Consider the following general suggestions for planning and creating writing assignments that work well: Writing assignments can be developed for different purposes: Writing to Learn Whether considering writing in the classroom for a writing course, a First Year Seminar, or a content-area course, it is important to understand how course content can actually be understood and secured through writing to learn. In this mode, students write in order to discover, examine, and test their ideas about reading assignments, class discussions, lectures, and essay topics.
Regionalism and Local Color Bibliography Definitions Local color or regional literature is fiction and poetry that focuses on the characters, dialect, customs, topography, and other features particular to a specific region.
Influenced by Southwestern and Down East humor, between the Civil War and the end of the nineteenth century this mode of writing became dominant in American literature. According to the Oxford Companion to American Literature, "In local-color literature one finds the dual influence of romanticism and realism, since the author frequently looks away from ordinary life to distant lands, strange customs, or exotic scenes, but retains through minute detail a sense of fidelity and accuracy of description" Its weaknesses may include nostalgia or sentimentality.
Its customary form is the sketch or short story, although Hamlin Garland argued for the novel of local color. Regional literature incorporates the broader concept of sectional differences, although in Writing Out of Place, Judith Fetterley and Marjorie Pryse have argued convincingly that the distinguishing characteristic that separates "local color" writers from "regional" writers is instead the exploitation of and condescension toward their subjects that the local local color writing assignment writers demonstrate.
One definition of the difference between realism and local color is Eric Sundquist's: According to Brodhead, "regionalism's representation of vernacular cultures as enclaves of tradition insulated from larger cultural contact is palpably a fiction.
Kaplan adds that local color's "urban middle-class readership. In chronicling the nation's stories about its regions and mythical origins, local color fiction through its presence--and, later, its absence--contributed to the narrative of unified nationhood that late nineteenth-century America sought to construct.
More recently, Bill Brown and Brad Evans have called attention to the nature of the aesthetic experience through material culture that regionalism offers. What ideas are embedded in things? How does the narrator gain access to them?
What sort of staging is involved in this object-based epistemology? How does Jewett's fiction dramatize the work involved in determining the value of material objects not in culture but for culture, for an apprehension of culture?
Writing about Howells's The Coast of Bohemia in Before CulturesEvans disputes the "nostalgia" hypothesis for regionalism and contends that "what one sees in local-color fiction of the s is not at all the assertion of integrated stasis and purity that one might imagine for it--a last gasp, as it were, for a preindustrial past--but the assertion by artists, publishing houses, and perhaps even readers, of a rather hip participation in the dislocating, tangled complexity of the chic.
Indeed, by the late s, the status of local color had shifted increasingly toward the aesthetic, just as the objects collected by anthropologists became poised to fuel modernist primitivism" A variation of this genre is the "plantation tradition" fiction of Thomas Nelson Page and others.
Much current criticism now reads both 19th- and 20th-century regionalism as always global and cosmopolitan, intricately enmeshed in circuits of trade and diverse cultures in ways that belie its pretense at being "merely" local in conception and subject matter.
In addition, many critics now focus on "critical regionalism," a term derived from architecture and associated with Neil Campbell's book The Rhizomatic West The concept of critical regionalism imagines political life in the present--it thinks about issues of place, bodies in place, and knowledges derived not only via textuality and discourse, but from place as a critical location, an orientation, and a material structure.
Critical regionalism therefore is not a synonym for transnational analysis but a method of critical or global study attuned both the comparative big picture analyses and linked to the deep local. The emphasis is frequently on nature and the limitations it imposes; settings are frequently remote and inaccessible.
The setting is integral to the story and may sometimes become a character in itself. Local color stories tend to be concerned with the character of the district or region rather than with the individual: The characters are marked by their adherence to the old ways, by dialect, and by particular personality traits central to the region.
In women's local color fiction, the heroines are often unmarried women or young girls. The narrator is typically an educated observer from the world beyond who learns something from the characters while preserving a sometimes sympathetic, sometimes ironic distance from them.
The narrator serves as mediator between the rural folk of the tale and the urban audience to whom the tale is directed. It has been said that "nothing happens" in local color stories by women authors, and often very little does happen.
Stories may include lots of storytelling and revolve around the community and its rituals. Many local color stories share an antipathy to change and a certain degree of nostalgia for an always-past golden age. A celebration of community and acceptance in the face of adversity characterizes women's local color fiction.
Thematic tension or conflict between urban ways and old-fashioned rural values is often symbolized by the intrusion of an outsider or interloper who seeks something from the community. In Together by AccidentStephanie C. Palmer identifies the "motif of the travel accident" as characteristic of local color: It must shift the grounds of sociability in the text, so that the traveling character is obliged to rely on locals to a greater and more humiliating degree.The goal for this assignment is to see layers of color.
A blue sky for instance might be painted orange first and then when dry painted blue allowing some of the orange to show through. Or a light blue might be painted over a dark blue.
The Columbia Local School District today announced its program year policy for (free and reduced-price meals or free milk) for students unable to pay the full price of meals or milk served under the National School Lunch and School Breakfast, After School Care Snack or Special Milk Program.
In addition to arranging and including all previous writing assignments in the portfolio you must do three additional pieces of writing: a new fixed form poem of your choice, a new free form poem of your choice, and an essay describing your development and progress as a creative writer.
Local color or regional literature is fiction and poetry that focuses on the characters, dialect, customs, topography, and other features particular to a specific region. Influenced by Southwestern and Down East humor, between the Civil War and the end of the nineteenth century this mode of writing became dominant in American literature.
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