Students A-L
The course is made up of two modules. While the first module deals with some of the main grammar and morpho-syntactic structures of the English language, the second module focuses on the diversity of American culture through short stories and their writers. A selection of American short stories from the nineteenth and twentieth centuries will be read and discussed. Special attention will be given to their formal and rhetorical characteristics as well as their impact and legacy on American history and culture.
Students M-Z
Teaching objectives
The course is made up of two modules. While the first module deals with some of the main grammar and morpho-syntactic structures of the English language, the second module focuses on Afrofuturism, an interdisciplinary cultural movement that rejects a number of clichés that have commonly referred to people of African descent. Upon completion of the course, students will be able to take a critical outlook on the different languages of Afrofuturism: music, visual arts, cinema and especially literature − proto-Afrofuturist fiction such as W.E.B. Du Bois’s short story “The Comet” (1920), George S. Schuyler’s novel Black No More (1931) and more recent examples such as Ralph Ellison’s Invisible Man (1952) and Octavia E. Butler’s Kindred (1979). The emphasis on Afrofuturism, as developed through literary texts, will be instrumental to the connection of this phenomenon to modern social and cultural issues. By promoting active participation in classes, the adopted teaching method envisages the improvement of language skills and the ability to engage in open discussion.
The course is made up of two modules. While the first module deals with some of the main grammar and morpho-syntactic structures of the English language, the second module focuses on the diversity of American culture through short stories and their writers. A selection of American short stories from the nineteenth and twentieth centuries will be read and discussed. Special attention will be given to their formal and rhetorical characteristics as well as their impact and legacy on American history and culture.
Students M-Z
Teaching objectives
The course is made up of two modules. While the first module deals with some of the main grammar and morpho-syntactic structures of the English language, the second module focuses on Afrofuturism, an interdisciplinary cultural movement that rejects a number of clichés that have commonly referred to people of African descent. Upon completion of the course, students will be able to take a critical outlook on the different languages of Afrofuturism: music, visual arts, cinema and especially literature − proto-Afrofuturist fiction such as W.E.B. Du Bois’s short story “The Comet” (1920), George S. Schuyler’s novel Black No More (1931) and more recent examples such as Ralph Ellison’s Invisible Man (1952) and Octavia E. Butler’s Kindred (1979). The emphasis on Afrofuturism, as developed through literary texts, will be instrumental to the connection of this phenomenon to modern social and cultural issues. By promoting active participation in classes, the adopted teaching method envisages the improvement of language skills and the ability to engage in open discussion.
Curriculum
Canali
teacher profile teaching materials
The first module deals with some of the main grammar and morpho-syntactic structures of the English language. The language skills acquired by the students will be assessed at the end of the course through the Prova di esonero.
Second module - American Short Stories
The second module is an introduction to the diversity of American culture through short stories and their writers. At the end of the module, the students will be able to: analyze the chronological and historical development of the American short story through its most representative authors; become familiar with the act of analyzing and interpreting short stories through appropriate theoretical and methodological frameworks, acknowledging alternative interpretations and developing critical thinking; experience how literary and cultural texts can transform one’s perception and understanding of self, other and communities.
Kate Chopin, “Desiree’s Baby” (1893)
Susan Glaspell, “A Jury of Her Peers” (1917)
Joyce Carol Oates, “Where Are You Going, Where Have You Been?” (1966)
Ambrose Bierce, “An Occurrence at Owl Creek Bridge” (1890)
Ralph Ellison, “Battle Royal” (1947)
Alice Walker, “Everyday Use” (1973)
Ray Bradbury, “There Will Come Soft Rains” (1950)
Ernest Hemingway, “The Killers” (1927)
Charlotte Perkins Gilman, “The Yellow Wallpaper” (1892)
James Thurber, “The Secret Life of Walter Mitty” (1939)
Shirley Jackson, “The Lottery” (1948)
Tim O’Brien, “The Things They Carried” (1990)
The short stories listed above may be read in any edition in English.
Fruizione: 21801978 LINGUA, CULTURA E ISTITUZIONI DEI PAESI DI LINGUA INGLESE in Scienze politiche per la cooperazione e lo sviluppo L-36 AL BECCE NICOLANGELO
Programme
First module - Focus on English GrammarThe first module deals with some of the main grammar and morpho-syntactic structures of the English language. The language skills acquired by the students will be assessed at the end of the course through the Prova di esonero.
Second module - American Short Stories
The second module is an introduction to the diversity of American culture through short stories and their writers. At the end of the module, the students will be able to: analyze the chronological and historical development of the American short story through its most representative authors; become familiar with the act of analyzing and interpreting short stories through appropriate theoretical and methodological frameworks, acknowledging alternative interpretations and developing critical thinking; experience how literary and cultural texts can transform one’s perception and understanding of self, other and communities.
Core Documentation
Edgar Allan Poe, “The Tell-Tale Heart” (1843)Kate Chopin, “Desiree’s Baby” (1893)
Susan Glaspell, “A Jury of Her Peers” (1917)
Joyce Carol Oates, “Where Are You Going, Where Have You Been?” (1966)
Ambrose Bierce, “An Occurrence at Owl Creek Bridge” (1890)
Ralph Ellison, “Battle Royal” (1947)
Alice Walker, “Everyday Use” (1973)
Ray Bradbury, “There Will Come Soft Rains” (1950)
Ernest Hemingway, “The Killers” (1927)
Charlotte Perkins Gilman, “The Yellow Wallpaper” (1892)
James Thurber, “The Secret Life of Walter Mitty” (1939)
Shirley Jackson, “The Lottery” (1948)
Tim O’Brien, “The Things They Carried” (1990)
The short stories listed above may be read in any edition in English.
Type of delivery of the course
The teaching method involves lectures supported by PowerPoint presentations and audio-visual material relating to the topics being covered. The course is taught in English but the general level of the class will be taken into consideration.Attendance
Lecture attendance is not compulsory but is strongly recommended.Type of evaluation
The final exam is in written form and it consists of a series of multiple choice and open-ended questions based on the syllabus. Those students who wish to improve the final grade of the Written Exam may take an Oral Exam, the outcome of which may positively or negatively affect the grade of the Written Exam. Please note: for the AY 2019/2020 Summer and Autumn Exam Sessions, the assessment will be based on online oral exams. teacher profile teaching materials
The first module deals with some of the main grammar and morpho-syntactic structures of the English language. The language skills acquired by the students will be assessed at the end of the course through the 'Prova di esonero'.
Second module: Afrofuturism: Literature, Music, Cinema
Afrofuturism is an interdisciplinary cultural movement that rejects a number of clichés that have commonly referred to people of African descent. At a first glance, Afrofuturism may sound like an oxymoron. “Afro” and “Futurism” are likely to be considered as terms in opposition, the former evoking images of primitivism and backwardness, the latter – ever since F. T. Marinetti’s definition in 1909 – celebrating instead speed and modernity. The creative contribution of Afrofuturist writers, musicians, artists, filmmakers and critics challenges the stereotypical historical view routinely applied to the Black Atlantic experience and proposes counter-histories that reconsider the role of black people in the western society in the past and imagine alternative roles in the future. The module focuses on the different languages of Afrofuturism: music, visual arts, cinema and especially literature − proto-Afrofuturist fiction such as W.E.B. Du Bois’s short story “The Comet” (1920), George S. Schuyler’s novel Black No More (1931) and more recent examples such as Ralph Ellison’s Invisible Man (1952) and Octavia E. Butler’s Kindred (1979). The reference material includes works of fiction, critical essays and audiovisual material.
- Adriano Elia, La Cometa di W.E.B. Du Bois, Roma, RomaTrE-Press, 2015.
Further reference material will be given during the course (see References below).
For students not attending classes:
- R. Ambrosini, A. Rutt, A. Elia, The UK: Learning the Language, Studying the Culture, Roma, Carocci, 2008 (2005).
- N. McNaughton, Understanding British and European Political Issues, Manchester, Manchester University Press, 2010 (2003).
- A. Hunt, B. Wheeler, “Brexit: All you need to know about the UK leaving the EU”, BBC News, 5 September 2017
(available here: https://scienzepolitiche-uniroma3-it.mirror.uniroma3.it/aelia/wp-content/uploads/sites/29/2009/11/Brexit.pdf).
- English Grammar 2019-20
(available here: https://scienzepolitiche-uniroma3-it.mirror.uniroma3.it/aelia/wp-content/uploads/sites/29/2019/09/English-Grammar-2019_20.pdf).
Programme
First module: English grammar: Learning the LanguageThe first module deals with some of the main grammar and morpho-syntactic structures of the English language. The language skills acquired by the students will be assessed at the end of the course through the 'Prova di esonero'.
Second module: Afrofuturism: Literature, Music, Cinema
Afrofuturism is an interdisciplinary cultural movement that rejects a number of clichés that have commonly referred to people of African descent. At a first glance, Afrofuturism may sound like an oxymoron. “Afro” and “Futurism” are likely to be considered as terms in opposition, the former evoking images of primitivism and backwardness, the latter – ever since F. T. Marinetti’s definition in 1909 – celebrating instead speed and modernity. The creative contribution of Afrofuturist writers, musicians, artists, filmmakers and critics challenges the stereotypical historical view routinely applied to the Black Atlantic experience and proposes counter-histories that reconsider the role of black people in the western society in the past and imagine alternative roles in the future. The module focuses on the different languages of Afrofuturism: music, visual arts, cinema and especially literature − proto-Afrofuturist fiction such as W.E.B. Du Bois’s short story “The Comet” (1920), George S. Schuyler’s novel Black No More (1931) and more recent examples such as Ralph Ellison’s Invisible Man (1952) and Octavia E. Butler’s Kindred (1979). The reference material includes works of fiction, critical essays and audiovisual material.
