Friday, September 30, 2016


Caroline Duffy
Matthew Gonzales, Friday 2-3

Salvador Dali and the Persistence of Memory

            In our readings, we have seen how the novels created by modernist authors were formed by and made commentary on, the world around them. In a similar way, modernist artists like Salvador Dali, used art to communicate their unconventional ideas. In the Persistence of Memory, perhaps Dali’s most famous work, he translates complex beliefs into his painting by creating symbolic images.  In such a succinct way, abstract ideas like relativity and impermanence were brought to the public’s attention. And all this through the image of melting clocks deserted in a desert.
            Created in 1933, the Persistence of Memory was formed the same year as the theory of relativity. It has been held by some art critiques that Dali’s surrealist masterpiece was a commentary on the notions discussed in Einstein’s work. Similar to Einstein’s concept that time is relative, Dali’s clocks seem to suggest that time, as we know it, is melting away. Instead of following the linear timeline that had always been previously stated as true, Dali is suggesting that perhaps time does not always point in a one-way direction. Although it is open to interpretation, this analysis of Dali’s painting shows just how intersectional the art and scientific world can be. Both branches helping the other’s thoughts to become more popularized and well known.
            The painting has also been said to be a commentary on the impermanence of our world. Many modernists did not believe that the world was ruled by absolutes and that instead it was full of indefinites and uncertainties. If this analysis is to be taken into account, then it can be seen that Dali’s melting clocks are making fun of our supposed understanding of time. Although we may think of them as timeless, clocks are in fact human productions that provide our only source of surety of what “time” is. As Dali put it, he was working, “to systematize confusion and thus to help discredit completely the world of reality.” The modernist concepts explored in Dali’s art give it the depth that make it a cultural phenomena today.
            Salvador Dali used the world to his full advantage when making his artwork. By involving contemporary cultural aspects and intellectual notions into the threadwork of his painting’s design, he was able to form great pieces with powerful meanings. Modernist writers also used this technique to make their own art more substantial. Whether it was Dos Passos critiquing big business or Zora Neale Hurston examining race in the United States, both used this dynamic combination to make their novels timeless. As Salvador Dali once said, “intelligence without ambition is a bird without wings”. So the modernist writers used their common-held (amongst the movement’s) beliefs and personal experiences that they were passionate about to compose novels we still care and learn from today.
Questions for class: What other interpretations do you have of the painting?
Which fields were some of the most important in influencing Modernist thought?
Description: mage result for persistence of memory
Works Cited
"The Persistence of Memory by Salvador Dali Facts & History." Totally History The Persistence of Memory Comments. N.p., n.d. Web. 30 Sept. 2016.
"MOST POPULAR PAINTINGS." Persistence of Memory, 1931 by Salvador Dali. N.p., n.d. Web. 30 Sept. 2016.

Thursday, September 29, 2016

Eugenics in Amercia

Joshua Perkins
Matthew Gonzales, Friday 2-3


Eugenics in America

Eugenics is most commonly associated with Nazi Germany, but in the early 1900s the eugenics movement had a strong following in the United States where it reached its peak of popularity in the years following WWI. The movement focused on using science for the purpose of preserving “superior racial stock” by ensuring only those with beneficial, “fit” genes reproduced and never mixed with inferior groups. Eugenic scientists considered heritage and genetics as the root of all modern social problems and further more believed intelligence, behavior, criminality, cleanliness etc. were determined by one's race. As a scientific and social movement, eugenics was used to justify immigration restriction, forced sterilizations and the criminalization of interracial marriages.

Eugenics was championed by prominent biologists and politicians and it dominated racial discourse in the United States in the era between world wars. Madison Grant (notably, not a scientist) is largely credited with popularizing eugenics in America with his book The Passing of the Great Race (1916) To Grant, Nordic whites where seen as "higher racial types," and any genetic mixing with other "lower" races would inevitably result in the decline of the higher (white) race.


(U.S. eugenics poster advocating for the removal of genetic "defectives") 

Immigration Restriction:

Vocal eugenics and immigration restriction groups such as the Immigrant Restriction League advocated fiercely for restrictionist policy and were ultimately successful with the Immigration Act of 1924, which was passed by majorities in the U.S. House and Senate. It set up strict quotas limiting immigrants from countries believed by eugenicists to have "inferior" stock, particularly Southern Europe and Asia. Echoing popular eugenic sentiments, president Coolidge, who signed the bill into law, had stated when he was vice president, "America should be kept American… Biological laws show that Nordics deteriorate when mixed with other races." Eugenic scientists viewed immigration as a social problem caused by the inferiority of the racial groups migrating to the United States. Such a mentality informed future amendments to the Immigration Act of 1924 that made immigration increasingly difficult for non-white groups.

