reproductions supplied by edrs are the best that can … · funding provided by the herb alpert...
TRANSCRIPT
DOCUMENT RESUME
ED 447 007 SO 031 706
AUTHOR Jaffee, Cyrisse, Ed.; Sharma, Amina, Ed.
TITLE Culture Shock: A Teacher's Guide To Accompany the Four-Part
PBS Series Premiering January 2000.
INSTITUTION WGBH-TV, Boston, MA.
SPONS AGENCY National Endowment for the Humanities (NFAH), Washington,DC.; National Endowment for the Arts, Washington, DC.;Corporation for Public Broadcasting, Washington, DC.; FordFoundation, New York, NY.; John S. and James L. KnightFoundation, Miami, FL.; Geraldine R. Dodge Foundation,Morristown, NJ.; George Gund Foundation, Cleveland, OH.
PUB DATE 1999-00-00
NOTE 89p.; Videotape series not available from ERIC. Additional
funding provided by the Herb Alpert Foundation, the NathanCummings Foundation, the Albert A. List Foundation, and the
Sheldon H. Solow Foundation.
AVAILABLE FROM Culture Shock Teacher's Guide, WGBH Educational Foundation,Educational Print and Outreach, 125 Western Avenue, Boston,MA 02134; Fax: 617 300-1040; Web site:(http://www.pbs.org/wgbh/cultureshock/); E-mail:
([email protected]).PUB TYPE Guides - Classroom - Teacher (052)
EDRS PRICE MF01/PC04 Plus Postage.
DESCRIPTORS *Art Expression; Cultural Education; *Culture Conflict;
*Documentaries; Historical Interpretation; *Modern History;*Popular Culture; Public Television; Secondary Education;Social Studies; Television Viewing
ABSTRACTThis teacher's guide accompanies the four videos ("Born to
Trouble: Adventures of Huckleberry Finn"; "The Shock of the Nude: Manet's
Olympia"; "Hollywood Censored: Movies, Morality and the Production Code"; and
"The Devil's Music: 1920s Jazz") of the PBS "Culture Shock" series. The guide
suggests that the videos could be used in the English/language arts
classroom, or as part of an interdisciplinary curriculum they could help
sustain either a semester-long inquiry into issues of the arts and
intellectual freedom or a chronological or thematic study of the arts in the
United States. It explains that since all the videos touch on similar issues
and questions, the themes become increasingly complex and interesting as they
are considered in relation to different works of art. The guide contains an
explanatory section and additional sections on exploring the series' themes
and on teaching "Huckleberry Finn" in context. It examines each video
separately, with activities and questions: "About the Film" offers a film
summary and a brief list of key terms, topics, and people; "Literature Links"
offers ideas for using the films in conjunction with books; "Viewpoints"
contains quotes, article excerpts, and other primary and secondary sources
ideal for student discussion and activities. Each video has its own
"Resources" section, while the "General Resources" section lists books,
organizations, and Web sites for further exploration. (BT)
Reproductions supplied by EDRS are the best that can be madefrom the original document.
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7
7:
Intr
oduc
tion
he p
ower
of
the
arts
to e
nthr
all a
nd d
istu
rb u
s is
at t
he h
eart
of
the
CU
LT
UR
E S
HO
CK
fou
r-pa
rt d
ocum
enta
ryse
ries
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LT
UR
E S
HO
CK
exp
lore
s th
emes
that
are
cen
tral
to c
urre
nt d
ebat
es a
bout
the
role
of
the
arts
in s
ocie
ty,
cultu
ral v
alue
s, a
nd f
reed
om o
f ex
pres
sion
. Eac
h pr
ogra
m te
lls th
e st
ory
of n
ow-c
lass
ic w
ork
inan
art
for
mlit
erat
ure,
pai
ntin
g, m
usic
, and
mov
iest
hat h
as b
een
cont
rove
rsia
l and
exp
lore
s its
rel
evan
ce to
day.
The
ser
ies
exam
ines
que
stio
ns th
at o
ur s
ocie
ty h
as g
rapp
led
with
in r
ecen
t yea
rs: C
an th
e ar
tsgo
too
far?
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do
new
form
s of
art
and
pop
ular
cul
ture
em
erge
? W
hat m
otiv
ates
art
ists
to c
reat
e.
..an
d au
dien
ces
to r
eact
? D
o th
e ar
ts c
ause
or r
efle
ct s
ocia
l beh
avio
r? W
hat d
o co
nflic
ts a
bout
the
arts
tell
us a
bout
who
we
are
as a
soc
iety
? C
UL
TU
RE
SH
OC
K is
abo
utcr
eativ
e in
spir
atio
n an
d co
nflic
ting
valu
es. I
t's a
bout
soc
ial h
isto
ry, h
ow c
ultu
re e
volv
es, a
nd th
e ro
le o
f th
e ar
ts in
our
lives
.
Eac
h do
cum
enta
ry lo
oks
at h
ow th
e ar
ts in
flue
nce
and
refl
ect t
heir
tim
es: t
he s
cand
al o
f M
anet
's f
amou
s 18
65pa
intin
g of
a nu
de, O
lym
pia;
the
"sub
vers
ive"
nat
ure
of 1
92os
jazz
; Hol
lyw
ood
mov
ies
deem
ed im
mor
al d
urin
g th
e 19
3os;
and
Mar
kT
wai
n's
Adv
entu
res
ob H
uckl
eber
ry F
inn,
the
nove
l tha
t see
ms
to h
ave
been
bor
n to
trou
ble.
By
exam
inin
g w
orks
of a
rtth
at h
ave
beco
me
icon
s an
d ch
ange
d th
e w
ay w
e se
e th
e w
orld
and
our
selv
es, C
UL
TU
RE
SH
OC
K c
eleb
rate
s th
ear
ts a
ndth
eir
esse
ntia
l yet
com
plex
rol
e in
soc
iety
.
Cul
ture
Sho
ck in
the
Cla
mro
omT
he f
ilms
in th
e C
UL
TU
RE
SH
OC
K s
erie
s he
lp s
tude
nts
enga
ge in
the
impo
rtan
t cri
tical
and
cre
ativ
epr
oces
s of
lear
ning
to m
ake
conn
ectio
ns a
mon
g va
riou
s su
bjec
ts. L
itera
ture
, his
tory
, art
, pol
itics
, eco
nom
ics,
rel
igio
n, a
nd p
sych
olog
yco
me
toge
ther
as th
e fi
lms
expl
ore
why
a p
artic
ular
wor
k of
art
bec
ame
cont
rove
rsia
l. W
atch
ing
the
film
s en
cour
ages
stu
dent
s to
thin
k ab
out
the
role
of
the
arts
in th
eir
lives
and
to a
sk k
ey q
uest
ions
abo
ut h
ow th
e ar
ts a
ffec
t us
indi
vidu
ally
and
as a
soc
iety
. And
by
prov
okin
g st
uden
ts to
ask
que
stio
ns a
nd d
raw
par
alle
ls, t
he f
ilms
help
con
nect
our
con
tem
pora
ry w
orld
with
the
past
. The
jazz
era
of th
e 19
2os
mig
ht n
ot s
eem
so
unfa
mili
ar, f
or e
xam
ple,
whe
n st
uden
ts r
ealiz
e ho
w m
uch
the
stor
y of
ear
ly ja
zz s
hare
s w
ith th
atof
the
rap
or r
ock
mus
ic th
ey li
sten
to to
day.
The
film
s of
fer
man
y op
port
uniti
es f
or u
se in
the
Eng
lish/
Lan
guag
e A
rts
clas
sroo
m. S
ince
man
y w
orks
of
liter
atur
e ar
e or
hav
e be
enco
ntro
vers
ial,
the
ques
tions
rai
sed
by th
e se
ries
can
info
rm th
e st
udy
of li
tera
ture
. Ind
ivid
ual f
ilms
can
also
enr
ich
the
stud
y of
the
cultu
ral m
ilieu
of
a lit
erar
y w
ork.
For
exa
mpl
e, th
e co
ntro
vers
y ov
er M
adam
e B
ovar
y, p
ublis
hed
in F
ranc
e ju
sta
few
yea
rs b
efor
eM
anet
exh
ibite
d O
lym
pia,
may
be
clea
rer
with
the
desc
ript
ion
of F
renc
h cu
ltura
l mor
es in
"T
he S
hock
of
the
Nud
e: M
anet
's O
lym
pia.
"
The
film
s ar
e es
peci
ally
wel
l-su
ited
for
use
in a
n in
terd
isci
plin
ary
curr
icul
um. H
uman
ities
or A
mer
ican
Stu
dies
teac
hers
, or
team
teac
hers
in A
mer
ican
Lite
ratu
re a
nd H
isto
ry, m
ight
cho
ose
to s
how
the
thre
e fi
lms
abou
t the
art
s in
Am
eric
aas
they
mov
e th
roug
ha
chro
nolo
gica
l or
them
atic
stu
dy o
f th
e U
nite
d St
ates
. All
four
film
s m
ay b
e us
ed to
str
uctu
re a
sem
este
r-lo
ng in
quir
y in
to is
sues
of th
e ar
ts a
nd in
telle
ctua
l fre
edom
. Sin
ce th
e fi
lms
all t
ouch
on
sim
ilar
issu
es a
nd q
uest
ions
, stu
dent
s w
ill b
egin
to s
ee h
ow th
ese
ries
them
es (
high
light
ed o
n pa
ges
4-5)
bec
ome
incr
easi
ngly
com
plex
and
inte
rest
ing
as th
ey a
re c
onsi
dere
d in
rel
atio
n to
diff
eren
t wor
ks o
f ar
t.
8
ilDW
$(0
Use
MI6
Gui
deE
xplo
ring
the
Seri
es' T
hem
es (
page
s 4-
5) f
ocus
es o
n so
me
of th
e ce
ntra
l que
stio
ns p
osed
by
the
film
s. T
hese
disc
ussi
on q
uest
ions
can
be
cons
ider
ed o
n th
eir
own
or a
pplie
d to
one
or
mor
e of
the
four
film
s. T
he A
ctiv
ities
that
fol
low
(pa
ges
6-7)
can
als
o be
use
d w
ith a
ny o
r al
l of
the
film
s.
The
gui
de th
en e
xam
ines
eac
h fi
lm s
epar
atel
y, w
ith a
ctiv
ities
and
que
stio
ns. A
bout
the
Film
off
ers
a su
mm
ary
of th
efi
lm a
nd a
bri
ef li
st o
f K
ey T
erm
s, T
opic
s, a
nd P
eopl
e th
at y
ou m
ay w
ant t
o in
trod
uce
to y
our
stud
ents
. Cur
ricu
lar
Lin
ksis
a li
st o
f ot
her
rela
ted
subj
ect a
reas
. You
may
wan
t to
crea
te a
cro
ss-c
urri
cula
r or
inte
rdis
cipl
inar
y un
it w
ith a
teac
her
from
one
of
thes
e di
scip
lines
. Lite
ratu
re L
inks
off
ers
idea
s fo
r us
ing
the
film
s in
con
junc
tion
with
boo
ks y
ou m
ay a
lrea
dybe
teac
hing
in y
our
Eng
lish/
Lan
guag
e A
rts
curr
icul
um. T
he s
ectio
n ca
lled
Vie
wpo
ints
con
tain
s qu
otes
, art
icle
exc
erpt
s, a
ndot
her
prim
ary
and
seco
ndar
y so
urce
s th
at a
re id
eal f
or s
tude
nt d
iscu
ssio
n an
d ac
tiviti
es. E
ach
film
has
its
own
Res
ourc
esse
ctio
n, w
ith a
nnot
ated
list
s of
boo
ks a
nd W
eb s
ites
abou
t the
film
's th
emes
. The
Gen
eral
Res
ourc
es s
ectio
n (p
ages
37-
38)
lists
boo
ks, o
rgan
izat
ions
, and
Web
site
s fo
r fu
rthe
r ex
plor
atio
n of
the
arts
, fre
edom
of
expr
essi
on, a
nd r
elat
ed is
sues
.
Bor
n to
Tro
uble
: Adv
entu
res
of H
uckl
eber
ry F
inn
in th
e C
lass
room
For
man
y E
nglis
h/L
angu
age
Art
s te
ache
rs, t
he d
ocum
enta
ry "
Bor
n to
Tro
uble
: Adv
entu
red
ob H
uckl
eber
ryFi
nn,"
may
be
the
mos
t use
ful f
ilm in
the
seri
es. F
or th
ose
teac
hers
wis
hing
to in
trod
uce
stud
ents
to th
e bo
okan
d th
e on
goin
g co
ntro
vers
y, th
e fi
lm c
an a
lso
stan
d al
one
as a
hel
pful
ove
rvie
w o
f th
e is
sues
. In
this
gui
deyo
u w
ill f
ind
ques
tions
and
act
iviti
es a
bout
the
film
, whi
ch c
an b
e us
ed a
long
with
a s
tudy
of
the
nove
l (pa
ges
20-2
4).
A b
rief
ove
rvie
w o
f th
e co
ntro
vers
y su
rrou
ndin
g th
e bo
okon
e of
the
mos
t fre
quen
tly ta
ught
and
fre
quen
tlyba
nned
boo
ks in
sec
onda
ry s
choo
lis a
lso
prov
ided
.
The
Huc
k Fi
nn in
Con
text
cur
ricu
lum
(pa
ges
26-3
5) is
bas
ed o
n a
unit
orig
inal
ly d
evel
oped
by
the
Che
rry
Hill
Scho
ol D
istr
ict i
n N
ew je
rsey
(se
e pa
ge 2
5), i
n re
spon
se to
obj
ectio
ns a
bout
the
book
's p
erce
ived
rac
ism
. Thi
sin
nova
tive
curr
icul
um e
xam
ines
the
nove
l with
in it
s hi
stor
ical
as
wel
l as
liter
ary
cont
ext.
Thi
s gu
ide
prov
ides
an
over
view
of
the
curr
icul
um, w
hich
can
ser
ve a
s a
mod
el f
or te
achi
ng o
ther
con
trov
ersi
al li
tera
ture
.
If y
ou w
ould
like
to p
ursu
e a
stud
y of
Adv
entu
red
of H
uckl
eber
ry F
inn
in g
reat
er d
epth
, you
can
ord
er H
uck
Finn
in C
onte
xt: A
Tea
chin
g G
uide
, whi
ch c
onta
ins
the
full
curr
icul
um, o
r th
e H
uck
Finn
Cou
rdep
ack,
whi
ch c
onta
ins
Huc
kFi
nn in
Con
text
: A T
each
ing
Gui
de; t
he c
ompa
nion
rea
ding
s, c
lear
ed f
or c
lass
room
use
; and
the
vide
o of
"B
orn
toT
roub
le: A
dven
ture
d of
Huc
kleb
erry
Fin
n" (
see
page
39)
.
10
NO
TE
Bec
ause
the
serie
s ex
plor
esco
ntro
vers
ies
in th
e ar
ts, p
ast
and
pres
ent,
teac
hers
sho
uld
prev
iew
the
film
s be
fore
show
ing
them
to s
tude
nts.
Eac
hof
the
film
s co
ntai
ns la
ngua
gean
d/or
imag
es th
at m
ay b
eob
ject
iona
ble
to s
tude
nts
orth
eir
pare
nts.
Edu
cato
rs m
ayal
so w
ant t
o in
form
par
ents
abou
t the
film
s' to
pics
. If
desi
red,
edu
cato
rs c
an s
elec
tex
cerp
ts fr
om th
e fil
ms
toin
trod
uce
a to
pic,
pro
vide
back
grou
nd in
form
atio
n, o
rill
ustr
ate
diffe
rent
per
spec
tives
.
11
*,
expl
orin
g th
e &
rata
' The
mes
by a
re th
ere
conf
licts
ove
r th
e ar
ts?
Is th
ere
good
art
and
bad
art
? W
ho d
ecid
es?
Wha
t, if
any,
is th
ear
tist's
res
pons
ibili
ty to
soc
iety
? K
ey q
uest
ions
like
thes
e ar
e at
the
hear
t of t
he C
ULT
UR
E S
HO
CK
ser
ies.
You
can
use
the
follo
win
g di
scus
sion
que
stio
ns to
dev
elop
a u
nit o
r se
mes
ter-
long
stu
dy o
n th
e ro
le o
f the
arts
in s
ocie
ty a
nd fr
eedo
m o
f exp
ress
ion,
or
to e
nhan
ce a
n ex
istin
g un
it on
a p
artic
ular
nov
el o
r er
a. T
he th
ree
mai
nqu
estio
ns r
efle
ct th
e se
ries'
ove
rarc
hing
them
es, a
nd e
ach
has
its o
wn
subs
et o
f que
stio
ns. Y
ou c
an u
se p
arts
or
all
of th
em in
a v
arie
ty o
f way
s, in
clud
ing:
to s
park
a p
re-v
iew
ing
disc
ussi
on b
efor
e an
y of
the
film
s
to g
uide
a m
ore
in-d
epth
dis
cuss
ion
afte
r st
uden
ts h
ave
wat
ched
one
or
mor
e of
the
film
s
to a
sses
s st
uden
t lea
rnin
g af
ter
the
clas
s ha
s se
en th
e w
hole
ser
ies
to d
evel
op a
res
earc
h pa
per
or p
rese
ntat
ion
to p
rom
pt a
cla
ss d
ebat
e or
sem
inar
Did
cuaa
ion
Que
atio
na
WH
AT
IS A
RT
?
Bef
ore
stud
ents
beg
in a
uni
t or
inqu
iry in
to a
ny o
f the
issu
es r
elat
ing
to th
e ar
ts, i
t's im
port
ant t
o th
ink
abou
tw
hat t
he a
rts
are.
At t
he c
ore
of m
any
arts
con
trov
ersi
es is
not
onl
y th
e de
bate
bet
wee
n w
hat i
s an
d is
not
trul
y ar
t, bu
t als
o th
e no
tion
that
"fin
e" o
r "g
ood"
art
sho
uld
be m
oral
ly u
plift
ing.
Thi
s is
a c
ompl
ex to
pic,
but t
he fo
llow
ing
ques
tions
will
hel
p st
uden
ts b
egin
to fr
ame
thei
r th
ough
ts a
roun
d th
e is
sues
. (S
ee A
ctiv
ities
,on
pag
es 6
-7 fo
r su
gges
tions
on
how
to fu
rthe
r ex
plor
e th
ese
ques
tions
, bot
h be
fore
and
afte
r vi
ewin
g.)
Do
we
need
art
? W
hat i
s th
e pu
rpos
e or
goa
l of t
he a
rts?
Who
is a
n ar
tist?
Wha
t mak
es h
im o
r he
r an
art
ist?
Why
are
new
art
form
s of
ten
cont
rove
rsia
l?
How
wou
ld y
ou d
efin
e "g
ood"
and
"ba
d" a
rt?
"Hig
h" a
rt a
nd "
low
" ar
t?
Mus
t art
be
chal
leng
ing,
or
"rat
tle o
ur c
ages
," a
s M
ike
Bid
lo s
ays
in "
The
Sho
ck o
f the
Nud
e?"
Why
or
why
not
?