Core Documentation
For students attending classes:- Adriano Elia, La Cometa di W.E.B. Du Bois, Roma, RomaTrE-Press, 2015.
Further reference material will be given during the course (see References below).
For students not attending classes:
- R. Ambrosini, A. Rutt, A. Elia, The UK: Learning the Language, Studying the Culture, Roma, Carocci, 2008 (2005).
- N. McNaughton, Understanding British and European Political Issues, Manchester, Manchester University Press, 2010 (2003).
- A. Hunt, B. Wheeler, “Brexit: All you need to know about the UK leaving the EU”, BBC News, 5 September 2017
(available here: https://scienzepolitiche-uniroma3-it.mirror.uniroma3.it/aelia/wp-content/uploads/sites/29/2009/11/Brexit.pdf).
- English Grammar 2019-20
(available here: https://scienzepolitiche-uniroma3-it.mirror.uniroma3.it/aelia/wp-content/uploads/sites/29/2019/09/English-Grammar-2019_20.pdf).
Reference Bibliography
- DEFINITION OF AFROFUTURISM 1. Dery M. 1993, Black to the Future: Interviews with Samuel R. Delany, Greg Tate, and Tricia Rose, in Dery M. (ed.), Flame Wars: The Discourse of Cyberculture, in “The South Atlantic Quarterly”, 92 [4], pp. 735-778. 2. Elia A. 2014, The Languages of Afrofuturism, in “Lingue e Linguaggi”, Vol. 12, pp. 83-96. 3. Eshun K. 1998, More Brilliant than the Sun: Adventures in Sonic Fiction, London, Quartet Books, pp. -017 - -001. 4. Eshun K. 2003, Further Considerations on Afrofuturism, in “CR: The New Centennial Review”, 3 [2], pp. 287-302. 5. Lavender III I. 2011, Critical Race Theory, in Bould M., Butler A.M., Roberts A., Vint S. (eds), The Routledge Companion to Science Fiction, London/New York, Routledge, pp. 185-193. 6. Lewis G. 2008, Foreword: After Afrofuturism, in Journal of the Society for American Music, 2 (02), pp. 139-153. 7. Nelson A. 2002, Introduction: Future Texts, in “Social Text”, 71, 20 [2], pp. 1-15. 8. Sinker M. 1992, Loving the Alien, in “The Wire”, 96, pp. 30-33. 9. Womack Y. L., 2013, Afrofuturism. The World of Black Sci-fi and Fantasy Culture, Chicago, Lawrence Hill Books, pp. 1-24. - CRITICISM 1. Ashcroft B., Griffiths G., Tiffin H. (eds) 2013 [2000], Postcolonial Studies – The Key Concepts, London/New York, Routledge (excerpts). 2. Césaire A. 1995 [1956], Notebook of a Return to My Native Land, translated by M. Rosello with A. Pritchard, Introduction by M. Rosello (pp. 9-68), Tarset, Northumberland, Bloodaxe Books. Excerpts: Rosello M., "Introduction", pp. 46-49; Césaire, "Notebook", pp. 107-117. 3. Du Bois W. E. B. 1994 [1903], The Souls of Black Folks, New York, Dover Publications, pp. v-vii; 1-24. 4. Fanon F. 2008 [1952], Black Skin, White Mask, London, Pluto Press. Excerpts: "Introduction" (pp. 1-7); Chapter 5, "The Fact of Blackness" (pp. 82-108); "By Way of Conclusion" (pp. 174-181). 5. Fanon F. 2001 [1961], The Wretched of the Earth, London, Pluto Press, pp. 251-255. 6. Gilroy P. 1993, The Black Atlantic: Modernity And Double Consciousness, London/New York, Verso, pp. i-xiii; 1-19; 225-228. 7. Mikula M. 2008, Key Concepts in Cultural Studies, Houndmills, Basingstoke/New York, Palgrave Macmillan (excerpts). 8. Sardar Z. 2008, Foreword to the 2008 Edition, in Fanon F. 2008 [1952], pp. vi-xx. 9. Sartre J. P., Preface, in Fanon F. 2001 [1961], pp. 7-26. AFROFUTURISM AND LITERATURE 1. Afrofuturism: Timeline of the Alterverse. Webb F. 2014, Reframing Afrofuturism, a Historical, Spiritual and Conceptual History, www.tikitoki. com/timeline/entry/309200/Afrofuturism#vars!date=1829-08-13_11:34:51 2. Baraka A. 1996, Rhythm Travel, in Thomas S. R. (ed.) 2000, pp. 113-115. 3. Bould M., Butler A. M., Roberts A., Vint S. 2011, Introduction, in The Routledge Companion to Science Fiction, London/New York, Routledge, pp. xix-xxii. 4. Butler O. E. 1988 [1979], Kindred, London, The Women’s Press Limited, pp. 9-51. 5. Butler O. E. 1995, The Monophobic Response, in Thomas S. R. (ed.) 2000, pp. 415-416. 6. Callahan J. 2001, Introduction, in Ellison R. 2001 [1952], pp. ix-xxiv. 7. Davis L., "31 Essential Science Fiction Terms and Where They Came From", 23 June 2014, http://io9.com/31-essential-science-fiction-terms-and-where-they-came- 1594794250 8. Delany S. R. 1999, Racism and Science Fiction, in Thomas S. R. (ed.) 2000, pp. 383-397. 9. Du Bois W.E.B. 1920, The Comet, in Darkwater: Voices from Within the Veil, New York, Harcourt, Brace and Company, in Thomas (ed.) 2000, pp. 5-18. 10. Elia A. 2015, La Cometa di W.E.B. Du Bois, Roma, Roma TrE-Press. 11. Ellison R. 1981, Author’s Introduction, in Ellison R. 2001 [1952], pp. xxv-xli. 12. Ellison R. 2001 [1952], Invisible Man, London, Penguin, pp. 1-37; 94-95; 216-217; 231-250; 572-581. 13. Gates H.L. Jr, McKay N.Y. 2003 (eds), The Norton Anthology of African American Literature, New York, Norton (excerpts) Jarrett G.A. 2014 (ed.), The Wiley Blackwell Anthology of African American Literature, Oxford, Wiley Blackwell (excerpts). 15. Kenan R. 1991, An Interview with Octavia E. Butler, in “Callaloo”, 14.2, pp. 495-504. 16. Nevins J., Martinez M., "Before Science Fiction: Romances of Science and Scientific Romances", 23 December 2011, http://io9.com/5870883/science-fictionbefore- science-fiction-romances-of-science-and-scientific-romances 17. Rabaka R. 2006, W.E.B. Dubois’s “The Comet” and Contributions to Critical Race Theory: An Essay on Black Radical Politics and Anti-Racist Social Ethics, in “Ethnic Studies Review”, http://www.thefreelibrary.com/W.E.B.+DuBois%27s+%22The+Comet%22+and+contributions+to+critical+race...-a0168089669. 18. Schuyler G. S. 2011 [1931], Black No More, New York, Dover Publications. Excerpt in Thomas S.R. (ed.) 2000, pp. 35-50. 19. Thomas S. R. 2000, Introduction: Looking for the Invisible, in Thomas S.R. (ed.) 2000, pp. ix-xiv. 20. Thomas S. R. (ed.) 2000, Dark Matter: A Century of Speculative Fiction from the African Diaspora, New York, Warner Books. 21. Thomas S. R. (ed.) 2004, Dark Matter: Reading the Bones, New York, Warner Books. 22. Yaszek L. 2005, An Afrofuturist Reading of Ralph Ellison’s Invisible Man, in “Rethinking History: The Journal of Theory and Practice”, 9 [2-3], pp. 297-313. 23. Yaszek L. 2006, Afrofuturism, Science Fiction, and the History of the Future, in “Socialism and Democracy”, 42, 20 [3], pp. 41-60. http://sdonline.org/42/afrofuturism-science-fiction-and-the-history-of-the-future/. AFROFUTURISM AND MUSIC 1. Baraka, A. 1996 [1993], "Sun Ra", in Eulogies, New York, Marsilio Publishers, pp. 171-174. 2. Corbett J. 1994, Brothers from Another Planet: The Space Madness of Lee “Scratch” Perry, Sun Ra, and George Clinton, in Extended Play – Sounding Off from John Cage to Dr. Funkenstein, Durham/London, Duke University Press, pp. 7-24. 3. Williams B. 2001, Black Secret Technology: Detroit Techno and the Information Age, in Nelson A., Tu Thuy Lihn N. with Headlam Hines A. (eds), Technicolor: Race, Technology, and Everyday Life, New York/London, New York University Press, pp. 154-176. AFROFUTURISM AND CINEMA 1. Akomfrah J., The Last Angel of History (1995) – film 2. Coney J., Space is the Place (1974) – film 3. Demme J., Beloved (1998) – film 4. Gerima H., Sankofa (1993) – film 5. Fawaz R. 2012, Space, that Bottomless Pit. Planetary Exile and Metaphors of Belonging in American Afrofuturist Cinema, in “Callaloo”, 35 [4], pp. 1103- 1122. 6. George Clinton - Parliament Funkadelic, The Mothership Connection (1985) – film 7. Higbee E., Bhala Lough A., The Life & Music of Lee Scratch Perry The Upsetter (2011) – film 8. Nama A. 2008, Black Space – Imagining Race in Science Fiction Film, Austin, TX, University of Texas Press. Excerpts: "Introduction" (pp. 1-9); Chapter 6, "Subverting the Genre: The Mothership Connection" (pp. 148-172). 9. Sayles J., The Brother from Another Planet (1984) – film 10. Tarantino Q., Django Unchained (2012) – film WEBSITES - http://afrofuturism.net/filmvideography-2/ - http://www.gotmesh.org/category/dos-and-donts/ - www.sparknotes.com/lit/invisibleman - www.sparknotes.com/lit/kindred - Nelson A. 2010, Interview with Alondra Nelson, http://www.youtube.com/watch?v=IFhEjaal5js - Snider J. C. 2004, Interview: Octavia E. Butler, “SciFiDimensions”, http://www.scifidimensions.com/Jun04/octaviaebutler.htmType of delivery of the course
The teaching method involves lectures supported by PowerPoint presentations and audio-visual material relating to the topics being covered. The course is taught in English but the general level of the class will be taken into consideration.Attendance
Lecture attendance is not compulsory but is strongly recommended.Type of evaluation
The final exam is written and consists of a series (90) of multiple choice and open-ended questions based on the syllabus. Those students who wish to improve the final grade of the Written Exam may take an Oral Exam, whose outcome may affect positively or negatively the grade of the Written Exam. Please note: for the AY 2019/2020 Summer and Autumn Exam Sessions, the assessment will be based on online oral exams.Canali
teacher profile teaching materials
The first module deals with some of the main grammar and morpho-syntactic structures of the English language. The language skills acquired by the students will be assessed at the end of the course through the Prova di esonero.