Interracial Marriage:

The eugenics movement also supplied a new set of arguments to support existing restrictions on interracial marriage. These arguments incorporated a "scientific" brand of racism, emphasizing the supposed biological dangers of mixing the races, also known as miscegenation. Influential writers like Madison Grant, warned that racial mixing was "a social and racial crime." He said that acceptance of racial intermarriage would lead America toward "racial suicide" and the eventual disappearance of white civilization.

Eugenic advocacy pushed forward laws that criminalized “inter-ethnic” marriages, sexual relations and even co-habilitation. Such anti-miscegenation laws were common in many southern and western states before they were deemed unconstitutional by the Supreme Court with the case Loving v. Virginia (1967).



Sterilizations:
Perhaps the most unsettling and radical results of the eugenics movements were compulsory sterilizations. Indiana passed the first sterilization law in the United States in 1907 and since then 33 States have had forced sterilization laws at some point. In an effort to "purify" the gene pool these laws mandated sterilization of the "feebleminded, insane, criminalistic, epileptic, inebriate, diseased, blind, deaf; deformed; and dependent" – including "orphans, ne'er-do-wells, tramps, the homeless and paupers." By 1924, approximately 3,000 people had been involuntarily sterilized in America; the vast majority (2,500) in California. The majority of these procedures were performed without patient or familial consent. Often patients didn't even fully understand the procedure they were undergoing. Under these laws people of color and women were disproportionately subjected to forced sterilization operations.


As a whole, the eugenics movement gave "scientific" credibility to preexisting racial stereotypes and prejudices. Though the "science" of eugenics has been completely discredited as it was almost always biased,using pseudo-scientific methods that were not sound, at the time it justified racism and racist legislation. Eugenics was an intersection of racism, ableism and classism hidden under the veneer of scientific objectivity that redefined race and minority discourse in the United States.

Considering eugenics' popularity during the modernist era is it possible that some of these ideas regarding race and minorities were incorporated into the texts we are reading, either overtly or covertly?

How are immigrants and ethnic minorities regarded in modernist texts or are they represented at all and are their representations at all informed by popularized eugenic beliefs?

Work Cited:
Lombardo, Paul. "Eugenic Sterilization Laws." Eugenicsarchive.org. N.p., n.d. Web. 25 Sept. 2016.

Lombardo, Paul. "Social Origins of Eugenics: Eugenic Laws Against Race Mixing." Social Origins of Eugenics. Eugenics Archive, 12 Feb. 2008. Web. 29 Sept. 2016.

Remsberg, Rich. "Found In The Archives: America's Unsettling Early Eugenics Movement." NPR. NPR, 1 June 2011. Web. 29 Sept. 2016.















Jessica Gagliardi
Comparative Literature 60AC

How It Feels to Be Colored Me by Zora Neale Hurston
Zora Neale Hurston
(the best version I could find was from a PDF of a textbook, just ignore the rest of what's there)

How It Feels to Be Colored Me is a personal essay by Zora Neale Hurston exploring and celebrating her identity as a black woman, and her status as a human being.

Hurston was the most prominent female writer of the Harlem Renaissance, but was distinct from other members of the Harlem Renaissance movement in that she was trained as a cultural anthropologist at Barnard College; this heavily influenced her work, particularly her focus on ‘the folk’ and cultural affirmation for black people (Miller).

(video)

In How It Feels to Be Colored Me, Hurston initially recounts her childhood interactions with white people, particularly tourists passing through Eatonville from the North. She describes how she loved to dance and sing for them, unaware that she was conforming herself to the racial stereotype of the “happy darkey,” a notoriously uncomfortable character in America’s racial history (Walker). She isn’t made into this caricature because of the way she sees herself (someone full of “joyful tendencies”), but rather because of these white people’s perception of her.