12
Det
ail f
rom
Le
Cha
rivar
i by
Hon
ore
Dau
mie
r
1it
I
"7.
rm. 4
WH
AT
IS T
HE
RO
LE O
F T
HE
AR
TS
IN S
OC
IET
Y?
As
stud
ents
wre
stle
with
def
inin
g ar
t, th
ey w
ill q
uick
ly s
ee th
at it
is a
lmos
t im
poss
ible
to ta
lk a
bout
the
arts
with
out a
lso
talk
ing
abou
t the
peo
ple
who
vie
w a
nd ju
dge
them
. The
que
stio
ns b
elow
pi.o
mpt
stu
dent
s to
thin
k
abou
t soc
iety
, and
wha
t par
t it p
lays
in h
ow a
wor
k is
prod
ticet
d a
nd r
ecei
ved.
How
are
the
arts
a r
efle
ctio
n of
the
time
and
plac
e in
whi
ch th
ey a
re c
reat
ed?
How
can
the
arts
cha
lleng
e or
cha
nge
a so
ciet
y?
Wha
t, if
any,
is th
e ar
tist's
res
pons
ibili
ty to
soc
iety
?
How
do
polit
ics,
eco
nom
ics,
rel
igio
n, g
ende
r, o
r cu
lture
pla
y a
role
in th
e cr
eatio
n of
a w
ork
of a
rt?
How
do
thes
e fa
ctor
s co
ntrib
ute
to th
e cr
itica
l and
/or
com
mer
cial
suc
cess
or
failu
re o
f tha
t wor
k?H
ow d
o th
ey h
elp
igni
te c
ontr
over
sy o
ver
a w
ork
of a
rt?
Why
has
art
that
cro
sses
bou
ndar
ies
betw
een
race
, cul
ture
s, o
r cl
asse
ssuc
h as
the
jazz
and
rap
desc
ribed
in "
The
Dev
il's
Mus
ic"o
ften
been
see
n as
thre
aten
ing?
IS A
RT
DA
NG
ER
OU
S?
Thi
s se
ries
of q
uest
ions
incl
udes
thos
e m
ost d
irect
ly a
sked
by
the
CU
LTU
RE
SH
OC
K fi
lms,
and
are
ther
efor
e us
eful
for
post
-vie
win
g di
scus
sion
s or
writ
ing.
As
stud
ents
beg
in to
thin
k ab
out t
he r
elat
ions
hip
betw
een
the
arts
and
soci
ety,
que
stio
ns o
f how
art
is ju
dged
and
con
trol
led
natu
rally
follo
w.
Who
dec
ides
wha
t is
acce
ptab
le a
rt a
nd w
hat a
rt is
dan
gero
us o
r of
fens
ive?
Wha
t rig
hts
are
guar
ante
ed b
y th
e F
irst A
men
dmen
t? H
ow d
o th
ey r
elat
e to
art
istic
exp
ress
ion?
Sho
uld
the
arts
eve
r be
cen
sore
d? If
so,
why
? In
wha
t way
? If
not,
why
not
?
Who
se p
oint
s of
vie
w a
re r
epre
sent
ed in
art
? W
hose
are
not
?
Can
art
neg
ativ
ely
affe
ct s
ocia
l beh
avio
r or
mor
als
(e.g
., ca
n vi
olen
t art
cau
se v
iole
nce
or
raci
st a
rt c
ause
rac
ism
)?
Wha
t sub
ject
s in
art
rem
ain
cont
rove
rsia
l? W
hy?
Why
and
how
doe
s on
ce-c
ontr
over
sial
art
bec
ome
acce
pted
or
even
con
side
red
clas
sic?
14
esA
rtgi
ves
form
6 rr,
to
our
terrors
as
well
as
our
desires!'
r
Pabl
o Pi
cass
o
=1
Act
iviti
esB
EFO
RE
VIE
WIN
G
As
you
inve
stig
ate
the
serie
s' th
emes
on
page
s 4-
5, h
ave
stud
ents
do
one
or m
ore
of th
efo
llow
ing
activ
ities
to
expl
ore
the
wid
e va
riety
of a
rt fo
rms,
dis
cuss
thei
r pe
rson
al r
espo
nse
to a
rt, a
nd le
arn
how
the
arts
are
ofte
n
clas
sifie
d by
soc
iety
.
Bra
inst
orm
a li
st o
f diff
eren
t gen
res
of a
rt (
e.g.
, mus
ic, p
aint
ing,
lite
ratu
re, f
ilm, d
ance
, pla
ys, g
raph
icar
t).
Ass
ign
stud
ents
a g
enre
and
ask
them
to b
ring
in a
pie
ce o
f art
they
like
from
that
gen
re (
e.g.
, avi
deot
ape
of a
danc
e pi
ece,
a p
hoto
of a
pai
ntin
g). A
sk e
ach
stud
ent t
o sa
y w
hat t
hey
like
abou
t the
art
and
to p
rovi
de s
ome
back
grou
nd o
n th
e ar
tist.
The
n ch
oose
one
or
both
of t
he fo
llow
ing
activ
ities
:
A. I
n a
larg
e cl
ass
disc
ussi
on, o
rgan
ize
the
exam
ples
stu
dent
s ha
ve c
ontr
ibut
ed in
toth
e di
ffere
nt g
enre
s.
Def
ine
and
disc
uss
term
s su
ch a
s "h
ighb
row
," "
low
brow
," "
popu
lar
cultu
re,"
"cl
assi
c,"
"alte
rnat
ive,
""a
vant
-gar
de,"
and
"m
ains
trea
m"
and
appl
y th
em to
the
art w
ithin
the
genr
es. W
hy a
re th
e ab
ove
term
sus
ed?
Wha
t pos
itive
and
neg
ativ
e im
plic
atio
ns d
o th
ese
term
s cr
eate
for
the
wor
ks o
f art
?
B. C
hoos
e a
few
pie
ces
of a
rt a
nd d
ivid
e th
e cl
ass
into
sm
all g
roup
s to
exp
lore
som
e of
the
ques
tions
on
page
s 4-
5, u
sing
the
art a
s a
refe
renc
e. T
hen
have
eac
h gr
oup
pres
ent
thei
r co
nclu
sion
s to
the
clas
s.
Afte
r vi
ewin
g on
e or
mor
e of
the
CU
LTU
RE
SH
OC
K fi
lms,
stu
dent
s sh
ould
ret
urn
to th
eir
conc
lusi
ons
and
disc
uss
how
the
new
info
rmat
ion
they
hav
e ga
ined
add
s to
or
chan
ges
thei
r an
swer
s. T
his
can
be d
one
in th
e sa
me
smal
l gro
ups,
in a
larg
e cl
ass
disc
ussi
on, o
r in
divi
dual
ly in
an
essa
y. S
tude
nts
mig
ht a
lso
use
the
ques
tions
to s
tage
ade
bate
or
a
sem
inar
-sty
le r
ound
tabl
e in
whi
ch th
ey le
ad a
dis
cuss
ion
with
out t
each
er in
terv
entio
n.
Cre
ate
a "s
cave
nger
hun
t" o
f ite
ms
for
stud
ents
to lo
ok fo
r as
they
wat
ch th
e fil
m(s
) to
hel
p fo
cus
thei
r vi
ewin
g.
The
hun
t mig
ht m
ix s
impl
e an
d m
ore
chal
leng
ing
dire
ctiv
es, a
s w
ell a
s as
k fo
r ob
ject
ive
info
rmat
ion
and
pers
onal
resp
onse
s, s
uch
as:
Fin
d a
quot
e fr
om a
crit
ic o
f the
tim
e on
the
wor
k of
art
.
Fin
d a
quot
e ex
plai
ning
why
the
wor
k is
now
con
side
red
clas
sic.
Giv
e as
man
y ex
plan
atio
ns a
s yo
u ca
n fin
d fo
r w
hy th
e w
ork
was
or
has
been
con
trov
ersi
al.
Nam
e on
e gr
oup
that
was
aga
inst
the
wor
k an
d ex
plai
n th
eir
obje
ctio
ns.
Giv
e yo
ur o
pini
on o
n th
e w
ork
of a
rt a
nd/o
r th
e co
ntro
vers
y.
Sta
te o
ne th
ing
the
film
left
you
won
derin
g ab
out.
Fin
d or
thin
k of
one
con
tem
pora
ry p
aral
lel t
o so
met
hing
men
tione
d in
the
film
.
.16
17
Bor
n to
Tro
uble `
C
Shoc
k)f
the
\T
4.)
Act
iviti
esA
FT
ER
VIE
WIN
G
Afte
r vi
ewin
g on
e or
mor
e of
the
film
s, h
ave
stud
ents
cho
ose
from
the
activ
ities
bel
ow.
Hav
e st
uden
ts r
esea
rch
a cu
rren
t art
s co
ntro
vers
y th
roug
h ne
wsp
aper
and
mag
azin
e ar
ticle
s. (
You
may
wan
t to
pres
elec
t the
topi
c or
hav
e st
uden
ts d
o in
itial
res
earc
h an
d th
en g
ener
ate
a lis
t in
clas
s.)
Dire
ct th
em to
dis
cove
r,as
the
film
s do
, wha
t pol
itica
l, cu
ltura
l, re
ligio
us, t
echn
olog
ical
, or
othe
r fa
ctor
s pl
ay a
rol
e in
this
con
trov
ersy
.T
hey
can
then
writ
e an
ess
ay o
r a
new
spap
er e
dito
rial,
or c
reat
e a
cart
oon,
that
rep
orts
wha
t the
y ha
ve fo
und.
4,.)
To
expl
ore
the
issu
e of
how
the
med
ia in
fluen
ces
youn
g pe
ople
, ask
stu
dent
s to
deb
ate
whe
ther
vio
lenc
e an
d/or
sexu
al c
onte
nt in
the
arts
can
be
harm
ful t
o ch
ildre
n. Y
ou m
ay w
ant t
o di
vide
the
clas
s in
to tw
o gr
oups
one
that
bel
ieve
s th
e ar
ts c
an h
arm
chi
ldre
n, a
nd o
ne th
at b
elie
ves
the
arts
are
not
har
mfu
l. S
tude
nts
may
wan
t to
cons
ider
mov
ies,
mus
ic, a
nd v
ideo
gam
es a
s so
me
of th
e m
edia
that
hav
e be
en c
onsi
dere
d th
e ca
use
of v
iole
nce
amon
g ch
ildre
n. H
ave
stud
ents
res
earc
h th
eir
argu
men
t bef
ore
the
deba
te v
ia th
e In
tern
et a
nd p
erio
dica
ls. A
reth
ere
com
prom
ises
or
solu
tions
that
bot
h si
des
can
agre
e up
on?
(3)
Ask
stu
dent
s to
sel
ect a
n ar
tist o
f tod
ay (
from
any
gen
re).
Dire
ct e
ach
stud
ent t
o ch
oose
five
que
stio
ns fr
om p
ages
4-5
that
they
wou
ld m
ost l
ike
to a
sk th
e ch
osen
art
ist.
The
n ha
ve th
e st
uden
t "in
terv
iew
" th
at a
rtis
t by
imag
inin
gth
e ar
tist's
ans
wer
s, a
nd a
lso
expl
ain
why
they
adm
ire o
r di
slik
e th
e ar
tist.
Stu
dent
s sh
ould
use
boo
ks, a
rtic
les,
and
inte
rvie
ws
to fi
nd in
form
atio
n an
d ac
tual
quo
tes
that
are
rel
evan
t to
thei
r qu
estio
ns.
1013
yw
ood
Cen
sore
d'5
)
Hav
e st
uden
ts r
esea
rch
and
argu
e in
favo
r of
a b
ook
that
isn'
t tau
ght i
n hi
gh s
choo
l, or
aga
inst
a b
ook
that
is.
Hav
e th
em p
rese
nt th
eir
case
in w
ritin
g or
as
an o
ral p
rese
ntat
ion,
as
if to
the
Boa
rd o
f Edu
catio
n. D
irect
them
to a
ntic
ipat
e th
e ob
ject
ions
that
mig
ht c
ome
from
diff
eren
t com
mun
ity g
roup
s (p
aren
ts, t
each
ers,
rel
igio
us le
ader
s,ad
min
istr
ator
s, e
tc.)
in th
eir
argu
men
ts.
Ask
stu
derit
s to
do
an o
ral h
isto
ry p
roje
ct a
bout
a w
ork
or ty
pe o
f art
that
was
onc
e ex
trem
ely
cont
rove
rsia
l and
is n
ow a
ccep
ted.
Inst
ruct
them
to in
terv
iew
peo
ple
of o
lder
gen
erat
ions
abo
ut a
rt'th
at w
as c
ontr
over
sial
in th
eir
time
and
why
. The
n ha
ve s
tude
nts
choo
se o
ne w
ork
men
tione
d, r
esea
rch
it fu
rthe
r, a
nd p
rese
nt th
eir
findi
ngs
toth
e cl
ass
in a
sho
rt o
ral p
rese
ntat
ion
that
incl
udes
quo
tes
of th
ose
they
inte
rvie
wed
.
(6)
Hav
e st
uden
ts w
rite
an im
agin
ary
dial
ogue
that
will
con
nect
any
of t
he C
ULT
UR
E S
HO
CK
film
s w
ith a
wor
k th
ey a
re
read
ing
in c
lass
. Firs
t, ha
ve th
e cl
ass
brai
nsto
rm a
list
of p
eopl
e or
cha
ract
ers
from
the
film
or
film
s th
ey ju
st w
atch
ed.
The
n, h
ave
them
mak
e a
list o
f cha
ract
ers
from
the
book
they
fare
rea
ding
(in
clud
ing
the
auth
or).
Stu
dent
s sh
ould
choo
se o
ne p
erso
n fr
om e
ach
list,
and
writ
e an
imag
inar
y di
alog
ue b
etw
een
the
two.
You
mig
ht w
ant t
o de
term
ine
the
dial
ogue
topi
c be
fore
hand
, or
ask
stud
ents
to c
hoos
e a
ques
tion
abou
t the
art
s fr
om p
ages
4-5
. Rem
ind
stud
ents
that
they
sho
uld
try
to w
rite
in th
e vo
ice
and
with
the
poin
t of v
iew
of t
he c
hara
cter
s th
ey c
hoos
e..
18:
BE
ST
CO
PY
AV
AIL
AB
LE19
7
TH
E S
HO
CK
OF
TH
E N
UD
E:
Abo
ut th
e Fi
lm
-r-'7
7777
7
KE
Y T
ER
MS
, TO
PIC
S, A
ND
PE
OP
LE
Man
era
Oly
mpi
aT
he f
amou
s Fr
ench
pai
ntin
g O
lym
pia
caus
ed s
uch
an u
proa
r w
hen
it w
as f
irst
exhi
bite
d in
Par
is in
186
5 th
at th
e ga
llery
was
for
ced
to h
ire
polic
emen
to p
rote
ctth
e ca
nvas
. Why
did
it s
o ou
trag
e Fr
ench
soc
iety
? T
his
film
pos
es a
num
ber
ofpo
ssib
le r
easo
ns, f
rom
the
soci
al u
phea
val c
ause
d by
a n
ewly
ric
h m
iddl
e cl
ass,
to th
eun
prec
eden
ted
real
ism
of
Man
et's
por
tray
al o
f a
cour
tesa
n. "
The
Sho
ck o
f th
e N
ude"
asks
que
stio
ns th
at a
re s
till b
eing
ask
ed to
day:
Sho
uld
the
arts
be
uplif
ting?
Who
deci
des
wha
t is
beau
tiful
? In
wha
t way
s ca
n th
e ar
ts b
e th
reat
enin
g? C
onsi
dere
d by
scho
lars
toda
y as
the
firs
t tru
ly m
oder
n pa
intin
g, O
lym
pia
prof
ound
ly c
hang
edth
e ro
le o
f ar
t in
soci
ety.
LIT
ER
AT
UR
E L
INK
S
The
Aw
aken
ing
by K
ate
Cho
pin.
Thi
s no
vel,
whi
ch e
xplo
res
wom
en's
rol
es th
roug
h on
ew
oman
's s
trug
gle
for
love
and
sel
f-un
ders
tand
ing,
was
ver
y co
ntro
vers
ial w
hen
it w
aspu
blis
hed
in 0
399.
A D
oll's
Hou
seby
Hen
rik
Ibse
n. W
ritte
n in
the
sam
e tim
e pe
riod
as
Man
et p
aint
ed O
lym
pia,
this
pla
y qu
estio
ns w
omen
's r
oles
in m
iddl
e-cl
ass
life
and
thei
r su
bjug
atio
n by
men
.
Mad
ame
Bov
ary
by G
usta
ve F
laub
ert.
Wri
tten
in th
e sa
me
time
and
plac
e as
Man
et p
aint
edO
lym
pia,
this
nov
el a
lso
caus
ed a
sca
ndal
upo
n its
rel
ease
. Lik
e O
lym
pia,
it is
a c
omm
enta
ryon
mid
dle-
clas
s co
nven
tions
and
a p
ortr
ayal
of
a co
ntro
vers
ial,
sens
ual w
oman
.
Nan
aby
Em
ile Z
ola.
Zol
a w
as in
spir
ed b
y an
othe
r of
pai
ntin
g of
Man
et's
, Nan
a, to
wri
tea
nove
l abo
ut a
cou
rtes
an a
nd th
e co
rrup
t wor
ld o
f se
cond
Em
pire
Fra
nce.
Por
trai
t of t
he A
rtis
t as
a Y
oung
Man
by J
ames
Joy
ce. T
his
nove
l abo
ut a
you
ng m
an g
row
ing
up in
Ire
land
and
reb
ellin
g ag
ains
t his
fam
ily, h
is r
elig
ion,
and
his
soc
iety
to b
ecom
e an
artis
t, ex
amin
es is
sues
of
the
artis
t's v
isio
n an
d ro
le th
at "
The
Sho
ck o
f th
e N
ude"
ech
oes.
2uT
OP
: Det
ail f
rom
Le
Cha
rivar
i by
Hon
ore
Dau
mie
rB
OT
TO
M: E
doua
rd M
anet
. Nan
a. 1
877
RIG
HT
: Edo
uard
Man
et. 1
865
Cha
rles
Bau
dela
ire
cour
tesa
n"h
igh"
and
"lo
w"
art
I
the
Louv
re
Edo
uard
Man
et
nouv
eau-
riche
the
nude
as
a cl
assi
csu
bjec
t of a
rt
the
Fre
nch
Rev
olut
ion
the
Sal
on a
nd it
s ro
lein
nin
etee
nth-
cent
ury
Fre
nch
cultu
re
art h
isto
ry
Fre
nch
lang
uage
and
cul
ture
21
Vie
wpo
inta
"I painted what I saw."
Edo
uard
Pla
net,
spea
king
of O
lym
pia
I
"I th
ink
that
peo
ple
are
goin
g to
art
to b
eup
lifte
d, o
r at
leas
t to
be a
ble
tote
ll w
hat's
goi
ng o
n. O
ften
wha
t peo
ple
don'
t und
erst
and
ordo
n't r
espo
nd to
imm
edia
tely
they
dis
mis
s as
out
rage
ous
or a
s 'th
e ar
tist i
s tr
ying
topu
ll th
e
woo
l ove
r ou
r ey
es..
