A. you will identify ten (10) issues/ideas related to the Harlem Renaissance that we have read about and discussed during the semester. These issues/ideas may include political conflicts or debates, forms of consciousness related to modernity or race relations, artistic forms associated with an African American tradition, or issues within the Harlem Renaissance related to race, class, gender, sexual orientation, economics, politics, culture, philosophical belief, religion, or any other social significance (see a list below for some suggested topics, although you may choose others that we discussed that may not be listed there). For each of the ten issues/ideas, you will provide detail by locating it within any of the texts that appear on the syllabus (nonfiction, short fiction, novels, songs, films, plays, poems, or video/dance). You may not use any single text for more than three answers. One of the texts you choose must be Zora Neale Hurston's Their Eyes Were Watching God. Elaborate on each issue and how it appears in the texts you choose as directed below. For each of the ten issues/ideas, you should write a very short essay answer (for a total of 10 paragraphs). Number each of your ten answers, and for each answer, indicate with A, B, and C each part of your answer, as follows. A. Identify the issue/idea and describe its significance within the historical context of the Harlem Renaissance (3 points) B. Identify the text in which the issue occurs, and provide textual evidence/argument to show how the text raises or addresses the issue (3 points) C. Explain how/why the passage reflects an attitude toward the issue that is unique or that takes sides in a conflict or debate regarding the issue (4 points) The A, B, and C parts of each answer add up to 10 points, so that all ten paragraphs you write will be worth up to 100 points. Materials: You may use your notes and any of the texts we have used in the course. You may not use any other sources (NO INTERNET, NO ARTIFICIAL INTELLENGENCE). Use NO OUTSIDE SOURCES whatsoever. Substantial repetition between two exams (in questions answered/texts used or in duplicate wording within questions) will result in failure of both exams. You may choose from this (partial) list of some key issues we discussed this semester and that could be found in (or applied to) the texts we have read. · Mimetic rivalry with the "other," "monstrous doubles," scapegoat/repression, violence · Double consciousness/veils · Double coded discourse/signifyin'/trickster figure · Stagger Lee/hyper-masculinity . The historical relativity of forms of consciousness (and the relation of those forms to economic/political power) . Constructions of black/African history vs. European history · Political consciousness vs. limited subjectivity/point of view · Parallels between European/Harlem Renaissances . The "Old/New Negro"/generational conflict · Economic uplift vs. Education · Modes of production/forms of consciousness . Real estate and constructions of community/identity · Desire and the origin of meaning · Alienation and/or cubist relativity of meaning in relation to traditional "universal" meanings · Historical/traditional meanings/discourses vs. historical relativity · Socially created/shared "realities" · The social construction of desire/identity/gender roles, etc. (Freud, Jacques Lacan, etc.) · Education and assimilation/independence and/or "compromise" . W. E. B. Du Bois/Booker T. Washington debate · The talented 10th · Passing and/or the bases of communal identity/allegiances/solidarity . "Crab antics" · Mediated forms of consciousness · Religion/biblical traditions and ideological control · The origins and functions of African American traditions . Authenticity and/or assimilation · Agency/Autonomy vs. compromise · Constructions of "blackness"/"whiteness" · The urban/folk split in black culture · The value of (black/white) "history"/narratives · Vitality/primitivism vs. anemia/civilization · Collective/communal identity/difference · "1-Drop Rule" (and contemporary constructions of black/white) · Creolization/color politics/"color struck" · De jure and de facto segregation · Separatism, black nationalism, and/or pan Africanism · Colonialism and the "color line" · Fertility/meaning vs. ideological "disease"/"wasteland" · American nationalism and black expatriates · Exoticism and commodification of the other (in terms of race, class, gender, etc.) · European "high" culture vs. black "low" culture · The divide between middle class "respectability" and working class vitality/culture · Relative value of urban vs. folk traditions · The need for a "black" tradition · Origin/function/value of spirituals, blues, jazz, dance, literary traditions · Economic/symbolic interdependence/independence · Black/white patriarchy · Exogamous/endogamous origins of sado-masochism · The sociological origins of the pimp hero · Social origins of superstition/magic · Aesthetic vs. political responses to oppression . Patriotism/nationalism and black masculinity/Harlem Hellfighters · The relation between constructions of traditional gender categories ("masculine"/"feminine") to economic and social roles . The acceptance/rejection of gender fluidity/LGBTQ+ desire (or the lack or repression of desire) in relation to anonymity/social surveillance · Utopian/dystopian imaginings as critiques of the social/political/cultural present · Dreams as expressions of repressed desires