Second module - American Short Stories
The second module is an introduction to the diversity of American culture through short stories and their writers. At the end of the module, the students will be able to: analyze the chronological and historical development of the American short story through its most representative authors; become familiar with the act of analyzing and interpreting short stories through appropriate theoretical and methodological frameworks, acknowledging alternative interpretations and developing critical thinking; experience how literary and cultural texts can transform one’s perception and understanding of self, other and communities.
Kate Chopin, “Desiree’s Baby” (1893)
Susan Glaspell, “A Jury of Her Peers” (1917)
Joyce Carol Oates, “Where Are You Going, Where Have You Been?” (1966)
Ambrose Bierce, “An Occurrence at Owl Creek Bridge” (1890)
Ralph Ellison, “Battle Royal” (1947)
Alice Walker, “Everyday Use” (1973)
Ray Bradbury, “There Will Come Soft Rains” (1950)
Ernest Hemingway, “The Killers” (1927)
Charlotte Perkins Gilman, “The Yellow Wallpaper” (1892)
James Thurber, “The Secret Life of Walter Mitty” (1939)
Shirley Jackson, “The Lottery” (1948)
Tim O’Brien, “The Things They Carried” (1990)
The short stories listed above may be read in any edition in English.
Fruizione: 21801978 LINGUA, CULTURA E ISTITUZIONI DEI PAESI DI LINGUA INGLESE in Scienze politiche per la cooperazione e lo sviluppo L-36 AL BECCE NICOLANGELO
Programme
First module - Focus on English GrammarThe first module deals with some of the main grammar and morpho-syntactic structures of the English language. The language skills acquired by the students will be assessed at the end of the course through the Prova di esonero.
Second module - American Short Stories
The second module is an introduction to the diversity of American culture through short stories and their writers. At the end of the module, the students will be able to: analyze the chronological and historical development of the American short story through its most representative authors; become familiar with the act of analyzing and interpreting short stories through appropriate theoretical and methodological frameworks, acknowledging alternative interpretations and developing critical thinking; experience how literary and cultural texts can transform one’s perception and understanding of self, other and communities.
Core Documentation
Edgar Allan Poe, “The Tell-Tale Heart” (1843)Kate Chopin, “Desiree’s Baby” (1893)
Susan Glaspell, “A Jury of Her Peers” (1917)
Joyce Carol Oates, “Where Are You Going, Where Have You Been?” (1966)
Ambrose Bierce, “An Occurrence at Owl Creek Bridge” (1890)
Ralph Ellison, “Battle Royal” (1947)
Alice Walker, “Everyday Use” (1973)
Ray Bradbury, “There Will Come Soft Rains” (1950)
Ernest Hemingway, “The Killers” (1927)
Charlotte Perkins Gilman, “The Yellow Wallpaper” (1892)
James Thurber, “The Secret Life of Walter Mitty” (1939)
Shirley Jackson, “The Lottery” (1948)
Tim O’Brien, “The Things They Carried” (1990)
The short stories listed above may be read in any edition in English.
Reference Bibliography
- DEFINITION OF AFROFUTURISM 1. Dery M. 1993, Black to the Future: Interviews with Samuel R. Delany, Greg Tate, and Tricia Rose, in Dery M. (ed.), Flame Wars: The Discourse of Cyberculture, in “The South Atlantic Quarterly”, 92 [4], pp. 735-778. 2. Elia A. 2014, The Languages of Afrofuturism, in “Lingue e Linguaggi”, Vol. 12, pp. 83-96. 3. Eshun K. 1998, More Brilliant than the Sun: Adventures in Sonic Fiction, London, Quartet Books, pp. -017 - -001. 4. Eshun K. 2003, Further Considerations on Afrofuturism, in “CR: The New Centennial Review”, 3 [2], pp. 287-302. 5. Lavender III I. 2011, Critical Race Theory, in Bould M., Butler A.M., Roberts A., Vint S. (eds), The Routledge Companion to Science Fiction, London/New York, Routledge, pp. 185-193. 6. Lewis G. 2008, Foreword: After Afrofuturism, in Journal of the Society for American Music, 2 (02), pp. 139-153. 7. Nelson A. 2002, Introduction: Future Texts, in “Social Text”, 71, 20 [2], pp. 1-15. 8. Sinker M. 1992, Loving the Alien, in “The Wire”, 96, pp. 30-33. 9. Womack Y. L., 2013, Afrofuturism. The World of Black Sci-fi and Fantasy Culture, Chicago, Lawrence Hill Books, pp. 1-24. - CRITICISM 1. Ashcroft B., Griffiths G., Tiffin H. (eds) 2013 [2000], Postcolonial Studies – The Key Concepts, London/New York, Routledge (excerpts). 2. Césaire A. 1995 [1956], Notebook of a Return to My Native Land, translated by M. Rosello with A. Pritchard, Introduction by M. Rosello (pp. 9-68), Tarset, Northumberland, Bloodaxe Books. Excerpts: Rosello M., "Introduction", pp. 46-49; Césaire, "Notebook", pp. 107-117. 3. Du Bois W. E. B. 1994 [1903], The Souls of Black Folks, New York, Dover Publications, pp. v-vii; 1-24. 4. Fanon F. 2008 [1952], Black Skin, White Mask, London, Pluto Press. Excerpts: "Introduction" (pp. 1-7); Chapter 5, "The Fact of Blackness" (pp. 82-108); "By Way of Conclusion" (pp. 174-181). 5. Fanon F. 2001 [1961], The Wretched of the Earth, London, Pluto Press, pp. 251-255. 6. Gilroy P. 1993, The Black Atlantic: Modernity And Double Consciousness, London/New York, Verso, pp. i-xiii; 1-19; 225-228. 7. Mikula M. 2008, Key Concepts in Cultural Studies, Houndmills, Basingstoke/New York, Palgrave Macmillan (excerpts). 8. Sardar Z. 2008, Foreword to the 2008 Edition, in Fanon F. 2008 [1952], pp. vi-xx. 9. Sartre J. P., Preface, in Fanon F. 2001 [1961], pp. 7-26. AFROFUTURISM AND LITERATURE 1. Afrofuturism: Timeline of the Alterverse. Webb F. 2014, Reframing Afrofuturism, a Historical, Spiritual and Conceptual History, www.tikitoki. com/timeline/entry/309200/Afrofuturism#vars!date=1829-08-13_11:34:51 2. Baraka A. 1996, Rhythm Travel, in Thomas S. R. (ed.) 2000, pp. 113-115. 3. Bould M., Butler A. M., Roberts A., Vint S. 2011, Introduction, in The Routledge Companion to Science Fiction, London/New York, Routledge, pp. xix-xxii. 4. Butler O. E. 1988 [1979], Kindred, London, The Women’s Press Limited, pp. 9-51. 5. Butler O. E. 1995, The Monophobic Response, in Thomas S. R. (ed.) 2000, pp. 415-416. 6. Callahan J. 2001, Introduction, in Ellison R. 2001 [1952], pp. ix-xxiv. 7. Davis L., "31 Essential Science Fiction Terms and Where They Came From", 23 June 2014, http://io9.com/31-essential-science-fiction-terms-and-where-they-came- 1594794250 8. Delany S. R. 1999, Racism and Science Fiction, in Thomas S. R. (ed.) 2000, pp. 383-397. 9. Du Bois W.E.B. 1920, The Comet, in Darkwater: Voices from Within the Veil, New York, Harcourt, Brace and Company, in Thomas (ed.) 2000, pp. 5-18. 10. Elia A. 2015, La Cometa di W.E.B. Du Bois, Roma, Roma TrE-Press. 11. Ellison R. 1981, Author’s Introduction, in Ellison R. 2001 [1952], pp. xxv-xli. 12. Ellison R. 2001 [1952], Invisible Man, London, Penguin, pp. 1-37; 94-95; 216-217; 231-250; 572-581. 13. Gates H.L. Jr, McKay N.Y. 2003 (eds), The Norton Anthology of African American Literature, New York, Norton (excerpts) Jarrett G.A. 2014 (ed.), The Wiley Blackwell Anthology of African American Literature, Oxford, Wiley Blackwell (excerpts). 15. Kenan R. 1991, An Interview with Octavia E. Butler, in “Callaloo”, 14.2, pp. 495-504. 16. Nevins J., Martinez M., "Before Science Fiction: Romances of Science and Scientific Romances", 23 December 2011, http://io9.com/5870883/science-fictionbefore- science-fiction-romances-of-science-and-scientific-romances 17. Rabaka R. 2006, W.E.B. Dubois’s “The Comet” and Contributions to Critical Race Theory: An Essay on Black Radical Politics and Anti-Racist Social Ethics, in “Ethnic Studies Review”, http://www.thefreelibrary.com/W.E.B.+DuBois%27s+%22The+Comet%22+and+contributions+to+critical+race...-a0168089669. 18. Schuyler G. S. 2011 [1931], Black No More, New York, Dover Publications. Excerpt in Thomas S.R. (ed.) 2000, pp. 35-50. 