College: Students Speak Their Minds. Cambridge: Harvard UP, 2001

An Anthology or Compilation: 
Valdez, Luis, and Stan Steiner, ed(s). Aztlan: An Anthology of Mexican American Literature. New York: Vintage-Knopf, 1972.

A Work in an Anthology: 
Silko, Leslie Marmon. “The Man to Send Rain Clouds.” Imagining America: Stories from the Promised Land. Ed.Wesley Brown and Amy Ling. New York: Persea, 1991. 191-95.

A Translation: 
Giroud, Françoise. Marie Curie: A Life. Trans. Lydia Davis. New York: Holmes, 1986.

A Book with a Title in its Title: 
Habich, Robert D. Transcendentalism and the Western Messenger: A History of the Magazine and Its Contributors, 1835-1841. Rutherford: Fairleight Dickinson UP, 1985.

Articles in Periodicals:

When citing an article in a periodical, provide the following information: Author’s last name, first name. “Article title.” Periodical title Date: inclusive pages

Internet or Web Sources:

When citing information form Internet or World Wide Web sources, provide the following information: Author’s last name, first name. “Article title” or Book title. Publication information for any printed version. Or subject line of forum or discussion group. Indication of online posting or home page. Title of electronic journal. Date of electronic publication. Page numbers or the numbers of paragraphs or sections. Name of institution or organization sponsoring Web site. Date of access to the source 

Note: For other entries not mentioned above, please consult:
Trimmer, Joseph F. A Guide to MLA Documentation. Boston & New York: Houghton Mifflin Company, 2004.