. my
kind
erga
rtne
r co
uld
do b
ette
r.
Pro
fess
or L
inda
Noc
hlin
, New
Yor
k U
nive
rsity
, The
Sho
ck o
f the
Nud
e"
"[M
ane-
0succeeds in provoking almost scandalous laughter,
which causes the Salon visitors to crowd around.this
..ludicrous creature calledOlympia."
Ern
est C
hesn
eau,
Le
Con
atitu
tionn
et 1
865
..
.E
doua
rd M
anet
has
ask
ed h
imse
lf, '
Why
lie,
why
not
tell
the
trut
h?' H
eha
s m
ade
us a
cqua
inte
d w
ith O
lym
pia,
a c
onte
mpo
rary
girl
, the
sor
t of
girl
we
mee
t eve
ryda
y...
the
publ
ic a
s us
ual h
as ta
ken
good
car
e no
t to
unde
rsta
n
the
pain
ter's
inte
ntio
ns.
..
. we
laug
h at
, or
are
irri
tate
d by
the
thin
gs w
e do
n'un
ders
tand
. Tha
t is
why
we
are
quite
hap
py to
acc
ept o
rigi
nalit
yw
hen
it is
wat
ered
dow
n bu
t rej
ect v
iole
ntly
any
thin
g th
at u
pset
s ou
rpre
conc
eive
d id
eaE
mile
Zol
a, 1
867
"The auguste jeune fille is a courtesan, with dirty hands
and wrinkled feet.... her body has the lividtint of a
cadaver displayed in the morgue ....Never has
anything
so
strange been hung on the walls of an artexhibition.
22E
go, a
rt c
ritic
, Le
Mon
de M
ush*
, 186
5
4 4
to
011b
.1\4
.,
rt
41,
23
Dia
cuaa
ion
Que
atio
na a
nd A
ctiv
itiea
BE
FO
RE
AN
D A
FT
ER
VIE
WIN
G
(I)
Bef
ore
view
ing,
sho
w s
tude
nts
the
Ven
us o
f U
rbin
oby
Titi
an (
the
ultim
ate
"Sal
on p
ictu
re")
and
Oly
mpi
asi
de b
y si
de.
Exp
lain
that
one
is in
the
acce
pted
cla
ssic
al tr
aditi
on a
nd p
leas
ed th
e ar
t est
ablis
hmen
t of t
hetim
e, w
hile
the
othe
rho
rrifi
ed, o
utra
ged,
and
sho
cked
it. A
sk s
tude
nts
togu
ess
whi
ch is
whi
ch a
nd e
xpla
in w
hy. A
fter
the
film
, ask
them
why
they
thin
k M
anet
pur
pose
fully
mod
eled
Oly
mpi
aon
the
Ven
uaof
Urb
ino.
Wha
t mig
ht h
e ha
ve b
een
tryi
ng to
say
?
Dis
play
a c
opy
ofO
lym
pia
and
ask
stud
ents
to w
rite
the
inte
rnal
mon
olog
ue o
fO
lym
pia,
the
mai
d, o
r th
e ca
tas
they
sit
for
the
port
rait.
Afte
r th
e fil
m, h
ave
stud
ents
add
to w
hat t
hey
wro
te o
rigin
ally
, or
have
them
exch
ange
pap
ers
and
let s
omeo
ne e
lse
add
to it
. The
n as
k st
uden
ts to
pres
ent t
heir
mon
olog
ues
to th
e cl
ass.
AF
TE
R V
IEW
ING
lb"O
lym
pia
did
not c
onfo
rm to
cer
tain
idea
s of
bea
uty
at th
e tim
e,"
Lin
da N
ochl
in o
bser
ves
in th
e fi
lm.
Why
not
?A
sk s
tude
nts
to d
efin
e w
hat t
hey
see
as o
ur c
urre
nt id
eal o
f phy
sica
l bea
uty
by c
reat
ing
a co
llage
of i
mag
es a
nd w
ords
from
the
visu
al a
rts,
med
ia, a
nd a
dver
tisin
g. U
sing
thes
eco
llage
s as
a s
tart
ing
poin
t, di
scus
s th
e co
ncep
t of i
deal
beau
ty: W
ho d
ecid
es w
hat i
s be
autif
ul?
Has
the
conc
ept o
f bea
uty
chan
ged
sinc
e M
anet
's ti
me?
Ifso
, how
? W
hat w
ould
Oly
mpi
a ne
ed to
look
like
toda
y to
sho
ck u
s? W
ho r
efle
cts
the
idea
l of b
eaut
y, a
s th
e S
alon
did
in M
anet
's ti
me?
Fin
ally
, ask
stu
dent
s to
des
crib
e, in
writ
ing
or th
roug
h vi
sual
art
, the
ir ow
nco
ncep
t of b
eaut
y. D
ispl
ay th
eir
wor
kin
a c
lass
room
art
gal
lery
.
(2)
Oly
mpi
abr
oke
all t
he r
ules
: ins
tead
of b
eing
upl
iftin
g, it
exp
osed
a h
idde
nre
ality
of F
renc
h so
ciet
y; in
stea
dof
pre
sent
ing
an id
ealiz
ed, h
eroi
c im
age
of w
oman
hood
, it
pres
ente
d a
cour
tesa
n. W
hat n
ow-c
lass
ic w
orks
of li
tera
ture
wer
e al
so o
nce
criti
cize
d fo
r si
mila
r re
ason
sfor
bein
g to
o gr
itty,
or
real
istic
, or
for
faili
ng to
deliv
er a
who
leso
me
or u
plift
ing
mes
sage
? H
ave
stud
ents
cho
ose
a w
ork
of li
tera
ture
and
res
earc
h w
hen,
how
,an
d w
hy th
e w
ork
was
con
trov
ersi
al, t
hen
crea
te a
com
pare
and
con
tras
t cha
rt th
at s
how
s si
mila
ritie
s an
ddi
ffere
nces
bet
wee
n it
and
Oly
mpi
a.T
he c
hart
sho
uld
show
the
subj
ects
that
the
two
wor
kspo
rtra
y, h
ow th
eypo
rtra
y th
em, w
hy b
oth
wor
ks w
ere
cont
rove
rsia
l, an
d w
hen
they
bot
h be
cam
e w
idel
y ac
cept
ed. I
To
star
t,te
ache
rs m
ight
dire
ct s
tude
nts
to lo
ok a
t the
sch
ool's
rea
ding
list
or a
t a li
st o
f ban
ned
book
s. T
he W
eb s
ites
for
the
Am
eric
an L
ibra
ry A
ssoc
iatio
n (w
ww
.ala
.org
) an
d th
e N
atio
nal C
ounc
il fo
r T
each
ers
ofE
nglis
h(w
ww
.nct
e.or
g) p
rovi
de li
sts
of b
anne
d bo
oks.
I
TO
P: E
doua
rd M
anet
. Oly
mpi
a, 1
863
BO
TT
OM
: Titi
an, V
enus
of U
rbin
o, 1
;38 90
Re
'pur
eeB
ook6
FO
R S
TU
DE
NT
S
Jans
on, H
.W. a
nd A
ntho
nyJa
nson
. His
tory
of A
rt fo
r Y
oung
Peo
ple,
fifth
edi
tion.
New
Yor
k:H
arry
N. A
bram
s, 1
997.
Thi
sst
udy
of a
rt fr
om p
rehi
stor
y to
the
199o
s in
clud
es d
efin
ition
sof
term
s, m
aps,
cha
rts,
and
ove
r60
0 ill
ustr
atio
ns.
Wrig
ht, P
atric
ia. E
yew
itnes
sA
rt: M
anet
. New
Yor
k: D
or li
ngK
inde
rsle
y, 1
993.
Thi
s ea
sy-t
o-re
ad v
isua
l res
ourc
e ex
amin
esM
anet
's w
ork
and
tech
niqu
ein
dep
th, a
nd d
etai
ls h
is li
fean
d tim
es.
FO
R E
DU
CA
TO
RS
AN
DS
TU
DE
NT
S
Ber
ger,
Joh
n. W
ays
of S
eein
g.N
ew Y
ork:
Vik
ing,
199
5. O
rigin
ally
writ
ten
as a
com
pani
on w
ork
to a
tele
visi
on s
erie
s of
the
sam
ena
me,
this
cla
ssic
text
que
stio
nsth
e w
ay v
iew
ers
see
and
defin
e ar
t.
Bro
mbe
rt, B
eth
Arc
her.
Edo
uard
Man
et: R
ebel
in a
Fro
ck C
oat.
Bos
ton:
Litt
le B
row
n an
dC
ompa
ny, 1
997.
A d
etai
led
biog
raph
y of
Man
et's
life
that
look
s at
how
his
art
was
affe
cted
by h
is p
erso
nal r
elat
ions
hips
,vi
ews,
and
soc
ial m
ilieu
.
Cac
hin,
Fra
ncoi
se. M
anet
: The
Influ
ence
of t
he M
oder
n. N
ewY
ork:
Har
ry N
. Abr
ams,
199
5.E
xplo
res
early
influ
ence
s up
onM
anet
's w
ork
and
look
s cl
osel
yat
the
cont
rove
rsie
s su
rrou
ndin
gO
lym
pia
and
Dej
eune
r S
ur L
'Her
be.
Cla
rk, K
enne
th. T
he N
ude.
Prin
ceto
n, N
J: P
rince
ton
Uni
vers
ity P
ress
, 197
2. E
xplo
res
the
univ
ersa
l sub
ject
of t
he n
ude
from
pre
hist
ory
to th
e 19
505.
Cla
rk, T
.J. T
he P
aint
ing
ofM
oder
n Li
fe: P
aris
in th
e A
rtof
Man
et a
nd H
is F
ollo
wer
s.P
rince
ton,
NJ:
Prin
ceto
nU
nive
rsity
Pre
ss, 1
986.
A v
ivid
book
that
exa
min
es th
e ar
t of
Man
et's
era
and
its
rele
vanc
e to
the
soci
al h
isto
ry o
f tha
t tim
e.
Lipt
on, E
unic
e. A
lias
Oly
mpi
a:A
Wom
an's
Sea
rch
for
Man
et's
Not
orio
us M
odel
and
Her
Ow
nD
esire
. New
Yor
k: C
harle
s S
crib
ner
6 S
ons,
199
9. A
n A
mer
ican
art h
isto
rian'
s pe
rson
al jo
urne
yto
lear
n ab
out t
he li
fe o
fV
icto
rine
Meu
rent
, Man
et's
mod
el fo
r O
lym
pia.
Web
alto
Art
Arc
hive
ww
w.a
rtch
ive.
com
Rec
reat
es th
e co
ntro
vers
ial
Firs
t Im
pres
sion
ist E
xhib
ition
of 1
874.
The
art
ists
Mon
et,
Pis
saro
, Mor
isot
, and
Cez
anne
wer
e al
l inf
luen
ced
byM
anet
's w
ork.
My
Stu
dios
ww
w.m
ystu
dios
.com
/man
et/
man
et.h
tml
Con
tain
s on
line
imag
es o
fM
anet
's w
ork,
a c
hron
olog
yof
his
life
, and
sto
ries
and
art c
reat
ed a
bout
him
.
The
Web
Mua
eum
http
://su
nsite
.unc
.edu
/louv
reC
onta
ins
info
rmat
ion
on a
rthi
stor
y an
d fa
mou
s ar
tists
,w
ith im
ages
of t
heir
wor
k.
Wor
ld W
ide
Art
Rea
oure
eeht
tp./
/ww
w.w
war
.com
A g
atew
ay to
art
s in
form
atio
non
the
Web
. Use
r ca
n fin
dlin
ks to
art
ists
, mus
eum
s,ga
llerie
s, a
rt h
isto
ry, a
rts
educ
atio
n, a
nd m
ore. 27
IOW
TH
E D
EV
IL'S
US
IC: 92
08Ja
zzA
bout
the
Film
In it
s ea
rly d
ays,
jazz
was
con
side
red
a da
nger
ous
influ
ence
on
youn
g pe
ople
and
soci
ety.
It fe
atur
ed im
prov
isat
ion
and
the
rhyt
hms
of th
e A
fric
an A
mer
ican
exp
erie
nce
inst
ead
of c
lass
ical
mus
ic fo
rms.
Whe
n ja
zz's
pop
ular
ity g
rew
, act
ive
cam
paig
ns to
cens
or "
the
devi
l's m
usic
" be
cam
e le
gion
. Thi
s pr
ogra
m lo
oks
at h
ow a
rad
ical
ly n
ewar
tistic
gen
re w
as o
ppos
ed b
y au
dien
ces
and
criti
cs a
like.
It tr
aces
the
root
s of
jazz
toA
fric
an r
hyth
ms
and
slav
e sp
iritu
als,
but
sho
ws
how
jazz
dep
ende
d on
eve
ryth
ing
we
thin
k of
as
mod
ern
to fl
ouris
h.
The
film
brin
gs th
e Ja
zz A
ge to
life
; fro
m th
e sp
eake
asie
s of
Chi
cago
to th
e re
dlig
ht d
istr
ict o
f New
Orle
ans
to th
e H
arle
m R
enai
ssan
ce. I
t fea
ture
s th
e gr
eat l
egen
dsof
jazz
and
blu
es, s
uch
as L
ouis
Arm
stro
ng, D
uke
Elli
ngto
n, a
nd B
essi
e S
mith
. And
by in
vitin
g co
mpa
rison
s to
toda
y's
rap
mus
ic, "
The
Dev
il's
Mus
ic"
also
exp
lore
s ho
w'c
ontr
over
sial
art
can
cro
ss th
e di
vide
bet
wee
n co
lor
and
clas
s. O
nce
revi
led,
jazz
isno
w a
cla
ssic
Am
eric
an a
rt fo
rm. A
s cr
itic
Mic
hael
Dys
on s
ays
in th
e fil
m, "
Wha
t we
now
mea
n by
Am
eric
a, w
e m
ean
by ja
zz."
LIT
ER
AT
UR
E L
INK
S
Stu
dyin
g an
y w
riter
of t
he H
arle
m R
ebai
ssan
ce, o
r th
e m
ovem
ent i
tsel
f, ca
n be
enr
iche
dby
"T
he D
evil'
s M
usic
." M
any
nove
ls a
nd a
utob
iogr
aphi
es o
f the
Afr
ican
Am
eric
anex
perie
nce
incl
ude
scen
es in
Har
lem
dur
ing
the
Jazz
Age
, and
touc
h on
topi
cs s
uch
asth
e cu
lture
of t
he H
arle
m R
enai
ssan
ce, t
he r
elat
ions
hip
betw
een
blac
ks a
nd w
hite
s in
the
1920
5, a
nd th
e de
velo
pmen
t of j
azz
mus
ic. T
hese
incl
ude
such
ofte
n-ta
ught
wor
ks a
s:In
visi
ble
Man
by
Ral
ph E
lliso
n, B
lack
Boy
by
Ric
hard
Wrig
ht, T
he A
utob
iogr
aphy
of M
alco
lm X
by M
alco
lm X
, Man
child
in th
e P
rom
ised
Lan
d by
Cla
ude
Bro
wn,
and
Jaz
z by
Ton
i Mor
rison
.T
he w
ork
of w
riter
s su
ch a
s C
laud
e M
cKay
, Cou
ntee
Cul
len,
Lan
gsto
n H
ughe
s, Z
ora
Nea
le
Hur
ston
, Jam
es W
eldo
n Jo
hnso
n, a
nd J
ean
Too
mer
als
o flo
uris
hed
in th
e er
a de
scrib
ed b
yth
e fil
m. T
he G
reat
Gat
sby
by F
. Sco
tt F
itzge
rald
ref
lect
s th
e yo
uth
cultu
re o
f the
Jaz
z A
ge.
Whe
n w
ritin
g O
n th
e R
oad,
Jac
k K
erou
ac w
as in
fluen
ced
by th
e be
ats
and
impr
ovis
atio
n of
jazz
, and
he
trie
d to
mirr
or th
ese
elem
ents
in th
e un
stru
ctur
ed, s
pont
aneo
us s
tyle
of t
he n
ovel
.
28
.;,*
4C.
Bes
sie
Sm
ith. 1
921
mus
ic te
rms
(e.g
., sy
ncop
atio
n,im
prov
isat
ion,
sw
ing)
CU
RR
ICU
LAR
LIN
KS
I
Loui
s A
rmst
rong
. 193
1
Afr
ican
Am
eric
an h
isto
211
-111
4'
\ ("
1(°
I
"The rhythm of life is a jazz rhythm . . ."
Lang
ston
Hug
hes,
'Len
ox A
venu
e: M
idni
ght.'
192
6
"Pla
to b
elie
ved
that
in th
e id
eal r
epub
lic, m
usic
wou
ld b
e pr
etty
muc
hpr
ohib
ited,
bec
ause
he
saw
mus
ic a
s sp
eaki
ng n
ot to
man
's r
easo
n, b
ut to
man
's e
mot
ions
, to
all t
hat w
as ir
ratio
nal i
n hi
m. .
..N
othi
ng s
tand
s be
twee
n[m
usic
] an
d yo
u ex
cept
you
r ea
rs, a
nd o
ur e
ars
are
open
, wha
teve
r ou
r m
inds
may
be. S
o m
usic
's g
ot th
is a
cces
s to
you
, with
out a
ny k
ind
of m
edia
tion.
And
that
's w
hat m
akes
it b
oth
..
. an
idea
l lan
guag
e, b
ut a
lso
very
dan
gero
us."
Pro
fess
or A
nn D
ougl
as. C
olum
bia
Uni
vers
ity. T
he D
evils
Mus
ic'
objection to jazz is that one can't sit still when it is
jilayed. You must get up and wear yourself out dancing. This
is really doing terrible injury to young people."
Laur
ette
Tay
lor.
act
ress
, quo
ted
In th
e N
ew J
ost T
imes
. 192
2
..
.m
ost A
mer
ican
s st
ill ta
ke it
for
gra
nted
that
Eur
opea
n-ba
sed
mus
iccl
assi
cal m
usic
, if
you
will
is th
e on
ly r
eally
res
pect
able
kin
d. W
hat w
e do
,w
hat o
ther
bla
ck m
usic
ians
do,
has
alw
ays
been
like
the
kind
of
man
you
wou
ldn'
t wan
t you
r da
ught
er to
ass
ocia
te w
ith."
Duk
e E
lling
ton.
from
Ust
en to
the
Sto
rtea
by
Nat
Hen
toff.
199
5
"Jazz music causes drunkeness...
(by sending) a continuous
whirl of impressionable stimulations to the brain,
producing thoughts and imaginations which overpower the will
reason and reflection are lost and the actions of the persons
are directed by stronger animalpassions."
Dr.