19. Thomas S. R. 2000, Introduction: Looking for the Invisible, in Thomas S.R. (ed.) 2000, pp. ix-xiv. 20. Thomas S. R. (ed.) 2000, Dark Matter: A Century of Speculative Fiction from the African Diaspora, New York, Warner Books. 21. Thomas S. R. (ed.) 2004, Dark Matter: Reading the Bones, New York, Warner Books. 22. Yaszek L. 2005, An Afrofuturist Reading of Ralph Ellison’s Invisible Man, in “Rethinking History: The Journal of Theory and Practice”, 9 [2-3], pp. 297-313. 23. Yaszek L. 2006, Afrofuturism, Science Fiction, and the History of the Future, in “Socialism and Democracy”, 42, 20 [3], pp. 41-60. http://sdonline.org/42/afrofuturism-science-fiction-and-the-history-of-the-future/. AFROFUTURISM AND MUSIC 1. Baraka, A. 1996 [1993], "Sun Ra", in Eulogies, New York, Marsilio Publishers, pp. 171-174. 2. Corbett J. 1994, Brothers from Another Planet: The Space Madness of Lee “Scratch” Perry, Sun Ra, and George Clinton, in Extended Play – Sounding Off from John Cage to Dr. Funkenstein, Durham/London, Duke University Press, pp. 7-24. 3. Williams B. 2001, Black Secret Technology: Detroit Techno and the Information Age, in Nelson A., Tu Thuy Lihn N. with Headlam Hines A. (eds), Technicolor: Race, Technology, and Everyday Life, New York/London, New York University Press, pp. 154-176. AFROFUTURISM AND CINEMA 1. Akomfrah J., The Last Angel of History (1995) – film 2. Coney J., Space is the Place (1974) – film 3. Demme J., Beloved (1998) – film 4. Gerima H., Sankofa (1993) – film 5. Fawaz R. 2012, Space, that Bottomless Pit. Planetary Exile and Metaphors of Belonging in American Afrofuturist Cinema, in “Callaloo”, 35 [4], pp. 1103- 1122. 6. George Clinton - Parliament Funkadelic, The Mothership Connection (1985) – film 7. Higbee E., Bhala Lough A., The Life & Music of Lee Scratch Perry The Upsetter (2011) – film 8. Nama A. 2008, Black Space – Imagining Race in Science Fiction Film, Austin, TX, University of Texas Press. Excerpts: "Introduction" (pp. 1-9); Chapter 6, "Subverting the Genre: The Mothership Connection" (pp. 148-172). 9. Sayles J., The Brother from Another Planet (1984) – film 10. Tarantino Q., Django Unchained (2012) – film WEBSITES - http://afrofuturism.net/filmvideography-2/ - http://www.gotmesh.org/category/dos-and-donts/ - www.sparknotes.com/lit/invisibleman - www.sparknotes.com/lit/kindred - Nelson A. 2010, Interview with Alondra Nelson, http://www.youtube.com/watch?v=IFhEjaal5js - Snider J. C. 2004, Interview: Octavia E. Butler, “SciFiDimensions”, http://www.scifidimensions.com/Jun04/octaviaebutler.htmType of delivery of the course
The teaching method involves lectures supported by PowerPoint presentations and audio-visual material relating to the topics being covered. The course is taught in English but the general level of the class will be taken into consideration.Attendance
Lecture attendance is not compulsory but is strongly recommended.Type of evaluation
The final exam is in written form and it consists of a series of multiple choice and open-ended questions based on the syllabus. Those students who wish to improve the final grade of the Written Exam may take an Oral Exam, the outcome of which may positively or negatively affect the grade of the Written Exam. Please note: for the AY 2019/2020 Summer and Autumn Exam Sessions, the assessment will be based on online oral exams. teacher profile teaching materials
The first module deals with some of the main grammar and morpho-syntactic structures of the English language. The language skills acquired by the students will be assessed at the end of the course through the 'Prova di esonero'.
Second module: Afrofuturism: Literature, Music, Cinema
Afrofuturism is an interdisciplinary cultural movement that rejects a number of clichés that have commonly referred to people of African descent. At a first glance, Afrofuturism may sound like an oxymoron. “Afro” and “Futurism” are likely to be considered as terms in opposition, the former evoking images of primitivism and backwardness, the latter – ever since F. T. Marinetti’s definition in 1909 – celebrating instead speed and modernity. The creative contribution of Afrofuturist writers, musicians, artists, filmmakers and critics challenges the stereotypical historical view routinely applied to the Black Atlantic experience and proposes counter-histories that reconsider the role of black people in the western society in the past and imagine alternative roles in the future. The module focuses on the different languages of Afrofuturism: music, visual arts, cinema and especially literature − proto-Afrofuturist fiction such as W.E.B. Du Bois’s short story “The Comet” (1920), George S. Schuyler’s novel Black No More (1931) and more recent examples such as Ralph Ellison’s Invisible Man (1952) and Octavia E. Butler’s Kindred (1979). The reference material includes works of fiction, critical essays and audiovisual material.
- Adriano Elia, La Cometa di W.E.B. Du Bois, Roma, RomaTrE-Press, 2015.
Further reference material will be given during the course (see References below).
For students not attending classes:
- R. Ambrosini, A. Rutt, A. Elia, The UK: Learning the Language, Studying the Culture, Roma, Carocci, 2008 (2005).
- N. McNaughton, Understanding British and European Political Issues, Manchester, Manchester University Press, 2010 (2003).
- A. Hunt, B. Wheeler, “Brexit: All you need to know about the UK leaving the EU”, BBC News, 5 September 2017
(available here: https://scienzepolitiche-uniroma3-it.mirror.uniroma3.it/aelia/wp-content/uploads/sites/29/2009/11/Brexit.pdf).
- English Grammar 2019-20
(available here: https://scienzepolitiche-uniroma3-it.mirror.uniroma3.it/aelia/wp-content/uploads/sites/29/2019/09/English-Grammar-2019_20.pdf).
Programme
First module: English grammar: Learning the LanguageThe first module deals with some of the main grammar and morpho-syntactic structures of the English language. The language skills acquired by the students will be assessed at the end of the course through the 'Prova di esonero'.
Second module: Afrofuturism: Literature, Music, Cinema
Afrofuturism is an interdisciplinary cultural movement that rejects a number of clichés that have commonly referred to people of African descent. At a first glance, Afrofuturism may sound like an oxymoron. “Afro” and “Futurism” are likely to be considered as terms in opposition, the former evoking images of primitivism and backwardness, the latter – ever since F. T. Marinetti’s definition in 1909 – celebrating instead speed and modernity. The creative contribution of Afrofuturist writers, musicians, artists, filmmakers and critics challenges the stereotypical historical view routinely applied to the Black Atlantic experience and proposes counter-histories that reconsider the role of black people in the western society in the past and imagine alternative roles in the future. The module focuses on the different languages of Afrofuturism: music, visual arts, cinema and especially literature − proto-Afrofuturist fiction such as W.E.B. Du Bois’s short story “The Comet” (1920), George S. Schuyler’s novel Black No More (1931) and more recent examples such as Ralph Ellison’s Invisible Man (1952) and Octavia E. Butler’s Kindred (1979). The reference material includes works of fiction, critical essays and audiovisual material.
Core Documentation
For students attending classes:- Adriano Elia, La Cometa di W.E.B. Du Bois, Roma, RomaTrE-Press, 2015.
Further reference material will be given during the course (see References below).
For students not attending classes:
- R. Ambrosini, A. Rutt, A. Elia, The UK: Learning the Language, Studying the Culture, Roma, Carocci, 2008 (2005).
- N. McNaughton, Understanding British and European Political Issues, Manchester, Manchester University Press, 2010 (2003).