The incident with the white tourists in Eatonville really illustrates the fluidity of identity that Hurston ultimately capitalizes on in this work and the rest of her oeuvre. Hurston concludes that her blackness and her history are not things that hold her back, instead they are parts of an identity that includes and is enriched by culture but extends even beyond it and is not defined by it solely. She refuses to let anybody tell her that life itself is not cause enough for jubilation, in spite of and because of the fact that she is black. At the end of How It Feels to Be Colored Me Hurston returns full circle to a jubilant celebration of her “cosmic self,” seizing the power to create her own reality (NPR).


This circles back to the current of modernist thought that permeated American arts and culture at the time that Hurston was writing; one prominent aspect of modernism is the idea of facing the possibility that objectivism is a fallacy, and reality and morality aren’t as clear-cut as people once thought. While many white writers and artists of this period seemed to bemoan this and adopt a bleak outlook on the future, Zora fully embraced the opportunity for herself and for other black people to create and define their own identity and reality. It is a much more hopeful and even celebratory take on this modernist idea, I think, than we have seen anywhere else in our study of modernism.

Works Cited
    Miller, Monica. "Archaeology of a Classic." Barnard Magazine 17 Dec. 2012: n. pag. Web. 

Grosvenor, Vertamae. "Intersections: Crafting a Voice for Black Culture." NPR. NPR, 26 Apr. 2004. Web. 29 Sept. 2016.


Walker, Alice. "Looking for Zora." Ms. Magazine 1975: n. pag. Web.


Boyd, Valerie. "About Zora Neale Hurston." Zora Neale Hurston: The Official Website of Zora Neale Hurston. N.p., n.d. Web.

American Masters: Zora Neale Hurston. PBS, n.d. Web.

Wednesday, September 28, 2016

The Great Migration


Allie Groscost
Comparative Literature 60ac
Professor Masiello
Matt Gonzales' Discussion Friday 11-12
The Great Migration
            The climate in America changed dramatically during the last half of the nineteenth century. During the Civil War, in 1863, President Abraham Lincoln issued the Emancipation Proclamation, a statement that would free millions of black slaves in the South. Upon the War’s closure, however, many of these free people would realize that their troubles were far from over.
            After Lincoln’s assassination and closer to the end of 1865, the 13th Amendment was ratified, officially outlawing slavery. Reconstruction began – a series of federal measures took hold in the South to divide up the former Confederacy and guarantee free people their civil rights. In response to this, Southern states put in place their own “black codes”, which allowed basic rights for blacks but severely limited their opportunities and rights as now-paid workers.
In the coming years, the 14th and 15th Amendments would be ratified, defining citizenship and granting blacks the right to vote. Once again, these important attempts at integrating freed slaves into society and giving them equal rights were foiled by the failure and end of Reconstruction, as well as the creation of Jim Crowe laws. These laws barred African Americans from mixing with whites everywhere from the post office to playing checkers, creating a “separate but equal” environment (which was not truly equal).
Caricature about Jim Crow Laws
Once slavery was abolished, many people looked forward to being rightfully given portions of the land they had worked on previously, in a concept known as “forty acres and a mule”. Instead, the land claimed by the government during the Civil War was mostly returned to the white plantation owners, who began a system known as sharecropping, in which they would allow newly freed slaves to work on an allotted portion of their land in exchange for a significant portion of their profit. This system did not allow for the economic freedom of African Americans, who struggled under these newly accrued debts, becoming essentially indentured servants. A major event that contributed to this struggle was a boll weevil epidemic in the year 1898, which destroyed a vast majority of crops in the South. This meant that a majority of what little crops sharecroppers could grow went to their landlords, putting them deep into debt if they borrowed money to use the sharecropper’s tools or other resources to grow these meager yields of cheap cotton.
Sharecroppers
Another pressure looming over “free” African Americans in the South in the late nineteenth century was the threat of domestic terrorism.  Although the Ku Klux Klan was officially disbanded in 1869, its racist ideals still maintained a solid grip on the South during this time period and lynchings, intimidation, and violence haunted blacks.  It is important to realize that although this was a significant threat to African Americans, it was not a new one, and ultimately not the main reason they relocated during the Great Migration.