E. E
lliot
Raw
lings
, New
Yor
k ph
ysic
ian,
192
2
30()
Mil
1111
4C
ho:
11.,1
1.11
. III
ill:
Dia
cuaa
ion
(Nea
t-Io
na a
nd A
ctiv
itiea
BE
FO
RE
VIE
WIN
G
0 Pl
ay a
sel
ectio
n of
pop
ular
Eur
opea
n cl
assi
cal m
usic
, suc
has
a H
ande
l ope
ra o
r D
vora
ksy
mph
ony;
then
pla
y a
sele
ctio
n of
ear
ly ja
zz, s
uch
as J
oe "
Kin
g" O
liver
or J
elly
Rol
lM
orto
n. A
sk s
tude
nts
to p
redi
ct s
ome
of th
e is
sues
the
film
will
rai
se b
y br
ains
torm
ing
wha
t mig
ht h
ave
been
sho
ckin
g or
thre
aten
ing
abou
t jaz
z to
peo
ple
who
thou
ght
clas
sica
lm
usic
was
the
only
wor
thw
hile
mus
ic.
BE
FOR
E A
ND
AFT
ER
VIE
WIN
G
op H
ave
stud
ents
dis
cuss
Pla
to's
notio
n of
an
idea
l rep
ublic
with
out m
usic
and
Ann
Dou
glas
' des
crip
tion
of m
usic
's e
ffec
t on
peop
le (
see
page
13)
. Do
they
agr
ee w
ith P
lato
?W
hy o
r w
hy n
ot?
If th
ey a
gree
with
Ann
Dou
glas
, wha
tar
e th
e im
plic
atio
ns f
or th
e po
wer
of m
usic
? H
ave
stud
ents
wri
te a
new
spap
er e
dito
rial
fro
m th
eir
own
poin
t of
view
or
that
of a
con
cern
ed p
aren
t (fr
om to
day
or a
ny ti
me
in th
e pa
st)
abou
t whe
ther
or n
ot m
usic
can
be d
ange
rous
.
As
stud
ents
wat
ch th
e fi
lm, h
ave
them
not
e as
man
y si
mila
ritie
sas
they
can
bet
wee
n ja
zzan
d ra
p, o
r ja
zz a
nd r
ock
and
roll.
Ask
stu
dent
s to
con
side
r ho
wja
zz c
hang
ed A
mer
ican
soci
ety
duri
ng it
s fi
rst p
opul
arity
, and
how
rap
or
rock
has
cha
nged
and
con
tinue
sto
cha
nge
Am
eric
an s
ocie
ty to
day.
Aft
er v
iew
ing,
hav
e st
uden
ts w
rite
a d
ialo
gue
or a
n ex
chan
ge o
fle
tters
bet
wee
n a
rap
or r
ock
artis
t of
toda
y an
d on
e of
the
jazz
grea
ts o
f th
e pa
st w
ho is
men
tione
d in
the
film
.
AF
TE
R V
IEW
ING
To
acco
mpa
ny a
stu
dy o
f A
fric
an A
mer
ican
lite
ratu
re, h
ave
stud
ents
wat
ch th
e fi
lm a
ndth
en d
o on
e of
the
follo
win
g:
A. L
ist a
nd e
xplo
re p
aral
lels
bet
wee
n th
e st
rugg
les
of A
fric
an A
mer
ican
wri
ters
and
jazz
mus
icia
ns o
f th
e itp
os.
B. C
hoos
e a
wri
ter,
mus
icia
n, o
r vi
sual
art
ist o
f th
e H
arle
m R
enai
ssan
ce a
ndcr
eate
an o
ral,
visu
al, o
r w
ritte
n pr
esen
tatio
n ab
out t
he a
rtis
t and
his
or
her
wor
k.Pr
esen
tatio
ns c
ould
incl
ude
a m
ock
radi
o in
terv
iew
, a m
odel
of
a m
emor
ial b
uild
ing
or s
tatu
e, a
col
lage
, or
a bo
ard
gam
e ab
out t
he p
erso
n's
life.
Arc
hiba
ld J
. Mot
ley.
Jr.
Str
eet S
cene
. Chi
cago
. 193
6
3233
Rea
purc
eaB
ooks
FO
R S
TU
DE
NT
S
Geo
rge,
Nel
son.
Hip
Hop
Am
eric
a. N
ew Y
ork:
Vik
ing,
1998
. A lo
ok a
t the
cul
ture
of
hip-
hop,
incl
udin
g fa
shio
n,en
trep
rene
ursh
ip, d
rugs
,vi
olen
ce, a
nd la
ngua
ge.
Hug
hes,
Lan
gsto
n. T
he F
irst
Boo
k of
Jaz
z. H
opew
ell,
NJ:
Ecc
o P
ress
, 199
7. L
angs
ton
Hug
hes
impa
rts
his
enth
usia
sm fo
r ja
zzto
beg
inne
rs, i
nclu
ding
wha
t jaz
zis
and
how
to li
sten
to it
.
Jone
s, K
. Mau
rice.
Say
ItLo
ud!:
The
Sto
ry o
f Rap
Mus
ic.
Bro
okrie
ld, C
T: T
he M
illbr
ook
Pre
ss, 1
994.
A v
isua
l and
eas
y-to
-rea
d w
ork
that
trac
es th
eA
fric
an a
nd s
lave
orig
ins
of r
ap.
as w
ell i
ts r
elat
ion
to ja
zz, t
hebl
ues,
sou
l, an
d C
arib
bean
mus
ic.
Wat
son,
Ste
ven.
The
Har
lem
Ren
aiss
ance
. New
Yor
k:P
anth
eon,
199
5. A
n ill
ustr
ated
desc
riptio
n of
the
cultu
re, a
rts,
and
hist
ory
of th
e tim
e. 34..
FO
R E
DU
CA
TO
RS
AN
DS
TU
DE
NT
S'
Drig
gs, F
rank
, and
Har
ris L
ewin
e.
Bla
ck B
eaut
y, W
hite
Hea
t: A
Pic
toria
l His
tory
of C
lass
ic J
azz
New
Yor
k: D
a C
apo
Pre
ss: 1
995.
A s
erie
s of
pho
togr
aphs
and
deta
iled
com
men
tary
that
depi
cts
jazz
and
jazz
art
ists
from
the
192o
s to
the
195o
s.
Flo
yd, S
amue
l, ed
. Bla
ck M
usic
in th
e H
arle
m R
enai
ssan
ce.
Kno
xvill
e: U
nive
rsity
of T
enne
ssee
Pre
ss, 1
994.
Con
tain
s es
says
on s
ubje
cts
from
Duk
e E
lling
ton
to m
usic
al th
eatr
e to
the
rela
tions
hip
of th
e m
usic
of
the
Har
lem
Ren
aiss
ance
to it
slit
erat
ure
and
art.
Gid
dins
, Gar
y. S
atch
mo.
New
Yor
k: D
e C
apo
Pre
ss. 1
998.
An
illus
trat
ed b
iogr
aphy
of
Loui
s A
rmst
rong
.
Lew
is, D
avid
Lev
erin
g. W
hen
Har
lem
Was
in V
ogue
. New
Yor
k: P
engu
in. 1
997.
A s
chol
arly
cultu
ral h
isto
ry o
f the
Har
lem
Ren
aiss
ance
and
Afr
ican
Am
eric
an c
ultu
re.
Mur
ray,
Alb
ert.
The
Her
o an
dth
e B
lues
. New
Yor
k: V
inta
geB
ooks
, 199
6. A
n ex
amin
atio
n of
jazz
and
its
right
ful p
lace
in th
epa
neth
on o
f Am
eric
an a
rts
and
lette
rs, b
y a
maj
or c
ultu
ral c
ritic
.
Ogr
en, K
athy
J. T
he J
azz
Rev
olut
ion:
Tw
entie
s, A
mer
ica,
and
the
Mea
ning
of J
azz.
New
Yor
k: O
xfor
d U
nive
rsity
Pre
ss, 1
992.
An
acco
unt o
f the
effe
ct o
f jaz
z on
Am
eric
ancu
lture
in th
e 19
205.
incl
udin
gth
e st
ory
of ja
zz c
enso
rshi
p.
1t, .
Per
etti,
Bur
ton
W. T
he C
reat
ion
of J
aw M
usic
, Rac
e, a
ndC
ultu
re in
Urb
an A
mer
ica.
Cha
mpa
ign:
Uni
vers
ity o
f Illi
nois
Pre
ss, 1
992.
A h
isto
ry o
f jaz
z in
the
cont
ext o
f rac
ial a
nd c
ultu
rady
nam
ics
in A
mer
ica.
Ros
e, T
ricia
. Bla
ck N
oise
.M
iddl
etow
n, C
T: W
esle
yan
Uni
vers
ity P
ress
. 199
4. A
sch
olar
!)
look
at t
he c
ultu
re, p
oliti
cs, a
rt,
mus
ic, h
isto
ry, a
nd d
evel
opm
ent
of r
ap a
nd h
ip-h
op.
Sch
oene
r, A
llon.
Har
lem
on
My
Min
d, 1
900-
1968
. New
Yor
k: N
ew P
ress
, 199
5. A
his
tory
told
thro
ugh
phot
ogra
phs
and
exce
rpts
of n
ewsp
aper
art
icle
s o
the
time.
Sch
ulle
r, G
unth
er. E
arly
ha,
its R
oots
and
Mus
ical
Dev
elop
men
t. N
ew Y
ork:
Oxf
ord
Uni
vers
ity P
ress
. 198
6.A
n an
alys
is o
f ear
ly J
azz,
writ
tet
by a
mus
icol
ogis
t.
Ste
arns
, Mar
shal
l. T
he S
tory
of
Jazz
. New
Yor
k: O
xfor
dU
nive
rsity
Pre
ss, 1
985.
Det
ails
the
hist
ory
of ja
zz a
nd It
s ef
fect
on A
mer
ican
cul
tura
l his
tory
, up
to 1
95os
roc
k an
d ro
ll.
Wag
ner.
Ann
Lou
ise.
Adv
ersa
ries
of D
ance
: Fro
mth
e P
urita
ns to
the
Pre
sent
.U
nive
rsity
of I
llino
is P
ress
, 199
7.A
his
tory
of p
rohi
bitio
ns a
gaiti
stda
nce,
incl
udin
g w
hy ja
zz d
ance
was
fear
ed.
Wal
t, C
hery
l A. W
omen
of th
e H
arle
m R
enai
ssan
ce.
Indi
ana
Uni
vers
ity P
ress
, 199
5.E
xam
ines
the
lives
of A
fric
anA
mer
ican
wom
en a
rtis
tsan
d w
riter
s.
Com
pact
Dia
caT
he D
uke'
s M
en: S
mal
l Gro
ups
Vol
ume
1. S
ony
Mus
ic, 1
991.
Rec
ordi
ngs
of D
uke
Elli
ngto
n's
mus
ic fr
om 1
934-
1938
.
The
Ess
entia
l Bes
sie
Sm
ith(2
dis
c bo
x se
t). S
ony
Mus
ic. 1
997.
The
Em
pres
s of
Blu
es, b
acke
dup
by
som
e of
the
best
jazz
mus
icia
ns o
f her
era
. inc
ludi
ngLo
uis
Arm
stro
ng.
Jelly
Rol
l Mor
ton:
192
3/24
.M
ilest
one
Rec
ords
. 199
4.P
erio
d re
cord
ings
from
this
brill
iant
com
pose
r an
dpi
ano
play
er.
BE
STC
OPY
AV
AIL
AB
LE
i
John
ny D
odds
, 192
6.Ja
zz C
hron
olog
ical
Cla
ssic
s, 1
994-
Rec
ordi
ngs
from
one
of t
hegr
eate
st c
larin
etis
ts o
f the
192
os.
Kin
g O
liver
, 192
6-19
28.
Jazz
Chr
onol
ogic
al C
lass
ics,
199
4.
One
of t
he m
ost i
mpo
rtan
tfig
ures
of e
arly
Jaz
z an
d a
men
tor
to L
ouis
Arm
stro
ng.
Loui
s A
rmst
rong
An
Am
eric
anIc
on (
3 di
sc b
ox s
et).
Uni
/Hip
-O R
ecor
ds, 1
998.
Incl
udes
man
y of
Arm
stro
ng's
mos
t wel
l-kno
wn,
influ
entia
lja
zz r
ecor
ding
s.
Web
site
sJa
zz C
entr
al S
tatio
nvn
vw.ja
zzce
ntra
lcom
Con
tain
s a
hist
ory
of ja
zzfr
om it
s be
ginn
ings
to th
epr
esen
t day
, as
wel
l as
links
to a
rtis
ts, e
vent
s.an
d ed
ucat
ion.
Red
Hot
Jaz
z A
rchi
vew
ww
.red
hotja
u.co
mC
onta
ins
a co
mpr
ehen
sive
hist
ory
of ja
zz b
efor
e19
3o, i
nclu
ding
hun
dred
sof
bio
grap
hies
, rec
ordi
ngs,
and
sugg
este
d re
adin
gs.
The
1920
6
ww
w.lo
ulsv
ille.
edu/
- kp
rayb
Ol/1
920s
.htm
lP
rovi
des
info
rmat
ion
and
timel
ines
on
a va
riety
of d
iffer
ent t
opic
s in
the
192o
s.
35
IMO
HO
LLY
WO
OD
CE
NS
OR
E :
Mov
ies,
/Mor
ality
& th
e Pr
oduc
tion
Cod
eA
bout
the
Film
In th
e ea
rly
deca
des
of f
ilm, a
nd in
tens
ifyi
ng in
the
1930
s, m
ovie
mak
ers
stru
ggle
d w
ithw
ould
-be
cens
ors
and
publ
ic o
pini
on o
ver
the
mor
al c
onte
nt o
f H
olly
woo
d fi
lms.
Sexy
sir
ens
play
ed b
y M
ae W
est a
nd J
ean
Har
low
, and
the
viol
ence
in g
angs
ter
film
s lik
eSc
arta
ce (
1931
), w
ere
atta
cked
by
relig
ious
lead
ers,
pol
itici
ans,
and
oth
er c
once
rned
citiz
ens.
In
1931
, Hol
lyw
ood
resp
onde
d to
thre
ats
of g
over
nmen
t cen
sors
hip
by a
dopt
ing
a se
lf-i
mpo
sed
Prod
uctio
n C
ode
to e
nsur
e th
at it
s m
ovie
s w
ere
"saf
e" f
or f
amily
vie
win
g.
In 1
934,
Will
Hay
s, th
e he
ad o
f th
e M
otio
n Pi
ctur
e A
ssoc
iatio
n, h
ired
Joe
Bre
en to
enf
orce
the
Cod
e m
ore
stri
ctly
. Hay
s an
d B
reen
, alo
ng w
ith th
e C
atho
lic g
roup
kno
wn
as th
eL
egio
n of
Dec
ency
and
oth
er s
uppo
rter
s, w
orke
d to
get
rid
of
wha
t the
y co
nsid
ered
to b
eof
fens
ive
mot
ion
pict
ures
. The
res
tric
tions
of
the
Cod
e in
flue
nced
the
way
mov
ies
wer
em
ade
for
the
next
thir
ty y
ears
. Iro
nica
lly, t
he h
eigh
t of
Bre
en's
rul
e in
the
193o
s an
d 19
4os
coin
cide
d w
ith w
hat i
s ge
nera
lly c
onsi
dere
d th
e go
lden
age
of
Hol
lyw
ood
cine
ma.
1Did
the
Cod
e ca
use
mov
ies
to f
lour
ish
duri
ng a
cri
tical
per
iod,
or
was
it a
rep
ress
ive
cultu
ral
and
indu
stri
al p
ract
ice?
Illu
stra
ted
with
mov
ie c
lips
from
the
1920
S to
the
199o
s, th
isdo
cum
enta
ry f
ram
es th
e de
bate
ove
r se
x an
d vi
olen
ce in
the
mov
ies
that
stil
l rag
es to
day.
LIT
ER
AT
UR
E L
INK
S
The
Day
of
the
Loc
ust b
y N
atha
niel
Wes
t. C
onsi
dere
d by
man
y to
be
the
best
nov
el w
ritte
nab
out H
olly
woo
d, th
is 1
933
wor
k ca
ptur
es b
oth
the
lure
and
the
empt
ines
s of
the
film
indu
stry
.
The
Gra
pes
ofW
rath
by J
ohn
Stei
nbec
k. T
his
nove
l, se
t in
Cal
ifor
nia
duri
ng th
e D
epre
ssio
n,w
as im
med
iate
ly c
ontr
over
sial
for
its
real
istic
por
tray
al o
f m
igra
nt f
arm
wor
kers
. The
san
itize
dpo
rtra
yals
of
life
dem
ande
d by
the
Prod
uctio
n C
ode
prov
ide
an ir
onic
con
tras
t to
the
hars
hre
aliti
es S
tein
beck
dep
icte
d.
The
Sca
rlet L
ette
rby
Nat
hani
el H
awth
orne
. A s
ocie
ty's
cod
e of
con
duct
is a
t the
hea
rt o
f th
is f
requ
ently
taug
ht n
ovel
in w
hich
a P
urita
n w
oman
is p
unis
hed
for
adul
tery
. Rel
igio
n, th
e ro
les
of w
omen
, and
que
stio
ns
abou
t how
and
why
Am
eric
an s
ocie
ty c
reat
es s
uch
code
s ar
e al
so to
pics
in "
Hol
lyw
ood
Cen
sore
d."
KE
Y T
ER
MS,
TO
PIC
S, A
ND
PE
OPL
E
Firs
t Am
endm
ent
lean
Har
low
Hol
lyw
ood
Pro
duct
ion
Cod
ese
lf-ce
nsor
ship
stoc
k m
arke
t cra
shM
ae W
est
CU
RR
ICU
LAR
LIN
KS
Am
eric
an H
isto
ry
film
crit
icis
mge
nder
stu
dies
37
The Production Jode
I. CrimeS against the
Murder
a) The technique of murder must be
.
presented in a way that will not
inspire imitation.
b) Brutal killings are not to be
presented in detail.
c) Revenge in modern times shall not
be justified .
..
The illegal drug traffic must not
be portrayed in such a way as
to stimulate curiosity concerning
the use of, or trattle in, such
drugs; nor shall scenes be
approved which show the use of
illegal drugs, or their effects. ..
The use of liquor in American
life, when not required by
the plot or for proper
chtracterization, will not
'be Shown.
II.
Scenes of passion
a) These should not be introduced
except where they are definitely
essential to the plot.
b) Excessive and lustful kissing,
lustful embraces, suggestive
postures and gestures are not
to be shown.
c) In general, passion should be
treated in such a manner as not
to stimulate the lower and
baser emotions...
Miscegenation (sex relationship
between the white and black race)
is forbidden...
Scenes of actual childbirth, in
fact or in silhouette, are never
to be presented."
exce
rpts
from
The
Pro
duct
ion
Cod
e ob
the
Mot
ion
Pic
ture
Pro
duce
rs a
nd D
irect
ors
of A
mer
ica
i44
.
38
...I believe that art and film go hand inhand.
Time and again movies have been acknowledged
as
art.' But they're not treated as art."
Ste
ven
Spi
elbe
rg, f
rom
The
Fut
ure
ob th
e M
ovie
s
by R
oger
Ebe
rt a
nd G
ene
Sis
kel,
laat
"[One view is that] out of
this
[re
alis
tic]
mix
ture
of g
ood
and
bad,
peo
ple
will
lear
n so
met
hing
of
the
way
life
wor
ks.