- A. Hunt, B. Wheeler, “Brexit: All you need to know about the UK leaving the EU”, BBC News, 5 September 2017
(available here: https://scienzepolitiche-uniroma3-it.mirror.uniroma3.it/aelia/wp-content/uploads/sites/29/2009/11/Brexit.pdf).
- English Grammar 2019-20
(available here: https://scienzepolitiche-uniroma3-it.mirror.uniroma3.it/aelia/wp-content/uploads/sites/29/2019/09/English-Grammar-2019_20.pdf).
Reference Bibliography
- DEFINITION OF AFROFUTURISM 1. Dery M. 1993, Black to the Future: Interviews with Samuel R. Delany, Greg Tate, and Tricia Rose, in Dery M. (ed.), Flame Wars: The Discourse of Cyberculture, in “The South Atlantic Quarterly”, 92 [4], pp. 735-778. 2. Elia A. 2014, The Languages of Afrofuturism, in “Lingue e Linguaggi”, Vol. 12, pp. 83-96. 3. Eshun K. 1998, More Brilliant than the Sun: Adventures in Sonic Fiction, London, Quartet Books, pp. -017 - -001. 4. Eshun K. 2003, Further Considerations on Afrofuturism, in “CR: The New Centennial Review”, 3 [2], pp. 287-302. 5. Lavender III I. 2011, Critical Race Theory, in Bould M., Butler A.M., Roberts A., Vint S. (eds), The Routledge Companion to Science Fiction, London/New York, Routledge, pp. 185-193. 6. Lewis G. 2008, Foreword: After Afrofuturism, in Journal of the Society for American Music, 2 (02), pp. 139-153. 7. Nelson A. 2002, Introduction: Future Texts, in “Social Text”, 71, 20 [2], pp. 1-15. 8. Sinker M. 1992, Loving the Alien, in “The Wire”, 96, pp. 30-33. 9. Womack Y. L., 2013, Afrofuturism. The World of Black Sci-fi and Fantasy Culture, Chicago, Lawrence Hill Books, pp. 1-24. - CRITICISM 1. Ashcroft B., Griffiths G., Tiffin H. (eds) 2013 [2000], Postcolonial Studies – The Key Concepts, London/New York, Routledge (excerpts). 2. Césaire A. 1995 [1956], Notebook of a Return to My Native Land, translated by M. Rosello with A. Pritchard, Introduction by M. Rosello (pp. 9-68), Tarset, Northumberland, Bloodaxe Books. Excerpts: Rosello M., "Introduction", pp. 46-49; Césaire, "Notebook", pp. 107-117. 3. Du Bois W. E. B. 1994 [1903], The Souls of Black Folks, New York, Dover Publications, pp. v-vii; 1-24. 4. Fanon F. 2008 [1952], Black Skin, White Mask, London, Pluto Press. Excerpts: "Introduction" (pp. 1-7); Chapter 5, "The Fact of Blackness" (pp. 82-108); "By Way of Conclusion" (pp. 174-181). 5. Fanon F. 2001 [1961], The Wretched of the Earth, London, Pluto Press, pp. 251-255. 6. Gilroy P. 1993, The Black Atlantic: Modernity And Double Consciousness, London/New York, Verso, pp. i-xiii; 1-19; 225-228. 7. Mikula M. 2008, Key Concepts in Cultural Studies, Houndmills, Basingstoke/New York, Palgrave Macmillan (excerpts). 8. Sardar Z. 2008, Foreword to the 2008 Edition, in Fanon F. 2008 [1952], pp. vi-xx. 9. Sartre J. P., Preface, in Fanon F. 2001 [1961], pp. 7-26. AFROFUTURISM AND LITERATURE 1. Afrofuturism: Timeline of the Alterverse. Webb F. 2014, Reframing Afrofuturism, a Historical, Spiritual and Conceptual History, www.tikitoki. com/timeline/entry/309200/Afrofuturism#vars!date=1829-08-13_11:34:51 2. Baraka A. 1996, Rhythm Travel, in Thomas S. R. (ed.) 2000, pp. 113-115. 3. Bould M., Butler A. M., Roberts A., Vint S. 2011, Introduction, in The Routledge Companion to Science Fiction, London/New York, Routledge, pp. xix-xxii. 4. Butler O. E. 1988 [1979], Kindred, London, The Women’s Press Limited, pp. 9-51. 5. Butler O. E. 1995, The Monophobic Response, in Thomas S. R. (ed.) 2000, pp. 415-416. 6. Callahan J. 2001, Introduction, in Ellison R. 2001 [1952], pp. ix-xxiv. 7. Davis L., "31 Essential Science Fiction Terms and Where They Came From", 23 June 2014, http://io9.com/31-essential-science-fiction-terms-and-where-they-came- 1594794250 8. Delany S. R. 1999, Racism and Science Fiction, in Thomas S. R. (ed.) 2000, pp. 383-397. 9. Du Bois W.E.B. 1920, The Comet, in Darkwater: Voices from Within the Veil, New York, Harcourt, Brace and Company, in Thomas (ed.) 2000, pp. 5-18. 10. Elia A. 2015, La Cometa di W.E.B. Du Bois, Roma, Roma TrE-Press. 11. Ellison R. 1981, Author’s Introduction, in Ellison R. 2001 [1952], pp. xxv-xli. 12. Ellison R. 2001 [1952], Invisible Man, London, Penguin, pp. 1-37; 94-95; 216-217; 231-250; 572-581. 13. Gates H.L. Jr, McKay N.Y. 2003 (eds), The Norton Anthology of African American Literature, New York, Norton (excerpts) Jarrett G.A. 2014 (ed.), The Wiley Blackwell Anthology of African American Literature, Oxford, Wiley Blackwell (excerpts). 15. Kenan R. 1991, An Interview with Octavia E. Butler, in “Callaloo”, 14.2, pp. 495-504. 16. Nevins J., Martinez M., "Before Science Fiction: Romances of Science and Scientific Romances", 23 December 2011, http://io9.com/5870883/science-fictionbefore- science-fiction-romances-of-science-and-scientific-romances 17. Rabaka R. 2006, W.E.B. Dubois’s “The Comet” and Contributions to Critical Race Theory: An Essay on Black Radical Politics and Anti-Racist Social Ethics, in “Ethnic Studies Review”, http://www.thefreelibrary.com/W.E.B.+DuBois%27s+%22The+Comet%22+and+contributions+to+critical+race...-a0168089669. 18. Schuyler G. S. 2011 [1931], Black No More, New York, Dover Publications. Excerpt in Thomas S.R. (ed.) 2000, pp. 35-50. 19. Thomas S. R. 2000, Introduction: Looking for the Invisible, in Thomas S.R. (ed.) 2000, pp. ix-xiv. 20. Thomas S. R. (ed.) 2000, Dark Matter: A Century of Speculative Fiction from the African Diaspora, New York, Warner Books. 21. Thomas S. R. (ed.) 2004, Dark Matter: Reading the Bones, New York, Warner Books. 22. Yaszek L. 2005, An Afrofuturist Reading of Ralph Ellison’s Invisible Man, in “Rethinking History: The Journal of Theory and Practice”, 9 [2-3], pp. 297-313. 23. Yaszek L. 2006, Afrofuturism, Science Fiction, and the History of the Future, in “Socialism and Democracy”, 42, 20 [3], pp. 41-60. http://sdonline.org/42/afrofuturism-science-fiction-and-the-history-of-the-future/. AFROFUTURISM AND MUSIC 1. Baraka, A. 1996 [1993], "Sun Ra", in Eulogies, New York, Marsilio Publishers, pp. 171-174. 2. Corbett J. 1994, Brothers from Another Planet: The Space Madness of Lee “Scratch” Perry, Sun Ra, and George Clinton, in Extended Play – Sounding Off from John Cage to Dr. Funkenstein, Durham/London, Duke University Press, pp. 7-24. 3. Williams B. 2001, Black Secret Technology: Detroit Techno and the Information Age, in Nelson A., Tu Thuy Lihn N. with Headlam Hines A. (eds), Technicolor: Race, Technology, and Everyday Life, New York/London, New York University Press, pp. 154-176. AFROFUTURISM AND CINEMA 1. Akomfrah J., The Last Angel of History (1995) – film 2. Coney J., Space is the Place (1974) – film 3. Demme J., Beloved (1998) – film 4. Gerima H., Sankofa (1993) – film 5. Fawaz R. 2012, Space, that Bottomless Pit. Planetary Exile and Metaphors of Belonging in American Afrofuturist Cinema, in “Callaloo”, 35 [4], pp. 1103- 1122. 6. George Clinton - Parliament Funkadelic, The Mothership Connection (1985) – film 7. Higbee E., Bhala Lough A., The Life & Music of Lee Scratch Perry The Upsetter (2011) – film 8. Nama A. 2008, Black Space – Imagining Race in Science Fiction Film, Austin, TX, University of Texas Press. Excerpts: "Introduction" (pp. 1-9); Chapter 6, "Subverting the Genre: The Mothership Connection" (pp. 148-172). 9. Sayles J., The Brother from Another Planet (1984) – film 10. Tarantino Q., Django Unchained (2012) – film WEBSITES - http://afrofuturism.net/filmvideography-2/ - http://www.gotmesh.org/category/dos-and-donts/ - www.sparknotes.com/lit/invisibleman - www.sparknotes.com/lit/kindred - Nelson A. 2010, Interview with Alondra Nelson, http://www.youtube.com/watch?v=IFhEjaal5js - Snider J. C. 2004, Interview: Octavia E. Butler, “SciFiDimensions”, http://www.scifidimensions.com/Jun04/octaviaebutler.htmType of delivery of the course
The teaching method involves lectures supported by PowerPoint presentations and audio-visual material relating to the topics being covered. The course is taught in English but the general level of the class will be taken into consideration.Attendance
Lecture attendance is not compulsory but is strongly recommended.Type of evaluation
The final exam is written and consists of a series (90) of multiple choice and open-ended questions based on the syllabus. Those students who wish to improve the final grade of the Written Exam may take an Oral Exam, whose outcome may affect positively or negatively the grade of the Written Exam. Please note: for the AY 2019/2020 Summer and Autumn Exam Sessions, the assessment will be based on online oral exams.Canali
teacher profile teaching materials
The first module deals with some of the main grammar and morpho-syntactic structures of the English language. The language skills acquired by the students will be assessed at the end of the course through the Prova di esonero.
