EMAIL<\/a> | SYLLABUS<\/a> | POLICIES<\/a> | QUESTIONS<\/a> | PRESENTATIONS<\/a> | JOURNALS<\/a> | PAPER<\/a> | FINAL<\/a><\/strong><\/p>\n\n\n\n Assigned: W.E.B. Du Bois. \u201cCriteria of Negro Art\u201d (870-77 in Leitch, Vincent B. and William E. Cain, eds. The Norton Anthology of Theory and Criticism.<\/em> 2nd ed. New York: Norton, 2010. ISBN 978-0-393-93292-8.)<\/p>\n\n\n\n 1. On 870-71 of \u201cCriteria of Negro Art,\u201d how does Du Bois set forth what he implies are the divergent experiences and views of white and black Americans, respectively?<\/p>\n\n\n\n 2. On 872-73 of \u201cCriteria of Negro Art,\u201d Du Bois addresses the proper material of African-American art. What is that material, and why does the word \u201cromance\u201d seem appropriate to him as a descriptive term for such material? What main example does he provide?<\/p>\n\n\n\n 3. On 873-74 of \u201cCriteria of Negro Art,\u201d Du Bois criticizes the assimilationist (my term) tendency that he finds in certain black artists of his time. What does the term \u201cassimilationism\u201d mean as we use it today? What corrosive effects does Du Bois attribute to this approach, and how does it avoid recognition of what DuBois, in The Souls of Black Folk<\/em> (published in 1903), had called the key issue of the 20th Century: \u201cthe color line\u201d?<\/p>\n\n\n\n 4. On 874-75 of \u201cCriteria of Negro Art,\u201d Du Bois parses what white people in the 1920s apparently want from any engagement with art created by black people. What kinds of representations do they want, and what kinds will they either discourage or censor?<\/p>\n\n\n\n 5. On 875-77 of \u201cCriteria of Negro Art,\u201d Du Bois offers a peroration that focuses on the deep value of art and literature to the spiritual aspirations and material development of African-Americans. How does he characterize that value? In doing so, how does he also reject the formalist notion that art is simply a confined sort of aesthetic appreciation, or for that matter the common notion that the arts amount to little more than entertainment?<\/p>\n","protected":false},"excerpt":{"rendered":" W. E. B. DU BOIS QUESTIONS FOR E492 MODERN CRITICAL THEORYCSU FULLERTON, FALL 2015 Assigned: W.E.B. Du Bois. \u201cCriteria of Negro Art\u201d (870-77 in Leitch, Vincent B. and William E. Cain, eds. The Norton Anthology of Theory and Criticism. 2nd ed. New York: Norton, 2010. ISBN 978-0-393-93292-8.) \u201cCRITERIA OF NEGRO ART\u201d 1. On 870-71 of […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_eb_attr":"","footnotes":""},"wf_page_folders":[47],"class_list":["post-937","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/937","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/comments?post=937"}],"version-history":[{"count":2,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/937\/revisions"}],"predecessor-version":[{"id":5162,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/pages\/937\/revisions\/5162"}],"wp:attachment":[{"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/media?parent=937"}],"wp:term":[{"taxonomy":"wf_page_folders","embeddable":true,"href":"https:\/\/www.ajdrake.com\/academic\/wp-json\/wp\/v2\/wf_page_folders?post=937"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\u201cCRITERIA OF NEGRO ART\u201d<\/strong><\/h2>\n\n\n\n