..th
at li
fe it
self
is v
ery
com
plex
,an
d th
eref
ore
narr
ativ
es s
houl
d be
com
plex
as
anin
trod
uctio
n to
the
com
plex
ity o
f lif
e. T
he o
ther
view
is th
at im
ages
sho
uld
teac
h po
sitiv
ele
sson
s.
.
narr
ativ
es s
houl
d te
ach
posi
tive
less
ons
..
..
The
goo
d sh
ould
triu
mph
, the
wea
k sh
ould
be
prot
ecte
d.
..ev
il sh
ould
be
puni
shed
."
Dav
id D
enby
, film
crit
ic, "
Hol
lyw
ood
Cen
sore
d"
"[Gangster fllin5] are doing nothing but harm
to the younger element. They are making alot
of kids want to be tough guys, and theydon't
serve any usefulpurpose."
M C
apon
e, li
me,
Aug
ust l
o, 1
931
.stu
dies
sho
w th
at c
hild
ren
expo
sed
to v
iole
nten
tert
ainm
ent t
end
to b
e m
ore
viol
ent t
hem
selv
es a
ndle
ss s
ensi
tive
to th
e pa
in o
f ot
hers
. Thi
s m
akes
scr
een
viol
ence
a s
ocia
l pro
blem
and
not
, as
Hol
lyw
ood
likes
to a
rgue
, an
indi
vidu
alpr
oble
m f
or c
onsu
mer
s."
John
Leo
, Jou
rnal
ist,
U S
New
s &
Wor
ld R
epor
t,
Oct
ober
z6,
199
2
BE
ST C
OPY
AV
AIL
AB
LE
tr
Dia
cuaa
ion
Que
atio
naan
d A
ctiv
itlea
BE
FO
RE
VIE
WIN
GE
WA
0 U
sing
Dav
id D
enby
's s
tate
men
t (se
e pa
ge 1
7), p
rese
ntth
e ce
ntra
l que
stio
n th
at is
dis
cuss
edth
roug
hout
the
film
and
have
stu
dent
s de
bate
the
issu
e:Sh
ould
mov
ies
be u
plif
ting
and
posi
tive
by a
void
ing
viol
ence
, sex
, and
prof
ane
lang
uage
? O
r do
es r
ealis
m in
mov
ies
mak
e th
em m
ore
mea
ning
ful o
rri
cher
?
lo
AF
TE
R V
IEW
ING
Rob
ert P
eter
s as
ks in
the
film
, "H
ow is
itthat
for
thir
ty y
ears
the
mot
ion
pict
ure
indu
stry
was
the
grea
test
that
it's
ever
bee
n an
d th
ere
was
virt
ually
no
prof
anity
? D
id w
e re
ally
mis
s ou
t on
som
ethi
ng .
..
beca
use
all o
f th
e cu
rsin
g
that
wen
t on
in W
orld
War
II
didn
't ge
t put
(in
the
film
s'?"
Cho
ose
a co
ntem
pora
ry m
ovie
abo
ut w
ar(s
uch
as A
poca
lyps
e N
ow; B
orn
on th
eFo
urth
of
July
; Gal
lipol
i; G
ood
Mor
ning
, Vie
tnam
; Glo
ry; S
avin
g Pr
ivat
eR
yan)
and
a w
ar m
ovie
fro
m th
ePr
oduc
tion
Cod
e er
a (s
uch
as th
e B
ridg
e
on th
e R
iver
Kw
ai; S
ands
of I
wo
Jim
a; F
rom
Her
e to
Ete
rnity
;So
Pro
udly
We
Hai
l). V
iew
the
two
mov
ies.
Wha
t
sim
ilari
ties
and
diff
eren
ces
do y
ou f
ind?
Wha
t is
the
mes
sage
of
each
mov
ie?
How
do th
ese
refl
ect t
he d
iffe
rent
tim
es
in w
hich
they
wer
e m
ade?
Whi
ch d
o yo
u th
ink
is b
ette
r an
d w
hy?
(NO
TE
TO
TE
AC
HE
RS:
Ple
ase
be s
ure
to p
re-s
cree
n
any
mov
ies
you
use
for
this
act
ivity
. War
mov
ies
may
con
tain
roug
h la
ngua
ge, v
iole
nce,
sex
ual c
onte
nt,
and
raci
sm.)
Hav
e st
uden
ts e
xam
ine
the
Prod
uctio
n C
ode
(Hol
lyw
ood
Cen
sore
d:M
oral
ity C
odes
, Cat
holic
s, a
nd th
eM
ovie
s by
Gre
gory
D. B
lack
con
tain
s a
wor
king
ver
sion
of th
e C
ode
or y
ou c
an u
se th
e ex
cerp
t on
page
17)
and
com
pare
it to
toda
y's
ratin
g sy
stem
(in
-dep
th in
form
atio
n is
avai
labl
e on
the
curr
ent r
atin
gs s
yste
m a
tth
e M
otio
n Pi
ctur
e A
ssoc
iatio
n of
Am
eric
a's
Web
site
, ww
w.m
paa.
org)
. Wha
tdo
the
diff
eren
t cod
es te
ll us
abo
utth
e tim
e pe
riod
s in
whi
ch th
ey w
ere
crea
ted?
Hav
e st
uden
ts c
hoos
e on
e of
thei
rfa
vori
te m
ovie
s an
d an
alyz
e ho
w it
wou
ld h
ave
fare
d un
der
the
Cod
e. W
ould
the
mov
ie
have
bee
n m
ade
and/
or d
istr
ibut
ed?
Wou
ld c
hang
ing
the
mov
ie to
con
form
toth
e C
ode
mak
e it
bette
r or
wor
se?
Why
?
Stud
ents
mig
ht r
espo
nd a
s if
they
are
disc
ussi
ng th
e m
ovie
with
Joe
Bre
en a
nd w
rite
am
emo
or r
ole
play
the
mee
ting.
In th
e fi
lm D
r. B
arba
ra W
ilson
not
es,
"Wha
t oft
en h
appe
ns in
the
cycl
esof
new
tech
nolo
gy is
that
whe
nso
met
hing
new
com
es o
ut, t
he f
irst
reac
tion
is, '
Oh
my
gosh
, wha
t's g
oing
toha
ppen
to th
e ch
ildre
n?' W
e're
see
ing
that
now
with
the
Inte
rnet
." H
ave
stud
ents
imag
ine
that
they
are
in c
harg
e of
esta
blis
hing
a r
atin
gs s
yste
m f
or m
inor
sus
ing
the
Inte
rnet
. Wha
t lim
its w
ould
they
set
,if
any
? W
hy?
Cho
ose
a fr
eque
ntly
taug
ht b
ook
that
was
mad
e in
to a
mov
ie w
hose
end
ing
orpl
ot w
as c
hang
ed to
mak
e it
mor
e
pala
tabl
e or
app
ealin
g to
mov
ie a
udie
nces
(e.g
., A
Far
ewel
l to
Ann
a by
Ern
est
Hem
ingw
ay a
nd th
e 19
32 P
rodu
ctio
n
Cod
e m
ovie
ver
sion
; The
Sca
rlet
Let
terb
y N
atha
niel
Haw
thor
ne a
nd th
e 19
95ve
rsio
n w
ith D
emi M
oore
). C
ompa
re
and
cont
rast
the
book
and
mov
ie.
How
do
the
chan
ges
mad
e in
the
mov
ie r
efle
ct s
ocie
tal o
r m
arke
tco
ncer
ns?
40
41
ittes
ourc
eaB
ooks
FO
R E
DU
CA
TO
RS
AN
DS
TU
DE
NT
S
Bla
ck, G
rego
ry. H
olly
woo
dC
enso
red:
Mor
ality
Cod
es,
Cat
holic
s, a
nd th
e M
ovie
s.N
ew Y
ork:
Cam
brid
ge U
nive
rsity
Pre
ss, 1
996.
A s
chol
arly
his
tory
of th
e P
rodu
ctio
n C
ode
era,
that
Incl
udes
det
aile
d in
form
atio
n on
the
battl
es o
ver
the
mak
ing
ofA
Far
ewel
l to
Arm
s.
Keo
ugh,
Pet
er. F
lesh
and
Blo
od:
The
Nat
iona
l Soc
iety
of F
ilmC
ritic
s on
Sex
, Vio
lenc
e, a
ndC
enso
rshi
p. S
an F
ranc
isco
:M
ercu
ry H
ouse
. 199
5. E
ssay
s
by w
ell-k
now
n cr
itics
on
cont
empo
rary
con
trov
ersi
alfil
ms,
from
Fat
al A
ttrac
tion
toS
chin
dler
'e L
i at.
(Bec
ause
of
its fr
ank
look
at f
ilms
that
may
be u
nsui
tabl
e fo
r ch
ildre
n,te
ache
rs s
houl
d pr
evie
w th
isbo
ok b
efor
e as
sign
ing
it.)
Sch
atz.
Tho
mas
. The
Gen
ius
of th
e S
yste
m: H
olly
woo
dF
ilmm
akin
g in
the
Stu
dio
Era
.N
ew Y
ork:
Hen
ry H
olt.
1996
.A
n ill
ustr
ated
his
tory
of
Hol
lyw
ood
mov
ies
from
the
1920
S th
roug
h th
e '5
os.
Vas
ey. R
uth.
The
Wor
ldA
ccor
ding
to H
olly
woo
d.19
18-1
939.
Mad
ison
. WI:
Uni
vers
ity o
f Wis
cons
in P
ress
, Km
.A
n ex
amin
atio
n of
how
the
mov
ie in
dust
ry's
sel
f-re
gula
tion
shap
ed th
e co
nten
t of f
ilms
tom
ake
them
sal
able
.
Wal
sh. F
rank
. Sin
& C
enso
rshi
p:T
he C
atho
lic C
hurc
h an
d th
eM
otio
n P
ictu
re In
dust
ry.
New
Hav
en. C
T: Y
ale
Uni
vers
ityP
ress
. 199
6. A
por
tray
al o
f the
Cat
holic
Chu
rch'
s ce
nsor
ship
of
mov
ies
from
WW
I to
the
pres
ent.
IDW
..1G
11IN7
;RO
.1.7
.70B
INIO
Nh"
-
-d
- t
vven
atte
aac
hsei
c M
ovie
&
http
://w
ww
.geo
citie
s.co
mH
olly
woo
d/B
oule
vard
Con
tain
s ex
tens
ive
info
rmat
ion
on c
lass
ic H
olly
woo
d m
ovie
s,in
clud
ing
artic
les,
a b
ulle
tinbo
ard,
cha
t roo
m, a
nd n
et li
nks.
bilm
.com
ww
w.fi
lm.c
omP
rovi
des
info
rmat
ion
on c
urre
ntm
ovie
s w
ith r
evie
ws,
exp
lana
tions
of s
peci
al e
ffect
s, a
rtic
les
ondi
rect
ors'
wor
k, th
e m
ovie
busi
ness
. film
fest
ival
s, a
nd m
ore.
The
Hol
lyw
ood
7hirt
ieo
http
://th
irtie
s.w
ebju
mp.
com
/inde
x.ht
ml
Pro
vide
s an
ann
otat
ed li
st o
fth
e m
ovie
s th
at w
ere
mad
e in
the
193o
sbot
h pr
e- a
ndpo
st-P
rodu
ctio
n C
ode.
Incl
udes
info
rmat
ion
abou
t the
Cod
e.
Mot
ion
Pic
ture
A60
0cia
tion
ot A
mer
ica
ww
w.m
paa.
org
Con
tain
s in
form
atio
n ab
out
curr
ent m
ovie
rat
ings
, how
they
cam
e ab
out,
and
the
philo
soph
y be
hind
them
.
FA
R L
EF
T: L
egio
n of
Dec
ency
Par
ade.
Chi
cago
. 19t
4LE
FT
: Mov
ie p
oste
r. ;9
36
A '1
BO
RN
TO
TR
OU
BLE
:A
dven
ture
s D
AH
uckl
eber
ry F
inn
Abo
ut th
e Fi
lm
Set
aga
inst
a b
ackd
rop
of A
mer
ica
befo
re th
e C
ivil
War
, thi
s fil
m te
lls th
e st
ory
of o
ne
of th
e m
ost b
elov
ed a
nd b
anne
d bo
oks
in A
mer
ican
hist
ory.
The
nov
el's
com
plex
conn
ectio
ns to
rac
e, c
ultu
re, p
oliti
cs, a
nd m
oral
ity a
resh
own
as th
e fil
m c
hron
icle
s
Tw
ain'
s lit
erar
y ge
nius
; the
cul
ture
out
of w
hich
the
nove
l spr
ang;
the
too
year
s of
conf
lict s
urro
undi
ng it
; and
the
book
's im
port
ance
in A
mer
ica
and
the
wor
ld.
The
se th
emes
are
inte
rwov
en w
ith a
ret
ellin
g of
the
nove
l'spl
ot, a
s w
ell a
s co
vera
ge
of th
e re
cent
cru
sade
of a
n A
fric
an A
mer
ican
mot
her
and
daug
hter
in T
empe
, Ariz
ona,
to r
emov
e A
dven
ture
s of
r H
uckl
eber
ry F
inn
from
a h
igh
scho
ol r
equi
red
read
ing
list.
Thr
ough
out t
he g
o-m
inut
e fil
m, w
riter
s an
d sc
hola
rs c
omm
ent o
nju
st w
hat m
akei
Huc
k
Fin
n co
ntro
vers
ial,
com
pelli
ng, a
nd r
elev
ant t
oth
e tim
es w
e liv
e in
. Sch
olar
s su
ch a
s'4
1,1 S
helle
y F
ishe
r F
ishk
in, J
im M
iller
, and
Joc
elyn
Cha
dwic
k-Jo
shua
exa
min
e its
lang
uage
,
the
char
acte
rs o
f Huc
k an
d Ji
m, t
he ti
me
perio
d in
whi
ch it
was
writ
ten,
and
Tw
ain'
s
inte
nt in
writ
ing
the
nove
l.
LIT
ER
AT
UR
E L
INK
S
Edu
cato
rs c
an u
se th
e fo
llow
ing
curr
icul
um o
utlin
e as
am
odel
for
teac
hing
oth
er
cont
rove
rsia
l boo
ks, s
uch
as I
Kno
w W
hy th
e C
aged
Bird
Sin
gs b
y M
aya
Ang
elou
, To
Kill
a M
ocki
ngbi
rd b
y H
arpe
r Le
e,K
affir
Boy
by
Mar
k M
atha
bane
. Bel
oved
by
Ton
i Mor
rison
,
The
Cat
cher
in th
e R
ye b
y J.
D. S
alin
ger,
Of M
ice
and
Men
by J
ohn
Ste
inbe
ck. a
nd N
ativ
e S
on
and
Bla
ck B
oy b
y R
icha
rd W
right
. The
Am
eric
an L
ibra
ryA
ssoc
iatio
n an
d th
e N
atio
nal
Cou
ncil
for
Tea
cher
s of
Eng
lish
(see
pag
e 37
) of
fer
addi
tiona
l inf
orm
atio
n an
d re
sour
ces
on c
ontr
over
sial
lite
ratu
re a
ndba
nned
boo
ks.
44
KE
Y T
ER
MS,
TO
PIC
S, A
ND
PE
OPL
E
PIC
T
IC
UR
RIC
ULA
R L
INK
S
TO
P: T
itle
page
in T
wai
n's
hand
writ
ing
BO
TT
OM
: Jim
. fro
m a
mur
al b
y T
hom
as H
art B
ento
n. 1
936
-45
(OP
II
IV (
11I
7
"Per
sons
atte
mpt
ing
to f
und
a m
otiv
e in
this
nar
rativ
e w
ill b
epr
osec
uted
; per
sons
atte
mpt
ing
to f
ind
a m
oral
in it
will
be
bani
shed
; per
sons
atte
mpt
ing
to f
ad a
plO
ti in
it w
ill b
esh
ot."
Mar
k T
wai
n. 'N
otic
e" In
Adv
entu
res
op H
uckl
eber
ry F
inn
Any
gre
at w
rite
r.
..is
con
stan
tly tr
ying
... t
oas
k qu
estio
ns th
at p
eopl
e do
n't w
ant t
o ha
veas
ked.
And
to a
sk th
ose
ques
tions
in c
onte
xts
that
are
ver
y ha
rd to
igno
re...
.If
I'v
e m
ade
you
care
abou
ta
char
acte
r an
d th
en I
hav
e th
at c
hara
cter
do
som
ethi
ng th
at y
ou d
on't
unde
rsta
nd,
you'
re g
oing
to w
ant t
o de
al w
ith it
. You
're g
oing
to I
sayl
why
did
he
do th
at?
Wai
t a m
inut
e,I
liked
that
guy
. I th
ough
t I u
nder
stoo
d w
hat h
e w
as d
oing
and
now
, wha
t is
this
? T
hat's
the
kind
of
mor
al g
row
th th
at c
omes
fro
m r
eadi
ng n
ovel
s."
Writ
er D
avid
Bra
dley
, "B
orn
to T
roub
le'
alIt
dea
ls w
ith a
ser
ies
of a
dven
ture
s of
a v
ery
low
gra
deof
mor
ality
; it i
s co
uche
d in
the
lang
uage
of
a ro
ugh
dial
ect,
and
all t
hrou
gh it
s pa
ges
ther
e is
a s
yste
mic
use
of
bad
gram
mar
and
an e
mpl
oym
ent o
f ro
ugh,
coa
rse,
inel
egan
t exp
ress
ions
. It
is a
lso
very
irre
vere
nt. T
hew
hole
boo
k is
of
a cl
ass
that
is m
ore
prof
itabl
e fo
r th
e sl
ums
than
it is
for
res
pect
able
peo
ple:
"S
t. Lo
uis
Glo
be-D
emoc
rat,
Mar
ch r
y. 1
885
"Tw
ain
mak
es a
n od
ious
par
alle
l bet
wee
n H
uck'
s be
ing
'ens
lave
d' b
y a
drun
ken
fath
er w
hoke
eps
him
lock
ed in
a c
abin
and
jim
's le
gal e
nsla
vem
ent.
Reg
ardl
ess
of h
ow a
wfu
l and
wro
ng it
isfo
ra
boy
to b
e he
ld p
hysi
cally
cap
tive
by h
is f
athe
r, th
ere
is a
pro
foun
d di
ffer
ence
bet
wee
n th
atan
d sl
aver
y...
.Tw
ain
did
not t
ake
slav
ery,
and
ther
efor
e bl
ack
peop
le, s
erio
usly
."Ju
lius
Lest
er, S
atire
or
evas
ion?
Bla
ck P
ersp
ectiv
es o
n H
uckl
eber
ry F
inn
ital
l mod
ern
Am
eric
an li
tera
ture
com
es f
rom
one
boo
kby
Mar
k T
wai
n ca
lled
Huc
kleb
erry
Finn
."E
rnes
t Hem
ingw
ay, 1
935
1,'4
6
,on
Abo
ut th
e B
ook
eral
ded
as a
mas
terp
iece
by
T.S
. Elio
t, A
dven
ture
sob
Huc
kleb
erry
Fin
n ha
s an
endu
ring
plac
e in
the
Am
eric
an li
tera
ry c
anon
.It
is r
equi
red
read
ing
in o
ver
70
perc
ent o
f Am
eric
an h
igh
scho
ols.