Second module - American Short Stories
The second module is an introduction to the diversity of American culture through short stories and their writers. At the end of the module, the students will be able to: analyze the chronological and historical development of the American short story through its most representative authors; become familiar with the act of analyzing and interpreting short stories through appropriate theoretical and methodological frameworks, acknowledging alternative interpretations and developing critical thinking; experience how literary and cultural texts can transform one’s perception and understanding of self, other and communities.
Kate Chopin, “Desiree’s Baby” (1893)
Susan Glaspell, “A Jury of Her Peers” (1917)
Joyce Carol Oates, “Where Are You Going, Where Have You Been?” (1966)
Ambrose Bierce, “An Occurrence at Owl Creek Bridge” (1890)
Ralph Ellison, “Battle Royal” (1947)
Alice Walker, “Everyday Use” (1973)
Ray Bradbury, “There Will Come Soft Rains” (1950)
Ernest Hemingway, “The Killers” (1927)
Charlotte Perkins Gilman, “The Yellow Wallpaper” (1892)
James Thurber, “The Secret Life of Walter Mitty” (1939)
Shirley Jackson, “The Lottery” (1948)
Tim O’Brien, “The Things They Carried” (1990)
The short stories listed above may be read in any edition in English.
Fruizione: 21801978 LINGUA, CULTURA E ISTITUZIONI DEI PAESI DI LINGUA INGLESE in Scienze politiche per la cooperazione e lo sviluppo L-36 AL BECCE NICOLANGELO
Programme
First module - Focus on English GrammarThe first module deals with some of the main grammar and morpho-syntactic structures of the English language. The language skills acquired by the students will be assessed at the end of the course through the Prova di esonero.
Second module - American Short Stories
The second module is an introduction to the diversity of American culture through short stories and their writers. At the end of the module, the students will be able to: analyze the chronological and historical development of the American short story through its most representative authors; become familiar with the act of analyzing and interpreting short stories through appropriate theoretical and methodological frameworks, acknowledging alternative interpretations and developing critical thinking; experience how literary and cultural texts can transform one’s perception and understanding of self, other and communities.
Core Documentation
Edgar Allan Poe, “The Tell-Tale Heart” (1843)Kate Chopin, “Desiree’s Baby” (1893)
Susan Glaspell, “A Jury of Her Peers” (1917)
Joyce Carol Oates, “Where Are You Going, Where Have You Been?” (1966)
Ambrose Bierce, “An Occurrence at Owl Creek Bridge” (1890)
Ralph Ellison, “Battle Royal” (1947)
Alice Walker, “Everyday Use” (1973)
Ray Bradbury, “There Will Come Soft Rains” (1950)
Ernest Hemingway, “The Killers” (1927)
Charlotte Perkins Gilman, “The Yellow Wallpaper” (1892)
James Thurber, “The Secret Life of Walter Mitty” (1939)
Shirley Jackson, “The Lottery” (1948)
Tim O’Brien, “The Things They Carried” (1990)
The short stories listed above may be read in any edition in English.
Reference Bibliography
- DEFINITION OF AFROFUTURISM 1. Dery M. 1993, Black to the Future: Interviews with Samuel R. Delany, Greg Tate, and Tricia Rose, in Dery M. (ed.), Flame Wars: The Discourse of Cyberculture, in “The South Atlantic Quarterly”, 92 [4], pp. 735-778. 2. Elia A. 2014, The Languages of Afrofuturism, in “Lingue e Linguaggi”, Vol. 12, pp. 83-96. 3. Eshun K. 1998, More Brilliant than the Sun: Adventures in Sonic Fiction, London, Quartet Books, pp. -017 - -001. 4. Eshun K. 2003, Further Considerations on Afrofuturism, in “CR: The New Centennial Review”, 3 [2], pp. 287-302. 5. Lavender III I. 2011, Critical Race Theory, in Bould M., Butler A.M., Roberts A., Vint S. (eds), The Routledge Companion to Science Fiction, London/New York, Routledge, pp. 185-193. 6. Lewis G. 2008, Foreword: After Afrofuturism, in Journal of the Society for American Music, 2 (02), pp. 139-153. 7. Nelson A. 2002, Introduction: Future Texts, in “Social Text”, 71, 20 [2], pp. 1-15. 8. Sinker M. 1992, Loving the Alien, in “The Wire”, 96, pp. 30-33. 9. Womack Y. L., 2013, Afrofuturism. The World of Black Sci-fi and Fantasy Culture, Chicago, Lawrence Hill Books, pp. 1-24. - CRITICISM 1. Ashcroft B., Griffiths G., Tiffin H. (eds) 2013 [2000], Postcolonial Studies – The Key Concepts, London/New York, Routledge (excerpts). 2. Césaire A. 1995 [1956], Notebook of a Return to My Native Land, translated by M. Rosello with A. Pritchard, Introduction by M. Rosello (pp. 9-68), Tarset, Northumberland, Bloodaxe Books. Excerpts: Rosello M., "Introduction", pp. 46-49; Césaire, "Notebook", pp. 107-117. 3. Du Bois W. E. B. 1994 [1903], The Souls of Black Folks, New York, Dover Publications, pp. v-vii; 1-24. 4. Fanon F. 2008 [1952], Black Skin, White Mask, London, Pluto Press. Excerpts: "Introduction" (pp. 1-7); Chapter 5, "The Fact of Blackness" (pp. 82-108); "By Way of Conclusion" (pp. 174-181). 5. Fanon F. 2001 [1961], The Wretched of the Earth, London, Pluto Press, pp. 251-255. 6. Gilroy P. 1993, The Black Atlantic: Modernity And Double Consciousness, London/New York, Verso, pp. i-xiii; 1-19; 225-228. 7. Mikula M. 2008, Key Concepts in Cultural Studies, Houndmills, Basingstoke/New York, Palgrave Macmillan (excerpts). 8. Sardar Z. 2008, Foreword to the 2008 Edition, in Fanon F. 2008 [1952], pp. vi-xx. 9. Sartre J. P., Preface, in Fanon F. 2001 [1961], pp. 7-26. AFROFUTURISM AND LITERATURE 1. Afrofuturism: Timeline of the Alterverse. Webb F. 2014, Reframing Afrofuturism, a Historical, Spiritual and Conceptual History, www.tikitoki. com/timeline/entry/309200/Afrofuturism#vars!date=1829-08-13_11:34:51 2. Baraka A. 1996, Rhythm Travel, in Thomas S. R. (ed.) 2000, pp. 113-115. 3. Bould M., Butler A. M., Roberts A., Vint S. 2011, Introduction, in The Routledge Companion to Science Fiction, London/New York, Routledge, pp. xix-xxii. 4. Butler O. E. 1988 [1979], Kindred, London, The Women’s Press Limited, pp. 9-51. 5. Butler O. E. 1995, The Monophobic Response, in Thomas S. R. (ed.) 2000, pp. 415-416. 6. Callahan J. 2001, Introduction, in Ellison R. 2001 [1952], pp. ix-xxiv. 7. Davis L., "31 Essential Science Fiction Terms and Where They Came From", 23 June 2014, http://io9.com/31-essential-science-fiction-terms-and-where-they-came- 1594794250 8. Delany S. R. 1999, Racism and Science Fiction, in Thomas S. R. (ed.) 2000, pp. 383-397. 9. Du Bois W.E.B. 1920, The Comet, in Darkwater: Voices from Within the Veil, New York, Harcourt, Brace and Company, in Thomas (ed.) 2000, pp. 5-18. 10. Elia A. 2015, La Cometa di W.E.B. Du Bois, Roma, Roma TrE-Press. 11. Ellison R. 1981, Author’s Introduction, in Ellison R. 2001 [1952], pp. xxv-xli. 12. Ellison R. 2001 [1952], Invisible Man, London, Penguin, pp. 1-37; 94-95; 216-217; 231-250; 572-581. 13. Gates H.L. Jr, McKay N.Y. 2003 (eds), The Norton Anthology of African American Literature, New York, Norton (excerpts) Jarrett G.A. 2014 (ed.), The Wiley Blackwell Anthology of African American Literature, Oxford, Wiley Blackwell (excerpts). 15. Kenan R. 1991, An Interview with Octavia E. Butler, in “Callaloo”, 14.2, pp. 495-504. 16. Nevins J., Martinez M., "Before Science Fiction: Romances of Science and Scientific Romances", 23 December 2011, http://io9.com/5870883/science-fictionbefore- science-fiction-romances-of-science-and-scientific-romances 17. Rabaka R. 2006, W.E.B. Dubois’s “The Comet” and Contributions to Critical Race Theory: An Essay on Black Radical Politics and Anti-Racist Social Ethics, in “Ethnic Studies Review”, http://www.thefreelibrary.com/W.E.B.+DuBois%27s+%22The+Comet%22+and+contributions+to+critical+race...-a0168089669. 18. Schuyler G. S. 2011 [1931], Black No More, New York, Dover Publications. Excerpt in Thomas S.R. (ed.) 2000, pp. 35-50. 19. Thomas S. R. 2000, Introduction: Looking for the Invisible, in Thomas S.R. (ed.) 2000, pp. ix-xiv. 20. Thomas S. R. (ed.) 2000, Dark Matter: A Century of Speculative Fiction from the African Diaspora, New York, Warner Books. 