All of these issues continued into the twentieth century and the beginning of World War I. During this time, immigration had been halted into the U.S. and many working-age men were enlisted into the army, so help was needed creating the weaponry and supplies for the war effort.  This labor shortage drew many African Americans to the North in search of actual equality and decent working conditions. Black newspapers published success stories of transplanted workers, and northern companies sent recruiters to the South to persuade them to come work in the North. For many, the ability to move from place to place was freedom – something slaves could never have done without being hunted down and possibly killed.
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Desperate economic conditions, unsafe environments, and a labor shortage in the North began uprooting blacks from the South, creating an enormous displacement of people across the United States. Spanning from 1915 to 1970, The Great Migration was an exodus in which more than six million African Americans moved from the rural South to the urban North. At the beginning of this movement, over 90% of blacks lived in the South, and by the end, almost half had settled in the North or West.
At the beginning of this movement, white landholders were not happy to see their cheap labor leaving. In addition, African Americans who had already established themselves in the North were less than delighted to admit newcomers into their environment. Isabel Wilkerson, the first black woman to be awarded the Pulitzer Prize, discusses these points in an NPR interview about her Great Migration book, The Warmth of Other Suns.  She details how Southerners reenacted many of the laws that had been previously been used to keep slaves in place to keep African Americans in the South, as well as imposing fines and laws to keep Northern recruiters out. She also explains the reinstatement of peonage laws, which made it possible to be arrested for buying a train ticket and trying to leave the horrible conditions there.  Wilkerson’s reasoning behind the lapse in support from African Americans already in the North is that they were an extreme minority there and respected in their professional roles in these communities. The influx of rural workers posed a threat to their careers that were already difficult to maintain.
Once in the North, life was not automatically a “piece of cake” for most African Americans. Although they finally experienced the right to vote, they were met with hardships such as extreme discrimination for job selection, exploitation, and low wages, and were the first fired once soldiers returned home from World War I.  Housing was a huge issue – competition for houses and discrimination by white landlords led to a series of race riots in 1919.  In response to this, blacks often created their own communities within these large cities, which led to important cultural movements such as the Harlem Renaissance and the rise of jazz music.
Louis Armstrong 
The Great Migration significantly impacted Zora Neale Hurston, as she took part in it. Growing up in Eatonville, Florida, she moved to the North to attend school at Howard University and Barnard College, joining the other writers of the Harlem Renaissance in New York City. Although she later traveled all around the United States and around the world, The Great Migration is an issue that directly impacted her heritage, history, and ultimately her novel Their Eyes Were Watching God. Without her experiences in Harlem, Zora Neale Hurston arguably would have never collaborated with other great writers such as Langston Hughes and would not have gotten mentorship from people such as Frank Boaz.



Questions for the Class:
1. Given your previous knowledge of African American history and the information presented in this post, how do you think Zora Neale Hurston's life would have been different if the Great Migration did not occur? Do you think she would have had the opportunity to create written works that were read if not respected? How would other Harlem Renaissance writers have been affected; would they all have eventually crossed paths or is the Great Migration essential to the nurture and celebration of black culture and rise of different movements?

2. How can you see the influence of the Great Migration in the Modernist movement and today? Many people do not realize that this exodus ended in 1970, which is much more recent than the time period we typically think about when discussing topics like the effects of slavery. What specific aspects of this movement have been brushed over in history and how has this affected U.S. history, specifically in regards to Modernism? Keep this in mind as we cover other Harlem Renaissance writers. 




Works Cited
Giesen, James C. “Sharecropping”. Georgiaencyclopedia.org, 2007. Web. 28 Sept. 2016.

“The Great Migration”. PBS.org, 2013. Web. 28 Sept. 2016.

"Great Migration: What Caused the Great Migrations?" History in Dispute. Ed. Robert J.
            Allison. Vol. 3: American Social and Political Movements, 1900-1945: Pursuit of
            Progress. Detroit: St. James Press, 2000. 70-77. U.S. History in Context. Web. 29
            Sept. 2016.

History.com Staff. “Great Migration”. History.com. A + E Networks, 2010. Web. 28

“Jim Crow Laws”. Wikiwand.com, 2016. Web. 28 Sept. 2016.
            <http://www.wikiwand.com/en/Jim_Crow_laws>

Molly. “The Harlem Renaissance”. 2015. Web. 28 Sept. 2016.
            <http://blogs.cofc.edu/american-novel/2015/04/02/the-harlem-renaissance/>

NPR.org Staff. “Great Migration: The African-American Exodus North”. NPR.org, 2010.

Wilkerson, Isabel. “The Long-Lasting Legacy of the Great Migration”.
            Smithsonianmag.com, 2016. Web. 28 Sept. 2016.