It is
am
ong
the
mos
t tau
ght p
iece
sof
Am
eric
an
liter
atur
e an
d is
con
side
red
by m
any
the
coun
try'
s gr
eate
stno
vel.
Yet
Huc
kFi
nn h
as b
een
in tr
oubl
e al
mos
t con
tinuo
usly
sinc
e it
was
fir
st p
ublis
hed
in
Am
eric
a in
188
5. T
he C
onco
rd (
Mas
sach
uset
ts)
Pub
lic L
ibra
ry im
med
iate
ly b
anne
d it
as "
the
verie
st tr
ash,
sui
tabl
e on
ly fo
r th
e sl
ums.
"T
he B
rook
lyn
(New
Yor
k) P
ublic
Lib
rary
follo
wed
suit
in 1
905,
rem
ovin
g th
e no
vel f
rom
its
child
ren'
s ro
om b
ecau
se H
uck
was
a li
ar w
ho"n
ot
only
itch
ed, b
ut s
crat
ched
," w
as d
irty,
used
terr
ible
gra
mm
ar, a
nd "
said
'sw
eat'
whe
n he
sho
uld
have
sai
d 'p
ersp
iratio
n.
Ove
r th
e ye
ars
the
nove
l has
bee
n de
clar
ed"u
nfit
for
child
ren"
on
a nu
mbe
r of
cou
nts,
but t
he in
dict
men
t tha
t has
pro
ven
mos
t per
sist
ent b
egan
in 1
957,
whe
n th
e N
AA
CP
cha
rged
that
Huc
k Fi
nnco
ntai
ned
"rac
ial s
lurs
" an
d "b
elitt
ling
raci
al d
esig
natio
ns."
Sin
ce th
en, i
t
,4ha
s be
en r
emov
edfr
om r
eadi
ng li
sts
in s
choo
ls fr
om T
exas
to P
enns
ylva
nia
and
calle
d
raci
st fo
r bo
th th
e pe
rvas
ive
use
ofth
e w
ord
nigg
er a
nd a
por
tray
al o
f Afr
ican
Am
eric
ans
that
som
e pe
ople
con
side
r to
be
ster
eoty
ped
and
dem
eani
ng.
p-C
ham
pion
s of
the
nove
l rep
lyth
at it
is a
sat
ire, a
sca
thin
g at
tack
on
the
hypo
cris
yan
d
prej
udic
e of
a s
ocie
ty th
at p
rete
nds
toho
nor
virt
ue w
hile
con
doni
ng s
lave
ry. N
ot o
nly
is it
not r
acis
t, sa
ys s
chol
ar S
helle
yF
ishe
r F
ishk
in, i
t is
"the
gre
ates
t ant
i-rac
ist
nove
l by
an
Am
eric
an w
riter
." T
hrou
gh th
e st
ory
of a
frie
ndsh
ipbe
twee
n a
whi
te b
oy a
nd a
run
away
slav
e w
ho s
earc
h fo
r fr
eedo
m to
geth
er o
n a
raft
dow
n th
e M
issi
ssip
pi R
iver
, Tw
ain
expl
ores
frie
ndsh
ip, l
oyal
ty, m
oral
ity, f
reed
om, r
ace,
and
Am
eric
a its
elf.
With
a "
soun
d he
art"
triu
mph
ing
over
a "
defo
rmed
con
scie
nce,
"H
uck
deci
des
he'll
"go
to h
ell"
rath
er th
an g
ive
his
frie
nd J
im u
p to
sla
very
. As
writ
erD
avid
Bra
dley
say
s,"H
uckl
eber
ryF
inn
shou
ld b
e
taug
ht b
ecau
se it
is a
sem
inal
and
cent
ral t
ext i
n w
hite
Am
eric
an li
tera
ture
.H
uckl
eber
ry
Fin
n sh
ould
be
taug
ht b
ecau
se it
is a
sem
inal
and
cen
tral
text
in b
lack
Am
eric
anlit
erat
ure.
Huc
kleb
erry
Fin
nm
ust b
e ta
ught
bec
ause
it is
a s
peci
fic p
oint
of in
ters
ectio
n be
twee
n
thes
e tw
o A
mer
ican
lite
ratu
res.
"
EN
D
48
Illus
trat
ion
by E
.W. K
embl
e fr
om th
e fir
st A
mer
ican
editi
on o
f Adv
entu
res
ob H
uckl
eber
ry F
inn
Win
g th
e Fi
lmE
duca
tors
who
are
teac
hing
Adv
entu
red.
olj H
uckl
eber
ryF
inn
can
use
the
docu
men
tary
to h
elp
stud
ents
und
erst
and
the
reas
ons
the
book
has
bee
n an
d re
mai
ns c
ontr
over
sial
. The
film
can
be
show
n at
any
poi
nt in
a s
tudy
of t
heno
vel,
and
mig
ht e
ven
be s
how
n bo
th b
efor
e th
e bo
ok is
rea
d an
d af
ter,
so
stud
ents
can
exa
min
e ho
w th
eir
know
ledg
e
and
opin
ions
hav
e or
hav
en't
chan
ged,
and
why
.
The
film
is a
lso
help
ful f
or le
arni
ng m
ore
abou
t Mar
k T
wai
n, h
is u
se o
f sat
ire a
nd c
hara
cter
dev
elop
men
t, an
d th
epo
st-R
econ
stru
ctio
n pe
riod
in w
hich
Tw
ain
wro
te th
e no
vel.
Alth
ough
the
film
doe
s re
tell
the
plot
of t
he b
ook,
and
inon
e co
mm
ent a
llude
s to
the
endi
ng (
"Jim
ris
ks h
is fr
eedo
m to
nur
se T
om w
hen
Tom
is in
jure
d by
a b
ulle
t. F
inal
ly,
Tom
rev
eals
his
sec
ret t
hat J
im is
a fr
ee m
an."
), it
is s
o em
bedd
ed in
the
cont
ext o
f why
the
book
is c
ontr
over
sial
that
teac
hers
sho
uld
not f
ind
that
it "
give
s aw
ay"
the
endi
ng.
The
film
mig
ht a
lso
be s
how
n to
par
ents
, adm
inis
trat
ors,
stu
dent
s, o
r ot
her
teac
hers
who
are
war
y of
teac
hing
the
nove
l, or
who
hav
e al
read
y ch
alle
nged
it. I
n C
herr
y H
ill, N
ew J
erse
y (s
ee p
ages
25-
35 fo
r th
eir
case
stu
dy a
nd a
dapt
edcu
rric
ulum
), th
e fil
m h
as a
lread
y be
en u
sed
to h
elp
pare
nts
unde
rsta
nd th
e ba
ckgr
ound
of t
he b
ook
and
diffe
rent
pers
pect
ives
on
the
cont
rove
rsy.
Alth
ough
the
situ
atio
ns in
Tem
pe, A
rizon
a, (
high
light
ed in
the
film
) an
d in
Che
rry
Hill
are
sim
ilar,
this
gui
de h
ighl
ight
s C
herr
y H
ill b
ecau
se o
f its
inno
vativ
e re
spon
se to
the
cont
rove
rsy
Y
Rac
ial!
a
0.4
Mac
ula=
Que
atio
na a
nd A
ctiv
itiea
BE
FO
RE
VIE
WIN
G
0 A
s a
who
le c
lass
, com
e up
with
a w
orki
ng d
efin
ition
of "
cens
orsh
ip"
and
"ban
ning
." T
hen
do o
ne o
r bo
th o
f the
follo
win
g ac
tiviti
es:
A. H
ave
stud
ents
form
pai
rs a
nd in
terv
iew
eac
h ot
her
on th
eir
opin
ions
abo
ut b
ook
bann
ing
and
cens
orsh
ip in
scho
ols.
Eac
h st
uden
t sho
uld
have
a tu
rn a
s an
inte
rvie
wer
to a
sk q
uest
ions
suc
h as
, Whe
n, if
eve
r, s
houl
d a
book
be r
emov
ed fr
om a
sch
ool's
req
uire
d re
adin
g lis
t or
libra
ry?
Wha
t do
you
thin
k a
scho
ol s
houl
d do
if p
aren
ts o
rst
uden
ts o
bjec
t to
a bo
ok?
Afte
r th
e in
terv
iew
s, s
tude
nts
can
repo
rt th
e re
spon
ses
as p
art o
f a w
hole
cla
ss d
iscu
ssio
n.
B. F
or a
mor
e ex
tens
ive
proj
ect,
stud
ents
can
inve
stig
ate
the
scho
ol c
omm
unity
's o
pini
ons
on b
ook
bann
ing
and
cens
orsh
ip.
In te
ams,
stu
dent
s ca
n in
terv
iew
diff
eren
t seg
men
ts o
f the
com
mun
ity, s
uch
as p
aren
ts, t
each
ers,
adm
inis
trat
ors,
libra
rians
, and
oth
er s
tude
nts,
and
find
out
wha
t the
y th
ink,
wha
t pol
icie
s ar
e al
read
y in
pla
ce, a
nd w
hat h
as b
een
the
resp
onse
to a
ny c
halle
nges
to th
e cu
rric
ulum
in th
e pa
st. S
tude
nts
mig
ht th
en w
rite
new
s ar
ticle
s or
edi
toria
lsab
out w
hat t
hey
have
dis
cove
red.
AF
TE
R V
IEW
ING
Dur
ing
Tw
ain'
s lif
etim
e th
e co
mpl
aint
s br
ough
t aga
inst
the
book
wer
e di
ffere
nt fr
om th
e ch
arge
s br
ough
t tod
ay. A
skst
uden
ts to
res
earc
h ho
w T
wai
n re
acte
d to
the
criti
cism
s of
his
boo
k. T
hen
ask
stud
ents
to im
agin
e th
at T
wai
n is
still
aliv
e. H
ow w
ould
he
resp
ond
to c
harg
es th
at th
e bo
ok is
rac
ist?
Hav
e st
uden
ts p
rese
nt th
eir
resp
onse
s in
a le
tter,
essa
y, o
r ro
le p
lay.
® In
res
pons
e to
Dav
id B
radl
ey's
sta
tem
ent (
see
page
2!)
, ask
stu
dent
s to
thin
k of
oth
er w
orks
of l
itera
ture
they
hav
ere
ad th
at h
ave
"ask
ed q
uest
ions
peo
ple
don'
t wan
t to
have
ask
ed"
but m
ade
the
read
er c
are
abou
t tho
se q
uest
ions
thro
ugh
the
char
acte
rs. A
sk s
tude
nts
to w
rite
an e
ssay
to d
escr
ibe
the
wor
k, w
hat q
uest
ions
they
thin
k it
pose
d, w
hyth
ose
ques
tions
mig
ht b
e di
fficu
lt or
uns
ettli
ng, a
nd h
ow th
e ch
arac
ters
mad
e th
em c
are
abou
t tho
se q
uest
ions
.
Hav
e th
e cl
ass
disc
uss
and
sum
mar
ize
the
stor
y of
Kat
hy M
onte
iro a
nd h
er c
ompl
aint
to th
e T
empe
, Ariz
ona,
sch
ool b
oard
.D
o st
uden
ts a
gree
or
disa
gree
with
her
? D
oes
the
film
por
tray
her
fairl
y? M
s. M
onte
iro w
ent o
n to
sue
the
scho
ol d
istr
ict.
Ask
stu
dent
s to
take
on
the
role
of t
he ju
dge
in th
e ca
se a
nd w
rite
a de
cisi
on b
ased
on
the
info
rmat
ion
in th
e fil
m. F
orfu
rthe
r re
sear
ch, s
tude
nts
can
cond
uct a
n In
tern
et s
earc
h to
find
out
mor
e ab
out w
hat a
ctua
lly h
appe
ned
to h
er la
wsu
it.
The
arg
umen
t ove
r w
hat s
houl
d be
taug
htth
e of
ficia
l can
on o
f lite
ratu
re e
very
stu
dent
sho
uld
know
is s
till h
otly
deba
ted.
In th
e fil
m, p
aren
t Kat
hy M
onte
iro n
otes
, "W
ho p
ut to
geth
er th
ese
lists
of c
lass
ic li
tera
ture
? If
blac
k pe
ople
wer
e in
volv
ed, i
f Nat
ive
Am
eric
an a
nd o
ther
peo
ple
'wer
e in
volv
ed',
we
wou
ld h
ave
quite
a d
iffer
ent l
ist."
Ask
stu
dent
sto
con
side
r th
is s
tate
men
t usi
ng th
e M
oder
n Li
brar
y's
sele
ctio
n of
the
"ioo
best
nov
els,
" w
hich
stu
dent
s ca
n fin
d on
the
Inte
rnet
at w
ww
.mod
ernl
ibra
ry.c
om. H
ave
stud
ents
com
pare
this
list
to th
eir
own
requ
ired
read
ing
list.
Wha
t are
the
sim
ilarit
ies
and
diffe
renc
es?
Sho
uld
requ
ired
read
ing
lists
be
mul
ticul
tura
l? W
hy?
Wha
t wou
ld m
ake
them
so?
Hav
est
uden
ts w
ork
in te
ams
to d
evis
e th
eir
own
list o
f the
mos
t im
port
ant n
ovel
s. W
hat a
re th
eir
crite
ria?
,1.
32
Con
trov
eray
at C
heH
illch
erry
Hill
, New
Jer
sey,
is a
mid
dle-
clas
s co
mm
unity
loca
ted
acro
ss th
e D
elaw
are
Riv
er f
rom
Phi
lade
lphi
a.A
sub
urb
that
was
nea
rly
all-
whi
te in
the
earl
y 19
8os;
20pe
rcen
t of
its p
opul
atio
n is
now
Afr
ican
Am
eric
an,
Lat
ino,
or
Asi
an. C
herr
y H
ill, l
ike
man
y co
mm
uniti
es, h
as g
rapp
led
with
issu
es o
f ho
w to
inte
grat
e di
ffer
ent
cultu
res,
and
how
to r
aise
aw
aren
ess
of th
e pe
rspe
ctiv
es o
f m
inor
ities
in a
pla
ce W
here
unt
il re
cent
ly, m
inor
ityis
sues
wer
e on
ly s
omet
hing
to r
ead
abou
t in
the
new
spap
er.
In 1
995,
sev
eral
Afr
ican
Am
eric
an s
tude
nts
in th
e C
herr
y H
ill h
igh
scho
ols
com
plai
ned
to th
eir
pare
nts
abou
t hav
ing
to r
ead
Adv
entu
res
of H
uckl
eber
ry F
inn
in c
lass
. Bef
ore
assi
gnin
g it,
som
e of
thei
r te
ache
rs h
ad n
ot m
entio
ned
that
the
book
was
con
trov
ersi
al, n
or h
ad th
ey n
oted
the
over
200
inst
ance
s of
the
wor
d ni
gger
in th
e no
vel.
As
a re
sult,
acco
rdin
g to
one
Afr
ican
Am
eric
an s
tude
nt, n
o on
e w
as p
repa
red
for
the
pow
er o
f th
e w
ord
in c
lass
. Whi
te s
tude
nts
wou
ld n
ervo
usly
sni
cker
or
turn
aro
und
and
star
e at
the
Afr
ican
Am
eric
an s
tude
nts
whe
n th
e w
ord
was
rea
d al
oud.
The
par
ents
of
thes
e st
uden
ts, l
ong
frus
trat
ed w
ith th
e la
ck o
f m
ultic
ultu
ral c
onte
nt in
the
dist
rict
's c
urri
cula
, fel
t it
was
tim
e to
act
. If
noth
ing
chan
ged,
one
par
ent s
aid,
"w
e kn
ew w
e'd
have
a f
ires
torm
on
our
hand
s."
NO
TE
The
full
curr
icul
um is
ava
ilabl
ein
Huc
k F
inn
in C
onte
xt: A
Tea
chin
g G
uide
, whi
ch a
lso
incl
udes
a m
ore
deta
iled
case
stud
y of
the
Che
rry
Hill
cont
rove
rsy.
Edu
cato
rs c
anal
so o
rder
the
Huc
kF
inn
Cou
raep
ack,
whi
ch in
clud
esth
eH
uck
Finn
teac
hing
gui
de,
a vi
deo
of "
Bor
n to
Tro
uble
:A
dven
ture
s ot
Huc
kleb
erry
Finn
,"an
d a
copy
of a
ll th
eco
mpa
nion
rea
ding
s cl
eare
d fo
rcl
assr
oom
use
(se
e pa
ge 3
9 fo
r
orde
ring
info
rmat
ion)
.r- -J
The
Cur
ricu
lum
.A4
any
othe
r co
mm
uniti
es h
ave
resp
onde
d to
con
cern
s ab
out t
he b
ook
bein
g ra
cist
by
eith
er r
emov
ing
itfr
om th
e lis
t or
igno
ring
the
com
plai
nts,
but
Che
rry
Hill
eve
ntua
lly d
ecid
ed u
pon
a di
ffer
ent a
ppro
ach.
Aft
er a
for
mal
com
plai
nt w
as lo
dged
with
the
Boa
rd o
f E
duca
tion
in 1
996,
par
ents
, tea
cher
s, s
tude
nts,
and
adm
inis
trat
ors
cam
e to
geth
er in
sev
eral
em
otio
nal m
eetin
gs a
nd p
artic
ipat
ed in
ove
r a
year
of
dial
ogue
to f
ind
aw
ay to
teac
h th
e bo
ok th
at w
ould
sat
isfy
eve
ryon
e. W
hat r
esul
ted
is a
cur
ricu
lum
that
put
s H
uck
Finn
into
an
hist
oric
alan
d lit
erar
y co
ntex
t. T
he c
urri
culu
m u
ses
addi
tiona
l mat
eria
ls, s
uch
as s
lave
nar
rativ
es a
nd o
ther
per
iod
docu
men
ts, t
oen
rich
the
stud
y of
the
book
whi
le s
till p
rese
rvin
g its
inte
grity
as
a no
vel.
Eve
ryon
e ag
rees
that
the
cont
rove
rsy
brou
ght t
heir
com
mun
ity to
geth
er: t
he s
tren
gthe
ned
rela
tions
hip
betw
een
the
min
ority
com
mun
ity a
nd th
e sc
hool
s is
"on
e of
the
best
thin
gs th
at c
ame
out o
f th
is,"
say
s th
e sa
me
pare
nt w
ho w
orri
ed a
tfi
rst t
hat t
here
wou
ld b
e a
"fir
esto
rm."
It i
s, s
ays
Ass
ista
nt S
uper
inte
nden
t of
Cur
ricu
lum
and
Ins
truc
tion
Ric
hard
Lev
y,"a
win
-win
for
eve
ryon
e."