21. Thomas S. R. (ed.) 2004, Dark Matter: Reading the Bones, New York, Warner Books. 22. Yaszek L. 2005, An Afrofuturist Reading of Ralph Ellison’s Invisible Man, in “Rethinking History: The Journal of Theory and Practice”, 9 [2-3], pp. 297-313. 23. Yaszek L. 2006, Afrofuturism, Science Fiction, and the History of the Future, in “Socialism and Democracy”, 42, 20 [3], pp. 41-60. http://sdonline.org/42/afrofuturism-science-fiction-and-the-history-of-the-future/. AFROFUTURISM AND MUSIC 1. Baraka, A. 1996 [1993], "Sun Ra", in Eulogies, New York, Marsilio Publishers, pp. 171-174. 2. Corbett J. 1994, Brothers from Another Planet: The Space Madness of Lee “Scratch” Perry, Sun Ra, and George Clinton, in Extended Play – Sounding Off from John Cage to Dr. Funkenstein, Durham/London, Duke University Press, pp. 7-24. 3. Williams B. 2001, Black Secret Technology: Detroit Techno and the Information Age, in Nelson A., Tu Thuy Lihn N. with Headlam Hines A. (eds), Technicolor: Race, Technology, and Everyday Life, New York/London, New York University Press, pp. 154-176. AFROFUTURISM AND CINEMA 1. Akomfrah J., The Last Angel of History (1995) – film 2. Coney J., Space is the Place (1974) – film 3. Demme J., Beloved (1998) – film 4. Gerima H., Sankofa (1993) – film 5. Fawaz R. 2012, Space, that Bottomless Pit. Planetary Exile and Metaphors of Belonging in American Afrofuturist Cinema, in “Callaloo”, 35 [4], pp. 1103- 1122. 6. George Clinton - Parliament Funkadelic, The Mothership Connection (1985) – film 7. Higbee E., Bhala Lough A., The Life & Music of Lee Scratch Perry The Upsetter (2011) – film 8. Nama A. 2008, Black Space – Imagining Race in Science Fiction Film, Austin, TX, University of Texas Press. Excerpts: "Introduction" (pp. 1-9); Chapter 6, "Subverting the Genre: The Mothership Connection" (pp. 148-172). 9. Sayles J., The Brother from Another Planet (1984) – film 10. Tarantino Q., Django Unchained (2012) – film WEBSITES - http://afrofuturism.net/filmvideography-2/ - http://www.gotmesh.org/category/dos-and-donts/ - www.sparknotes.com/lit/invisibleman - www.sparknotes.com/lit/kindred - Nelson A. 2010, Interview with Alondra Nelson, http://www.youtube.com/watch?v=IFhEjaal5js - Snider J. C. 2004, Interview: Octavia E. Butler, “SciFiDimensions”, http://www.scifidimensions.com/Jun04/octaviaebutler.htmType of delivery of the course
The teaching method involves lectures supported by PowerPoint presentations and audio-visual material relating to the topics being covered. The course is taught in English but the general level of the class will be taken into consideration.Attendance
Lecture attendance is not compulsory but is strongly recommended.Type of evaluation
The final exam is in written form and it consists of a series of multiple choice and open-ended questions based on the syllabus. Those students who wish to improve the final grade of the Written Exam may take an Oral Exam, the outcome of which may positively or negatively affect the grade of the Written Exam. Please note: for the AY 2019/2020 Summer and Autumn Exam Sessions, the assessment will be based on online oral exams. teacher profile teaching materials
The first module deals with some of the main grammar and morpho-syntactic structures of the English language. The language skills acquired by the students will be assessed at the end of the course through the 'Prova di esonero'.
Second module: Afrofuturism: Literature, Music, Cinema
Afrofuturism is an interdisciplinary cultural movement that rejects a number of clichés that have commonly referred to people of African descent. At a first glance, Afrofuturism may sound like an oxymoron. “Afro” and “Futurism” are likely to be considered as terms in opposition, the former evoking images of primitivism and backwardness, the latter – ever since F. T. Marinetti’s definition in 1909 – celebrating instead speed and modernity. The creative contribution of Afrofuturist writers, musicians, artists, filmmakers and critics challenges the stereotypical historical view routinely applied to the Black Atlantic experience and proposes counter-histories that reconsider the role of black people in the western society in the past and imagine alternative roles in the future. The module focuses on the different languages of Afrofuturism: music, visual arts, cinema and especially literature − proto-Afrofuturist fiction such as W.E.B. Du Bois’s short story “The Comet” (1920), George S. Schuyler’s novel Black No More (1931) and more recent examples such as Ralph Ellison’s Invisible Man (1952) and Octavia E. Butler’s Kindred (1979). The reference material includes works of fiction, critical essays and audiovisual material.
- Adriano Elia, La Cometa di W.E.B. Du Bois, Roma, RomaTrE-Press, 2015.
Further reference material will be given during the course (see References below).
For students not attending classes:
- R. Ambrosini, A. Rutt, A. Elia, The UK: Learning the Language, Studying the Culture, Roma, Carocci, 2008 (2005).
- N. McNaughton, Understanding British and European Political Issues, Manchester, Manchester University Press, 2010 (2003).
- A. Hunt, B. Wheeler, “Brexit: All you need to know about the UK leaving the EU”, BBC News, 5 September 2017
(available here: https://scienzepolitiche-uniroma3-it.mirror.uniroma3.it/aelia/wp-content/uploads/sites/29/2009/11/Brexit.pdf).
- English Grammar 2019-20
(available here: https://scienzepolitiche-uniroma3-it.mirror.uniroma3.it/aelia/wp-content/uploads/sites/29/2019/09/English-Grammar-2019_20.pdf).
Programme
First module: English grammar: Learning the LanguageThe first module deals with some of the main grammar and morpho-syntactic structures of the English language. The language skills acquired by the students will be assessed at the end of the course through the 'Prova di esonero'.
Second module: Afrofuturism: Literature, Music, Cinema
Afrofuturism is an interdisciplinary cultural movement that rejects a number of clichés that have commonly referred to people of African descent. At a first glance, Afrofuturism may sound like an oxymoron. “Afro” and “Futurism” are likely to be considered as terms in opposition, the former evoking images of primitivism and backwardness, the latter – ever since F. T. Marinetti’s definition in 1909 – celebrating instead speed and modernity. The creative contribution of Afrofuturist writers, musicians, artists, filmmakers and critics challenges the stereotypical historical view routinely applied to the Black Atlantic experience and proposes counter-histories that reconsider the role of black people in the western society in the past and imagine alternative roles in the future. The module focuses on the different languages of Afrofuturism: music, visual arts, cinema and especially literature − proto-Afrofuturist fiction such as W.E.B. Du Bois’s short story “The Comet” (1920), George S. Schuyler’s novel Black No More (1931) and more recent examples such as Ralph Ellison’s Invisible Man (1952) and Octavia E. Butler’s Kindred (1979). The reference material includes works of fiction, critical essays and audiovisual material.
Core Documentation
For students attending classes:- Adriano Elia, La Cometa di W.E.B. Du Bois, Roma, RomaTrE-Press, 2015.
Further reference material will be given during the course (see References below).
For students not attending classes:
- R. Ambrosini, A. Rutt, A. Elia, The UK: Learning the Language, Studying the Culture, Roma, Carocci, 2008 (2005).
- N. McNaughton, Understanding British and European Political Issues, Manchester, Manchester University Press, 2010 (2003).
- A. Hunt, B. Wheeler, “Brexit: All you need to know about the UK leaving the EU”, BBC News, 5 September 2017
(available here: https://scienzepolitiche-uniroma3-it.mirror.uniroma3.it/aelia/wp-content/uploads/sites/29/2009/11/Brexit.pdf).
- English Grammar 2019-20
(available here: https://scienzepolitiche-uniroma3-it.mirror.uniroma3.it/aelia/wp-content/uploads/sites/29/2019/09/English-Grammar-2019_20.pdf).