“Zora Neale Hurston”. The Gilder Lehrman Institute of American History, 2016. Web. 28
            Sept. 2016. <http://www.gilderlehrman.org/history-by-era/jim-crow-and-great-
            migration/timeline-terms/zora-neale-hurston>
How to Play a Song with an Airplane Propeller: Surrealist Music
by Muhammed Razeen
Surrealist music is defined by usage of seemingly random, jarring noises interwoven with an audible but heavily irregular “normal” sound. Surrealist music prided itself on synthesizing an uncomfortable, convoluted listening experience for the audience - a popular strategy employed by many surrealist composers, including Erik Satie, George Antheil, and Kurt Weil. These artists helped popularize an age of musical instrumentation that later influenced post-war Modernism - specifically adding the tactic of using a stream of consciousness, and mixing dogmas of traditionalism with destructivist critiques of society as a whole - both common themes in the 42nd Parallel.
Surrealist music added depth to the already transformative art styles ingrained in Modernism. Aspects of unusual “instruments” such as airplane propellers and alarm bells were used often in surrealist, musical performances, tempo was often erratic and incredibly quick, and surrealist music was often scored with cinema. This surrealist music/film combination synthesized a powerful, slightly eerie on-stage performance. Performance arts in the 1920s onward began to experience a short burst of bolder on-screen action with the advent of surrealist music - open criticism aimed at just about any controversial topic: the aftermath of World War I, skepticism over the first attempts of aviation, alongside many others. Topics that were previously taboo became possible to discuss - under the guise of “nonsensical” artistry. Surrealist music in particular was most effective at initiating this debate - after all, on-screen musical performances were likely to be viewed as popular and often gathered large audiences - as opposed to other forms of surrealism (exception being surrealist cinema), which were less circulated.
Essentially, surrealist music encouraged Modernist writers to begin critiquing common structural “impediments” of society with a twisted lens - criticism being hidden in jolting, confusing appeals to sound and language that were equal parts entertaining as they were socially incisive. The 42nd Parallel (Dos Passos, John)’s unique approach to the “voice” and everyday language is in part influenced by the tactics of surrealist music: a stream of consciousness in dialogue interspersed with colloquial language - seemingly purposeless at first, but then insinuating American attitudes towards foreigners, art, politics, etc through the delivery of the “voice”/speech of characters. Juxtaposition, as mentioned before, is the tying factor between the two - while surrealist music used airplane propellers and random bursts of sirens, Dos Passos utilized slang phrases and loosely-structured dialogue - but nevertheless both groups scrutinized an economically turbulent America all the same.
Therefore, surrealist music influenced political artistry in the 20th century in a significant manner - giving it both a vehicle for covert criticism as well as a new method of artistic expression. Surrealist music intrigues not only musical aficionados, but also students of history - by weaving perspectives of criticism, randomness, and musical expression in a single thread.
Case Study Analysis:
Key Info: Ballet Mecanique (1924), with George Antheil (Piano, Sirens, Alarm Bells, Propellers)
Analysis: Instruments used reflect chaos of post-WW1 trauma. Note juxtaposition of images of happy smiles with erratic, offbeat, slightly eerie music - leads to well-veiled extract of life for average Americans in a fiscally-stressed, Modernist America. Note the stream of consciousness used - random images with impacting cymbal sounds/sirens with dramatic gusto. Intended to provide emotional blueprint/impression, rather than cohesive picture.
Q:
1. Is all surrealist music inherently cynical about the the state of America?
2. Does surrealist music emphasize Modernism and forward thinking, or emphasize scrutiny over progression?
Works Cited
  • Waite, Michael. Memnon, a Musical Score for Ballet: Together with a Study of Twentieth-century Tonality and Line through Analysis of Debussy's Fetes Galantes Book II, Stravinsky's Agon and Tippett's Sonata No. 3 for Piano. Leicester: U of Leicester, 1994. Print.
  • Daniel, Albright. "Modernism and Music." University of Chicago Press. N.p., n.d. Web. 28 Sept. 2016.
  • Calkins, Susan. "The Modern Sincerity of Erik Satie's Musical Style."Academia.edu. N.p., n.d. Web. 27 Sept. 2016.
  • Fernand Leger - Ballet Mecanique (1924). Perf. George Antheil. YouTube, 20 Jan. 2013. Web. 27 Sept. 2016.