The
cur
ricu
lum
was
wri
tten
by M
att C
arr
and
Sand
y Fo
rchi
on, t
wo
Che
rry
Hill
Eas
t Hig
h Sc
hool
Eng
lish
teac
hers
, in
cons
ulta
tion
with
a te
am o
f ex
pert
s in
Afr
ican
and
Afr
ican
Am
eric
an h
isto
ry, a
nd 1
9th-
cent
ury
liter
atur
e, f
rom
nea
rby
Vill
anov
a U
nive
rsity
. Ass
embl
ed b
y Pr
ofes
sor
Mag
han
Kei
ta, a
nd in
clud
ing
Prof
esso
rs L
arry
Litt
le a
nd C
ryst
al L
ucky
,th
ey p
rovi
ded
read
ings
and
a tr
aini
ng f
or te
ache
rs a
bout
Huc
k Fi
nn, t
he li
tera
ture
of
the
peri
od, r
acis
m, a
nd A
fric
anA
mer
ican
his
tory
. The
trai
ning
is n
ow r
equi
red
for
teac
hers
who
cho
ose
to te
ach
Huc
k Fi
nn.
WG
BH
has
ada
pted
the
curr
icul
um d
evel
oped
by
Che
rry
Hill
and
add
ed a
dditi
onal
dis
cuss
ion
ques
tions
, res
ourc
es, a
ndac
tiviti
es. A
n ou
tline
of
the
curr
icul
um is
incl
uded
in th
is g
uide
(se
e pa
ges
26-3
5). E
duca
tors
can
use
the
outli
ne a
s a
mod
el f
or te
achi
ng c
ontr
over
sial
lite
ratu
re.
55
26
Tea
chin
g H
uck
Finn
in C
onte
xtT
he C
herr
y H
ill M
inor
ity C
ivic
Ass
ocia
tion
offi
cial
ly o
bjec
ted
to A
dven
ture
s ob
Huc
kleb
erry
Fin
non
the
grou
nds
that
"th
e pr
ejud
icia
l eff
ect o
f th
e ra
cial
cha
ract
eriz
atio
ns o
utw
eigh
san
y lit
erar
y va
lue
that
the
book
mig
ht h
ave.
"T
his
obje
ctio
n is
sha
red
by m
ost o
f th
e ch
alle
nges
bro
ught
aga
inst
the
book
sin
ce19
57 w
hen
the
NA
AC
P ch
arge
dth
at th
e bo
ok c
onta
ined
"ra
cial
slu
rs"
and
"bel
ittlin
g ra
cial
des
igna
tions
."i
The
cur
ricu
lum
that
fol
low
s w
as w
ritte
n to
res
pond
to th
is o
bjec
tion.
It s
eeks
to f
ram
e th
e de
bate
, ask
stud
ents
to th
ink
criti
cally
abo
ut it
, and
hel
p th
em to
see
the
nove
l in
a ri
cher
his
tori
cal a
nd c
ultu
ral c
onte
xt. T
he c
urri
culu
mis
div
ided
into
six
sec
tions
, eac
h de
sign
ed to
last
fro
m tw
o da
ys to
two
wee
ks, d
epen
ding
on th
e ne
eds
of th
e cl
ass.
Mos
t Eng
lish
teac
hers
will
rec
ogni
ze th
at m
uch
of th
e cu
rric
ulum
dea
ls w
ith th
e as
pect
s of
Huc
k Fi
nn th
at h
ave
been
trad
ition
ally
taug
ht, s
uch
as s
atir
e, v
oice
, and
cha
ract
er d
evel
opm
ent,
but c
onsi
dere
d fr
oma
slig
htly
dif
fere
nt p
oint
of
view
.
Wat
chin
g th
e fi
lm "
Bor
n to
Tro
uble
: Adv
entu
re!.
ob
Huc
kleb
erry
Fin
n" is
an id
eal w
ay to
eng
age
stud
ents
in th
e bo
okan
d th
e co
ntro
vers
y. Y
ou m
ay w
ant t
o sh
ow th
e fi
lm in
its
entir
ety
duri
ng S
ectio
n I
or y
ou m
ay w
ant t
o se
leC
t por
tions
of it
to s
how
thro
ugho
ut th
e en
tire
Huc
k Fi
nn u
nit.
(See
pag
e39
to o
rder
the
Huc
k Fi
nn C
ours
epac
k w
hich
con
tain
s a
com
plet
e se
t of
com
pani
on r
eadi
ngs,
plu
s th
e vi
deo
"Bor
n to
Tro
uble
.")
As
you
wou
ld w
ith a
ny f
ilm, b
e su
re to
pre
view
it be
fore
you
sho
w it
to s
tude
nts.
Var
ious
acc
ount
s of
the
cont
rove
rsie
ssu
rrou
ndin
g H
uck
Fin
n
*la
v* I
teN
AA
cp4N
riab
eim
use
car
A" %
virt
u_c
..tth
e-
.DP
elte
rlow
0611 "
HU
CK
LE
BE
RR
Y F
INN
."to
Bse
aavi
t!1,
..o.t.
eotin
t"en
ded
quit
in
way
l%94
t5upa
pclo aU
scho
ols
toA
ster
:ef
fect
at W
ste
mdr
op'H
uck
zee
cit.
can
child
ren
02 lb
ft..
ntbo
sett
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ate
esse
eeT
" da
ted.
has
and
e fi
nefe
ss b
ete
res:
rebn
idab
eet i
rrat
em n
unna
ves
the
raci
alg.
f,.1
02 th
is n
Inlb
" la
som
e &
teen
slat
e,to
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stri
cts
Mar
k T
wai
n's
Las
t Boo
k E
xclu
ded
from
tem
:fe
wan
rac
e.ai
nton
rcna
dsar
dial
agne
leve
l
a Pu
blic
Lib
rary
.d
sem
%
d-Fe
aaat
itti
Spec
ial D
ispa
tch
to th
e G
lobe
-Dem
ocra
t.-B
ut a
s fe
iA
-
CO
NC
OR
D, M
ASS
., M
arch
16.
--T
ne C
onco
rdPu
blic
Lib
rary
Com
mitt
ee h
as U
nani
mou
sly
deci
ded
to.e
xclu
de f
rom
the
shel
ves
of th
at11
1115
Thu
s ries
tiod
in
Bro
okir
Taw
ing
7464
4
publ
ic
Of
'Mem
'
Lib
ra-
mIt
tee:
, / W
hile
I d
o no
t wis
h to
sta
te it
as
my
,R
Kal
ber
ry-n
." S
aid
ono
mem
ber
of th
eco
re-
Inst
itutio
n M
ark
Tw
ain'
s ne
w b
ook,
"Il
uckl
e-
opin
ion
that
the
book
is a
bsol
utel
y Im
mor
alc;
1,.0
kie
be "
le A
sv,.
'wee
k
but v
ery
little
hum
or, a
nd th
at li
ttle
is o
fhi
ghve
ry c
oars
e ty
pe.
H it
wer
e no
t for
ill'
caus
e sc
h °o
hni
a rY a
ndN
ewiis
hitit
an
ofi-
in it
s to
ne, s
tibit
seem
s to
me
that
It c
onta
ins
}'or
as arrY
s Pi
nt,'
flut
esof
°Ill
"o
AeR
,_as
si.,_
rem
,or
thol
Pt
s op
ine
fexi
beol
ioas
ofsh
esa
'adr
ejud
ice
F°I.
kks
,1-t
49-u
fi
1.0D
73,,_
1
the
book
."
018
.4 3
Aga
ti)s
tau
thor
's r
eput
atio
n T
he b
ook
wou
ld u
ndou
btt°
77,1
:ore
:ga
ePsP
adeo
irun
bi,o
aon
ep
edly
mee
t with
sev
ere
criti
cism
.1
rega
rdpo
p:. .
00k.
for
;;;is
Whi
el,
the
veri
est t
resh
." A
noth
er m
embe
r sa
lfr
iend
ces
orre
iar
owed
au.
Lib
ra""
Tap
p '1
hav
e ex
amin
ed th
e bo
ok a
nd m
y ob
j,th
ebo
ok -
nYiin
,6-
7.
T.
Nit
'213
0.e
,Ni._.i.
ang
the
rain
ed b
edus
kw
asc"
trae
tR
iver
alon
ebo
ye
_ an
t.._
BE
ST C
OPY
AV
AIL
AB
LE
Pub
"'"
Cur
ricu
lum
Str
uctu
reN
ote:
You
may
cho
ose
to a
ssig
n th
e re
adin
g of
Huc
k Fi
nnac
cord
ing
to y
our
clas
sroo
m s
ched
ule
and
need
s. T
his
curr
icul
umis
des
igne
d so
that
Sec
tion
I and
II c
an b
e us
ed fo
r pr
e-re
adin
g ac
tiviti
es, o
r yo
u ca
n ha
ve s
tude
nts
read
Huc
k Fi
nnin
its
entir
ety
durin
g S
ectio
ns I
and
II, a
nd th
en b
ring
the
finis
hed
book
to c
lass
. Stu
dent
s sh
ould
hav
e co
mpl
eted
the
book
, how
ever
,by
the
begi
nnin
g of
Sec
tion
III. T
he c
ompa
nion
rea
ding
s pr
ovid
e im
port
ant b
ackg
roun
d in
form
atio
n an
d ot
her c
onte
nt.
SE
CT
ION
I
Exp
lorin
g th
e C
ontr
over
sy is
sug
gest
ed a
s a
star
ting
poin
t bef
ore
the
book
is a
ssig
ned.
It in
trod
uces
stu
dent
sto
the
hist
ory
of th
e co
ntro
vers
y an
d su
gges
ts w
ays
of w
orki
ng w
ith th
e re
peat
ed u
se o
f the
wor
dni
gger
.
SE
CT
ION
II
Beh
ind
the
Mas
kExp
lorin
g S
tere
otyp
es fu
rthe
r ad
dres
ses
char
ges
that
Jim
is m
orea
ste
reot
ype
than
a fu
lly r
ealiz
edch
arac
ter.
By
look
ing
at th
e hi
stor
ical
roo
ts o
f rac
ism
as
wel
l as
plan
tatio
n st
ereo
type
s su
chas
"M
amm
y" a
nd "
Sam
bo,"
stud
ents
hav
e a
lens
thro
ugh
whi
ch to
eva
luat
e Ji
m w
hen
they
mee
t him
in th
e no
vel.
SE
CT
ION
S II
I AN
D IV
The
Dev
elop
men
t of C
hara
cter
in H
uck
Fin
n an
d T
he N
ovel
as
Sat
ire d
eal w
ith is
sues
Eng
lish
teac
hers
will
alre
ady
be fa
mili
ar w
ithch
arac
ter
deve
lopm
ent,
lang
uage
, sat
ire, i
rony
, poi
nt o
f vie
w, a
nd a
utho
rial i
nten
t. Ji
m is
exa
min
edas
apr
imar
y ch
arac
ter,
not
just
as
a fo
il fo
r H
uck.
Whe
ther
Jim
or
Huc
k is
the
true
her
o of
the
nove
l is
also
exp
lore
d.
SE
CT
ION
V
Rec
laim
ing
the
Sel
fThe
Leg
acy
of S
lave
ry a
sks
stud
ents
to lo
ok a
t the
sys
tem
of s
lave
ry th
roug
h sl
ave
narr
ativ
esan
d to
rec
ogni
ze th
e le
gacy
of s
lave
ry to
day.
Stu
dent
s lo
ok b
ack
at th
e no
vel i
n a
new
con
text
, and
thin
k ag
ain
abou
tT
wai
n's
port
raya
l of A
mer
ica'
s "p
ecul
iar
inst
itutio
n."
SE
CT
ION
VI
Fin
al P
roje
cts
pres
ents
a v
arie
ty o
f cul
min
atin
g ac
tiviti
es. T
hrou
gh w
ritin
g, o
ral p
rese
ntat
ion,
and
rol
e pl
ayin
g, s
tude
nts
are
aske
d to
doc
umen
t the
ir kn
owle
dge,
ana
lyze
how
they
feel
abo
ut th
e co
ntro
vers
y, a
nd e
xplo
re th
e m
eani
ng o
f the
nove
l its
elf.
4
27
II/
P71m
vera
Y-.
frSt
igge
sted
l.eri
gfh:
41da
ya
Thi
s un
it is
cen
tral
to a
stu
dy o
f H
uck
Finn
. It g
ives
nec
essa
ry b
ackg
roun
d be
fore
stu
dent
s be
gin
read
ing
the
book
so th
ey a
re p
repa
red
for
the
raci
al is
sues
they
will
enc
ount
er. U
sing
the
read
ings
, the
cla
ss e
xplo
res
ques
tions
abou
t iss
ues
such
as
raci
sm, c
enso
rshi
p, a
nd in
telle
ctua
l fre
edom
. And
, bec
ause
the
unit
conn
ects
to c
onte
mpo
rary
issu
es, i
t will
hel
p m
otiv
ate
stud
ents
to b
ecom
e en
gage
d in
the
mat
eria
l.
At t
his
time
you
may
als
o w
ant t
o in
trod
uce
stud
ents
to M
ark
Tw
ain
with
bio
grap
hica
l inf
orm
atio
n, a
nd p
rovi
dead
ditio
nal h
isto
rica
l inf
orm
atio
n ab
out p
ost-
Rec
onst
ruct
ion
Am
eric
a, a
s w
ell a
s th
e tu
rbul
ent 1
84os
in M
isso
uri,
whe
reth
e no
vel t
akes
pla
ce. A
goo
d so
urce
for
info
rmat
ion
is c
hapt
er f
our
in S
helle
y Fi
sher
Fis
hkin
's b
ook
Waa
Huc
k B
lack
?M
ark
Tw
ain
and
Abr
ican
Am
eric
an V
oice
d (N
ew Y
ork:
Oxf
ord
Uni
vers
ity P
ress
, 199
3).
Rac
ism
is o
bvio
usly
a c
ompl
ex a
nd d
iffi
cult
subj
ect.
Alth
ough
teac
hers
may
fee
l unc
omfo
rtab
le d
iscu
ssin
g th
e to
pic,
itis
key
to a
ppre
ciat
ing
and
unde
rsta
ndin
g H
uck
Finn
. You
may
wan
t to
crea
te a
Kno
w/W
ant t
o K
now
/Lea
rned
(K
WL
) ch
art
that
the
clas
s up
date
s th
roug
hout
the
read
ing
of th
e bo
ok. A
s th
eir
unde
rsta
ndin
g of
the
issu
es d
eepe
ns, s
tude
nts
can
use
the
char
t to
re-e
xam
ine
thei
r th
inki
ng.
To
begi
n th
e di
alog
ue, h
ave
the
clas
s tr
y to
est
ablis
h a
defi
nitio
n of
rac
ism
. Dec
ide
how
you
wan
t to
hand
le th
e us
eof
the
wor
d ni
gger
in th
e bo
ok a
nd s
et g
roun
d ru
les.
(Fo
r a
mor
e in
-dep
th tr
eatm
ent o
f th
is is
sue,
see
pag
e 39
to o
rder
Huc
k Fi
nn in
Con
text
: A T
each
ing
Gui
de.)
Alth
ough
ste
reot
ypes
are
dis
cuss
ed in
the
next
sec
tion,
you
may
wan
t to
prev
iew
that
dis
cuss
ion
by in
clud
ing
the
topi
c he
re. Y
ou m
ay a
lso
wan
t to
choo
se s
elec
tions
fro
m b
ooks
suc
h as
Why
Are
All
the
Bla
ck K
ids
Sitti
ng T
oget
her
in th
e C
afet
eria
? by
Bev
erly
Tat
um (
New
Yor
k: H
arpe
r C
ollin
s, 1
997)
. Res
ourc
es f
ored
ucat
ors
on r
acis
m in
clud
e T
each
ing
for
a T
oler
ant W
orld
, Gra
des
9-12
, edi
ted
by C
arol
Dan
ks a
nd L
eatr
ice
Rab
insk
y(U
rban
a, I
L: N
CT
E, 1
999)
and
Tea
chin
g/L
earn
ing
Ant
i-R
acis
m: A
Dev
elop
men
tal A
ppro
ach
by L
ouis
e D
erm
an-S
park
s an
d C
.B.
Phill
ips
(New
Yor
k: T
each
ers
Col
lege
Pre
ss, 1
997)
.
CO
MP
AN
ION
RE
AD
ING
S F
OR
ED
UC
AT
OR
S
Hen
ry, P
each
es. "
The
Str
uggl
e fo
r T
oler
ance
: Rac
e an
d C
enso
rshi
p in
Huc
kFi
nn"
inSa
tire
or E
vasi
on?
Bla
ck P
ersp
ectiv
es o
nH
uckl
eber
ry F
inn,
edite
d by
Jam
es L
eona
rd e
t al,
Dur
ham
, NC
: Duk
e U
nive
rsity
Pre
ss, 1
992,
pp.
25-
48. (
You
may
wan
t to
use
addi
tiona
l ess
ays
from
this
boo
k.)
Jord
an, W
inth
rop.
"F
irst I
mpr
essi
ons"
inT
he W
hite
Man
's B
urde
n: H
isto
rica
l Ori
gins
of
Rac
ism
in th
e U
nite
d St
ates
.N
ewY
ork:
Oxf
ord
Uni
vers
ity P
ress
, 199
3, p
p. 3
-25.
Pow
ell,
Tho
mas
. "T
he S
ubje
ct o
f Rac
ism
" in
The
Per
sist
ence
of
Rac
ism
in A
mer
ica.
Lanh
am, M
D: U
nive
rsity
Pre
ss o
f Am
eric
a,19
92, p
p. 1
-5.
CO
MP
AN
ION
RE
AD
ING
S F
OR
ST
UD
EN
TS
John
son,
Cla
udia
Dur
st.
Und
erst
andi
ng A
dven
ture
s of
Huc
kleb
erry
Fin
n: A
Stu
dent
Cas
eboo
k of
Iss
ues,
Sou
rces
, and
His
tori
cal D
ocum
ents
. Wes
tpor
t, C
T: G
reen
woo
d P
ress
, 199
6, p
p. 2
9-45
. Add
ition
al s
elec
tions
from
this
boo
k m
ay a
lso
be u
sefu
l.
-61
2. 4
Sect
ion
I: A
ctiv
ities
0U
sing
the
film
, you
r lib
rary
, and
the
Web
, con
stru
ct a
tim
elin
e th
at s
how
s th
e di
ffere
nt c
halle
nges
Huc
kF
inn
has
face
d
sinc
e it
was
pub
lishe
d. F
or e
ach
chal
leng
e, th
e tim
elin
e m
ight
incl
ude
a qu
ote
from
a d
etra
ctor
of t
he n
ovel
, as
wel
l as
resp
onse
s fr
om d
efen
ders
.
0 U
sing
the
film
and
/or
addi
tiona
l res
earc
h, h
ave
stud
ents
cho
ose
one
of th
e ch
alle
nges
mad
e ag
ains
t the
boo
k an
d de
sign
a po
ster
from
that
poi
nt o
f vie
wfo
r in
stan
ce, a
s if
crea
ted
by th
e B
rook
lyn
Pub
lic L
ibra
ry in
190
7 w
arni
ng p
aren
ts n
otto
let c
hild
ren
read
the
book
. Rem
ind
stud
ents
that
they
don
't ha
ve to
agr
ee w
ith th
e po
int o
f vie
w th
ey p
ortr
ay, j
ust
conv
ey it
cor
rect
ly. H
ave
stud
ents
pre
sent
thei
r po
ster
s an
d ba
ckgr
ound
res
earc
h to
the
clas
s.