Reference Bibliography
- DEFINITION OF AFROFUTURISM 1. Dery M. 1993, Black to the Future: Interviews with Samuel R. Delany, Greg Tate, and Tricia Rose, in Dery M. (ed.), Flame Wars: The Discourse of Cyberculture, in “The South Atlantic Quarterly”, 92 [4], pp. 735-778. 2. Elia A. 2014, The Languages of Afrofuturism, in “Lingue e Linguaggi”, Vol. 12, pp. 83-96. 3. Eshun K. 1998, More Brilliant than the Sun: Adventures in Sonic Fiction, London, Quartet Books, pp. -017 - -001. 4. Eshun K. 2003, Further Considerations on Afrofuturism, in “CR: The New Centennial Review”, 3 [2], pp. 287-302. 5. Lavender III I. 2011, Critical Race Theory, in Bould M., Butler A.M., Roberts A., Vint S. (eds), The Routledge Companion to Science Fiction, London/New York, Routledge, pp. 185-193. 6. Lewis G. 2008, Foreword: After Afrofuturism, in Journal of the Society for American Music, 2 (02), pp. 139-153. 7. Nelson A. 2002, Introduction: Future Texts, in “Social Text”, 71, 20 [2], pp. 1-15. 8. Sinker M. 1992, Loving the Alien, in “The Wire”, 96, pp. 30-33. 9. Womack Y. L., 2013, Afrofuturism. The World of Black Sci-fi and Fantasy Culture, Chicago, Lawrence Hill Books, pp. 1-24. - CRITICISM 1. Ashcroft B., Griffiths G., Tiffin H. (eds) 2013 [2000], Postcolonial Studies – The Key Concepts, London/New York, Routledge (excerpts). 2. Césaire A. 1995 [1956], Notebook of a Return to My Native Land, translated by M. Rosello with A. Pritchard, Introduction by M. Rosello (pp. 9-68), Tarset, Northumberland, Bloodaxe Books. Excerpts: Rosello M., "Introduction", pp. 46-49; Césaire, "Notebook", pp. 107-117. 3. Du Bois W. E. B. 1994 [1903], The Souls of Black Folks, New York, Dover Publications, pp. v-vii; 1-24. 4. Fanon F. 2008 [1952], Black Skin, White Mask, London, Pluto Press. Excerpts: "Introduction" (pp. 1-7); Chapter 5, "The Fact of Blackness" (pp. 82-108); "By Way of Conclusion" (pp. 174-181). 5. Fanon F. 2001 [1961], The Wretched of the Earth, London, Pluto Press, pp. 251-255. 6. Gilroy P. 1993, The Black Atlantic: Modernity And Double Consciousness, London/New York, Verso, pp. i-xiii; 1-19; 225-228. 7. Mikula M. 2008, Key Concepts in Cultural Studies, Houndmills, Basingstoke/New York, Palgrave Macmillan (excerpts). 8. Sardar Z. 2008, Foreword to the 2008 Edition, in Fanon F. 2008 [1952], pp. vi-xx. 9. Sartre J. P., Preface, in Fanon F. 2001 [1961], pp. 7-26. AFROFUTURISM AND LITERATURE 1. Afrofuturism: Timeline of the Alterverse. Webb F. 2014, Reframing Afrofuturism, a Historical, Spiritual and Conceptual History, www.tikitoki. com/timeline/entry/309200/Afrofuturism#vars!date=1829-08-13_11:34:51 2. Baraka A. 1996, Rhythm Travel, in Thomas S. R. (ed.) 2000, pp. 113-115. 3. Bould M., Butler A. M., Roberts A., Vint S. 2011, Introduction, in The Routledge Companion to Science Fiction, London/New York, Routledge, pp. xix-xxii. 4. Butler O. E. 1988 [1979], Kindred, London, The Women’s Press Limited, pp. 9-51. 5. Butler O. E. 1995, The Monophobic Response, in Thomas S. R. (ed.) 2000, pp. 415-416. 6. Callahan J. 2001, Introduction, in Ellison R. 2001 [1952], pp. ix-xxiv. 7. Davis L., "31 Essential Science Fiction Terms and Where They Came From", 23 June 2014, http://io9.com/31-essential-science-fiction-terms-and-where-they-came- 1594794250 8. Delany S. R. 1999, Racism and Science Fiction, in Thomas S. R. (ed.) 2000, pp. 383-397. 9. Du Bois W.E.B. 1920, The Comet, in Darkwater: Voices from Within the Veil, New York, Harcourt, Brace and Company, in Thomas (ed.) 2000, pp. 5-18. 10. Elia A. 2015, La Cometa di W.E.B. Du Bois, Roma, Roma TrE-Press. 11. Ellison R. 1981, Author’s Introduction, in Ellison R. 2001 [1952], pp. xxv-xli. 12. Ellison R. 2001 [1952], Invisible Man, London, Penguin, pp. 1-37; 94-95; 216-217; 231-250; 572-581. 13. Gates H.L. Jr, McKay N.Y. 2003 (eds), The Norton Anthology of African American Literature, New York, Norton (excerpts) Jarrett G.A. 2014 (ed.), The Wiley Blackwell Anthology of African American Literature, Oxford, Wiley Blackwell (excerpts). 15. Kenan R. 1991, An Interview with Octavia E. Butler, in “Callaloo”, 14.2, pp. 495-504. 16. Nevins J., Martinez M., "Before Science Fiction: Romances of Science and Scientific Romances", 23 December 2011, http://io9.com/5870883/science-fictionbefore- science-fiction-romances-of-science-and-scientific-romances 17. Rabaka R. 2006, W.E.B. Dubois’s “The Comet” and Contributions to Critical Race Theory: An Essay on Black Radical Politics and Anti-Racist Social Ethics, in “Ethnic Studies Review”, http://www.thefreelibrary.com/W.E.B.+DuBois%27s+%22The+Comet%22+and+contributions+to+critical+race...-a0168089669. 18. Schuyler G. S. 2011 [1931], Black No More, New York, Dover Publications. Excerpt in Thomas S.R. (ed.) 2000, pp. 35-50. 19. Thomas S. R. 2000, Introduction: Looking for the Invisible, in Thomas S.R. (ed.) 2000, pp. ix-xiv. 20. Thomas S. R. (ed.) 2000, Dark Matter: A Century of Speculative Fiction from the African Diaspora, New York, Warner Books. 21. Thomas S. R. (ed.) 2004, Dark Matter: Reading the Bones, New York, Warner Books. 22. Yaszek L. 2005, An Afrofuturist Reading of Ralph Ellison’s Invisible Man, in “Rethinking History: The Journal of Theory and Practice”, 9 [2-3], pp. 297-313. 23. Yaszek L. 2006, Afrofuturism, Science Fiction, and the History of the Future, in “Socialism and Democracy”, 42, 20 [3], pp. 41-60. http://sdonline.org/42/afrofuturism-science-fiction-and-the-history-of-the-future/. AFROFUTURISM AND MUSIC 1. Baraka, A. 1996 [1993], "Sun Ra", in Eulogies, New York, Marsilio Publishers, pp. 171-174. 2. Corbett J. 1994, Brothers from Another Planet: The Space Madness of Lee “Scratch” Perry, Sun Ra, and George Clinton, in Extended Play – Sounding Off from John Cage to Dr. Funkenstein, Durham/London, Duke University Press, pp. 7-24. 3. Williams B. 2001, Black Secret Technology: Detroit Techno and the Information Age, in Nelson A., Tu Thuy Lihn N. with Headlam Hines A. (eds), Technicolor: Race, Technology, and Everyday Life, New York/London, New York University Press, pp. 154-176. AFROFUTURISM AND CINEMA 1. Akomfrah J., The Last Angel of History (1995) – film 2. Coney J., Space is the Place (1974) – film 3. Demme J., Beloved (1998) – film 4. Gerima H., Sankofa (1993) – film 5. Fawaz R. 2012, Space, that Bottomless Pit. Planetary Exile and Metaphors of Belonging in American Afrofuturist Cinema, in “Callaloo”, 35 [4], pp. 1103- 1122. 6. George Clinton - Parliament Funkadelic, The Mothership Connection (1985) – film 7. Higbee E., Bhala Lough A., The Life & Music of Lee Scratch Perry The Upsetter (2011) – film 8. Nama A. 2008, Black Space – Imagining Race in Science Fiction Film, Austin, TX, University of Texas Press. Excerpts: "Introduction" (pp. 1-9); Chapter 6, "Subverting the Genre: The Mothership Connection" (pp. 148-172). 9. Sayles J., The Brother from Another Planet (1984) – film 10. Tarantino Q., Django Unchained (2012) – film WEBSITES - http://afrofuturism.net/filmvideography-2/ - http://www.gotmesh.org/category/dos-and-donts/ - www.sparknotes.com/lit/invisibleman - www.sparknotes.com/lit/kindred - Nelson A. 2010, Interview with Alondra Nelson, http://www.youtube.com/watch?v=IFhEjaal5js - Snider J. C. 2004, Interview: Octavia E. Butler, “SciFiDimensions”, http://www.scifidimensions.com/Jun04/octaviaebutler.htmType of delivery of the course
The teaching method involves lectures supported by PowerPoint presentations and audio-visual material relating to the topics being covered. The course is taught in English but the general level of the class will be taken into consideration.Attendance
Lecture attendance is not compulsory but is strongly recommended.Type of evaluation
The final exam is written and consists of a series (90) of multiple choice and open-ended questions based on the syllabus. Those students who wish to improve the final grade of the Written Exam may take an Oral Exam, whose outcome may affect positively or negatively the grade of the Written Exam. Please note: for the AY 2019/2020 Summer and Autumn Exam Sessions, the assessment will be based on online oral exams.