Sect
ion
II: B
ehin
d th
e M
ask
expl
orin
g St
ereo
type
sSu
gges
ted
leng
th: 2
-7da
ys
0ne
of t
he m
ajor
crit
icis
ms
ofH
uck
Finn
has
been
that
the
char
acte
r of
Jim
is o
nly
a ra
cist
ste
reot
ype
and
that
stud
ents
will
com
e aw
ay fr
om th
e bo
ok w
ith a
n im
age
of h
im a
s si
lly, s
uper
stiti
ous,
obe
dien
t, an
d pa
ssiv
e.In
this
sec
tion,
stu
dent
s ex
plor
e th
e m
eani
ng o
f ste
reot
ypes
and
thei
r hi
stor
ical
roo
ts th
roug
h th
e co
rres
pond
ence
of T
hom
as J
effe
rson
and
Ben
jam
in B
anne
ker.
In a
dditi
on to
look
ing
at p
lant
atio
n st
ereo
type
s su
ch a
s "S
ambo
" an
d "N
at"
and
exam
inin
g ho
w J
im a
nd th
e ot
her
slav
es a
re p
ortr
ayed
in th
e no
vel,
stud
ents
rea
d po
ems
by P
aul L
aure
nce
Dun
bar
and
Lang
ston
Hug
hes
to g
o "b
ehin
dth
e m
ask.
" T
hese
sel
ectio
ns o
ffer
oppo
rtun
ities
to d
iscu
ss h
ow th
e "m
ask"
can
als
o be
a fo
rm o
f res
ista
nce.
Stu
dent
s (a
nd p
aren
ts)
may
feel
that
iden
tifyi
ng a
nd d
iscu
ssin
g st
ereo
type
s on
ly s
erve
s to
rei
nfor
ce th
em. I
t's im
port
ant
to c
larif
y th
at th
e go
al o
f thi
s se
ctio
n is
to r
ecog
nize
the
hist
oric
al r
oots
as
wel
l as
cont
empo
rary
man
ifest
atio
nsof
ste
reot
ypes
, and
ther
efor
e m
ore
criti
cally
exa
min
e ho
w T
wai
n us
es th
ose
ster
eoty
pes
inH
uck
Fin
n.
Bef
ore
exam
inin
g ne
gativ
e A
fric
an A
mer
ican
ste
reot
ypes
, it's
use
ful t
o he
lp s
tude
nts
deve
lop
a de
eper
und
erst
andi
ngof
the
hist
ory
and
cultu
re o
f Afr
ican
Am
eric
ans
by lo
okin
g at
the
rich
and
varie
d he
ritag
e of
Afr
ican
s be
fore
they
wer
een
slav
ed a
nd b
roug
ht to
Am
eric
a. T
he o
rigin
al C
herr
y H
ill c
urric
ulum
brie
fly c
over
ed th
e cu
lture
of W
est A
fric
a an
din
form
atio
n ab
out t
he M
iddl
e P
assa
ge. Y
ou m
ay w
ant t
o as
sess
stu
dent
s' p
rior
know
ledg
e on
thes
e su
bjec
ts, a
nd c
onsu
ltor
team
with
a h
isto
ry te
ache
r in
ord
er to
dev
elop
a le
sson
pla
n th
at w
ould
pro
vide
ade
quat
e ba
ckgr
ound
kno
wle
dge.
Tw
o go
od s
ourc
es to
con
sult
are
Afr
ican
Am
eric
an L
itera
ture
(N
ew Y
ork:
Hol
t, R
ineh
art a
nd W
inst
on, 1
992)
, an
anth
olog
yan
d te
xtbo
ok c
onta
inin
g ov
ervi
ews
and
exce
rpts
, and
The
Sla
ve C
omm
unity
: Pla
ntat
ion
Life
in th
e A
nteb
ellu
m S
outh
by
John
W. B
lass
inga
me
(New
Yor
k: O
xfor
d U
nive
rsity
Pre
ss, 1
979)
. See
als
o pa
ge 3
6 of
this
gui
de fo
r ot
her
sugg
este
d bo
oks.
62.
63
.
py
tt
Sect
ion
II: A
ctiv
ities
(i)
Ask
stu
dent
s to
con
side
r po
rtra
yals
of A
fric
an A
mer
ican
s in
mov
ies,
tele
visi
on, a
nd a
dver
tisin
gto
day.
Wha
t are
the
com
mon
ste
reot
ypes
?H
ow a
re th
ese
ster
eoty
pes
rela
ted
to e
arlie
r sl
ave
ster
eoty
pes?
Hav
e ne
w s
tere
otyp
esar
isen
as
wel
l?
Hav
e st
uden
ts r
esea
rch
the
topi
c th
roug
h bo
oks
such
as
Don
ald
Bog
le's
Tom
s, C
oons
, Mul
atto
es,
Mam
mie
s, a
nd B
ucks
:
An
Inte
rpre
tive
His
tory
ofB
lack
s in
Am
eric
an F
ilms
(New
Yor
k: C
ontin
uum
Pub
lishi
ngC
ompa
ny, 1
998)
, mag
azin
ear
ticle
s, a
nd
the
Web
. The
n ha
ve th
emw
rite
a le
tter
to th
e ed
itor,
draw
a p
oliti
cal c
arto
on, o
r cr
eate
api
ctor
ial c
olla
ge th
at
deta
ils w
hat t
hey
foun
d an
dth
eir
com
men
tary
.
-2A
fter
rea
ding
the
Dun
bar
and
Hug
hes
poem
s, a
skst
uden
ts to
exp
lain
how
the
poem
sre
flec
t or
reve
al th
e "m
ask"
in a
n
essa
y, d
raw
ing,
or
dram
atic
rea
ding
.
"We
wea
rth
e.' .
mas
k>
> th
at. '
7,gr
ins.
.4.a
nd.
t. "I'
4.
le s
rIt
.thzd
es o
ur,
1-1.
,.,,t.
..
....-
1l,...
,,,A
n.v4
s::s
ter
.,,
4il
:: 41
.4".
1r '
....
4.',.
..: ,)
I,A
3 4
our
-::e
ye s
' sal
e- '-
i-
4._
, -2,
-
iT
hi s
,_. d
ebt 0
.i 2
( i.-
,' 1,
... ,
7
1,-
!i-
,.
11-,
,.''4 0
t' '
e pa
yd
N
esm
ile, f
`-1-
1',
1ri
we
from
"W
e W
ear
the
Mas
k"bY
Pau
l Lau
renc
e.D
unba
r.(0
37g9
06)
64
CO
MP
AN
ION
RE
AD
ING
SF
OR
ED
UC
AT
OR
S A
ND
ST
UD
EN
TS
Ste
reot
yped
Not
e: T
he p
oem
s be
lovi
rM
ay b
e fo
und
in v
ario
us a
ntho
logi
es.
Dun
bar,
Pau
l Lau
renc
e. "
We
Wea
rth
e M
ask"
in C
ross
ing
the
Dan
ger
Wat
er: T
hree
Hun
dred
Yea
rs o
f
Afr
ican
-Am
eric
an W
ritin
g, e
dite
d by
Dei
rdre
Mul
lane
. New
Yor
k D
oubl
eday
, 199
3, p
.35o
.
Fox
-Gen
oves
e, E
lizab
eth.
"S
lave
Wom
en"
in S
lave
ry in
Am
eric
anS
ocie
ty, e
dite
d by
Law
renc
e G
oodh
eart
.
Lexi
ngto
n, M
A: D
.C. H
eath
& C
o., 1
993,
pp.
166-
169.
Hug
hes,
Lan
gsto
n. "
Min
stre
l Man
" in
Chi
ldre
n of
Pro
mis
e: A
fric
an-A
mer
ican
Lite
ratu
re a
nd A
rt fo
r
You
ng P
eopl
e, e
dite
d by
Cha
rles
Sul
livan
, New
Yor
k H
arry
A. A
bram
sP
ublis
hers
, 199
1, p
.36.
Jord
an, W
inth
rop.
"F
irst I
mpr
essi
ons.
"in
The
Whi
te M
an's
Bur
den:
His
toric
al O
rigin
s of
Rac
ism
in th
e
Uni
ted
Sta
tes.
New
Yor
k: O
xfor
dU
nive
rsity
Pre
ss, 1
974,
Pp.
3-2
5.
His
toric
al R
oots
Dud
ley,
Will
iam
, ed.
"F
orew
ord,
""I
ntro
duct
ion,
" an
d "A
Fou
ndin
g F
athe
r'sV
iew
on
Rac
e" in
Afr
ican
Am
eric
ans.
Opp
osin
g V
iew
poin
ts. S
anD
iego
: Gre
enha
ven
Pre
ss, 1
997,
pp.
9-3
4.
4!r.
c1
) r
7t1
/ c:N
BE
ST
CO
PY
AV
AIL
AB
LE65
Sect
ion
III:
The
Dev
elop
men
t ob
Cha
ract
er in
Huc
k Fi
nnS
ugge
sted
leng
th: 7
-to
days
The
con
vent
iona
l app
roac
h to
teac
hing
Huc
kFi
nn a
ssum
es th
at H
uck
is th
e he
ro a
nd c
ente
r of
the
stor
y, a
nd
cons
ider
s Ji
m o
nly
in r
elat
ion
to H
uck
and
his
mor
al g
row
th. I
n th
is s
ectio
n, s
tude
nts
are
aske
d to
con
side
ra
new
par
adig
m. P
rofe
ssor
Mag
han
Kei
ta e
xpla
ins,
"I a
sk p
eopl
e to
do
a ju
xtap
ositi
on w
hen
conf
ront
ing
Jim
.T
ake
for
a m
omen
t the
not
ion
that
Huc
k is
not
the
cent
ral c
hara
cter
, but
Jim
is. H
ow d
oes
this
cha
nge
notio
ns o
f wha
tth
is b
ook
is a
bout
? H
ow is
it th
at h
ea s
lave
and
a 'n
igge
r'rep
rese
nts
all t
he b
est q
ualit
ies
in th
e bo
ok a
nd h
ow d
oes
he h
uman
ize
Huc
k? H
ow c
an H
uck
rise
to h
eroi
c pr
opor
tions
with
out J
im?
Jim
teac
hes
him
how
to b
e a
hero
Thi
s se
ctio
n as
ks s
tude
nts
to e
xam
ine
who
Jim
and
Huc
k ar
e an
d ho
w th
ey c
hang
e on
e an
othe
r be
fore
con
side
ring
othe
r is
sues
in th
e no
vel.
Dis
cuss
ion
ques
tions
can
exp
lore
the
conc
ept o
f the
her
o, c
hara
cter
ana
lysi
s, a
nd w
hois
the
true
her
o of
the
book
.
In o
rder
to u
nder
stan
d th
e en
viro
nmen
t in,
whi
ch J
im a
nd H
uck
lived
, stu
dent
s m
ay n
eed
back
grou
nd in
form
atio
non
the
184o
s, p
artic
ular
ly th
e co
nflic
t ove
r sl
aver
y th
at w
ould
eve
ntua
lly le
ad to
the
Civ
il W
ar. Y
ou m
ay w
ant t
o us
eyo
ung
adul
t his
tory
boo
ks s
uch
as D
ays
of S
orro
w, Y
ears
of G
lory
183
1-18
50 (
Mile
ston
es in
Bla
ck A
mer
ican
His
tory
serie
s)
by T
imot
hy J
. Pau
lson
(N
ew Y
ork:
Che
lsea
Hou
se P
ublis
hers
, 199
4) o
r Le
t My
Peo
ple
Go:
Afr
ican
Am
eric
ans
1804
-186
0
(you
ng O
xfor
d H
isto
ry o
f Afr
ican
Am
eric
ana
serie
s) b
y D
ebor
ah W
hite
(N
ew Y
ork:
Oxf
ord
Uni
vers
ity P
ress
, 199
5)to
pro
vide
a b
rief o
verv
iew
of t
he e
ra.
Mar
k T
wai
n an
d Jo
hn L
ewis
a s
erva
nt w
hom
Tw
ain
adm
ired
and
may
hav
e be
en a
mod
el fo
r Ji
m
CO
MP
AN
ION
RE
AD
ING
S F
OR
ED
UC
AT
OR
S A
ND
ST
UD
EN
TS
Not
e: Y
ou m
ay a
lso
wan
t to
use
addi
tiona
l ess
ays
from
thes
e so
urce
s.
Cox
, Jam
es M
. "A
Har
d B
ook
to T
ake"
in M
oder
n C
ritic
al In
terp
reta
tions
of A
dven
ture
s of
Hoc
ideb
erry
Fin
n ed
ited
by H
arol
d B
loom
. New
Yor
k: C
hels
ea H
ouse
Pub
lishe
rs, 1
986,
pp.
87-
108.
Mor
rison
, Ton
i. "I
ntro
duct
ion"
in T
he O
xfor
d M
ark
Tw
ain,
edi
ted
by S
helly
Fis
her
Fis
hldn
. New
Yor
k:O
xfor
d U
nive
rsity
Pre
ss, 1
996.
Sm
ith, D
avid
L "
Huc
k, J
im. a
nd A
mer
ican
Rac
ial D
isco
urse
" in
Sat
ire o
r E
vasi
on?
Bla
ck P
ersp
ectiv
es o
nH
uckl
eber
ry F
inn
edite
d by
Jam
es L
eona
rd e
t al.
Dur
ham
, NC
: Duk
e U
nive
rsity
Pre
ss, t
99z,
pp.
ioku
o.
666
Sect
ion
III:
Act
iviti
esH
ave
stud
ent v
olun
teer
s ro
lepl
ay J
im a
nd H
uck.
Let
the
clas
s po
se a
s re
port
ers
at a
pre
ss c
onfe
renc
e. H
ave
them
list
ques
tions
they
'd li
ke to
hav
e th
e ch
arac
ters
answ
ersu
ch a
s as
king
Jim
how
he
felt
whe
n he
was
"en
slav
ed"
agai
n on
Phe
lps
Far
m, o
r ha
ving
Huc
k co
mm
ent o
n hi
s fe
elin
gsfo
r M
ary
Jane
and
then
con
duct
the
inte
rvie
w. A
fterw
ard,
expl
ore
with
the
clas
s ne
w in
sigh
ts o
t- o
bser
vatio
ns th
ey h
ave
abou
t the
cha
ract
ers.
2, A
sk s
tude
nts
to c
onsi
der
Mag
han
Kei
ta's
sug
gest
ion
that
Jim
, not
Huc
k, is
the
cent
ral c
hara
cter
. Do
they
agr
ee o
r di
sagr
ee?
Hav
e st
uden
ts d
efen
d th
eir
answ
er in
the
form
of a
n es
say,
citin
g sp
ecifi
c pa
ssag
es fr
om th
e bo
ok to
sup
port
thei
r
answ
er. Y
ou m
ay w
ant t
o ho
ld a
foru
m o
r to
wn
mee
ting
whe
re s
tude
nts
can
pres
ent t
heir
opin
ions
indi
vidu
ally
or
in
smal
l gro
ups.
Sect
ion
IV: T
he N
ovel
as
Satir
eS
ugge
sted
leng
th: 7
-14
days
Thi
s se
ctio
n of
the
curr
icul
um fo
cuse
s on
Huc
k F
inn
as s
atire
ale
ns th
roug
h w
hich
mos
t Eng
lish
teac
hers
hav
e
trad
ition
ally
look
ed a
t the
nov
el. S
tude
nts
expl
ore
wha
t a s
atire
is,
and
how
Tw
ain
uses
this
form
to r
idic
ule
and
rebu
ke th
e sl
aveh
oldi
ng s
ocie
ty o
f Huc
k F
inn.
Her
e st
uden
ts a
reas
ked
to th
ink
abou
t Tw
ain'
s sa
tire
and
the
auth
or's
inte
nt in
term
s of
the
cont
rove
rsy.
Dis
cuss
ion
topi
csin
clud
e w
heth
er o
r no
t Tw
ain
is s
peak
ing
thro
ugh
Huc
k.
and
how
, why
, and
by
who
m, t
he w
ord
nigg
er is
use
d.
Rev
iew
with
the
clas
s th
e m
eani
ng o
f sat
ire a
nd ir
ony
and
how
they
diff
er. Y
ou m
ay a
lso
have
stu
dent
s re
ad li
tera
ry
criti
cism
whi
ch e
xplo
res
this
topi
c in
rel
atio
n to
Huc
k F
inn.
In a
dditi
on to
the
essa
ys n
oted
bel
ow, y
ou m
ay a
lso
wan
t to
use
the
follo
win
g bo
oks:
Mar
k T
wai
n's
Adv
entu
res
of H
uckl
eber
ry F
inn:
A B
loom
's N
otes
Con
tem
pora
ryLi
tera
ry
Vie
ws
Boo
k, b
y H
arol
d B
loom
(N
ew Y
ork:
Che
lsea
Hou
seP
ublis
hers
, 199
6), a
nd H
uck
Fin
n am
ong
the
Crit
ics:
A C
ente
nnia
l
Sel
ectio
n, e
dite
d by
Tho
mas
M. I
nge
(Fre
deric
k, M
D: U
nive
rsity
Pub
licat
ions
of A
mer
ica,
198
5).
CO
MP
AN
ION
RE
AD
ING
S F
OR
ED
UC
AT
OR
S A
ND
ST
UD
EN
TS
Hof
fman
, Mic
hael
J. "
Huc
k's
Iron
ic C
ircle
" in
Mod
ern
Crit
ical
Inte
rpre
tatio
ns o
f Adv
entu
res
of
Huc
kleb
erry
Fin
n ed
ited
by H
arol
d B
loom
. New
Yor
k: C
hels
ea H
ouse
Pub
lishe
rs,
1986
, pp.
31-
44.
Mar
x. L
eo. "
Mr.
Elio
t, M
r. T
rillin
g, a
nd H
uckl
eber
ry F
inn"
inT
he C
ritic
al R
espo
nse
to M
ark
Tw
ain'
s
Huc
kleb
erry
Fin
n ed
ited
by L
aurie
Cha
mpi
on. N
ew Y
ork:
Gre
enw
ood
Pre
ss, i
991,
pp.
50-6
0. (
Not
e: y
ou
may
wan
t to
use
othe
r se
lect
ions
from
this
book
.).
6 9
Sect
ion
IV: A
ctiv
ities
How
is u
sing
sat
ire d
iffer
ent f
rom
del
iver
ing
an o
vert
mes
sage
? A
fter
expl
orin
g th
e m
eani
ng o
f iro
nyan
d sa
tire,
ask
stud
ents
to fi
nd a
sec
tion
of H
uck
Fin
n th
at th
ey th
ink
is p
artic
ular
ly s
atiri
cal a
nd s
umm
ariz
e it
in a
one
- or
two-
sent
ence
mes
sage
. Dis
cuss
with
stu
dent
s ho
w a
nd w
hy w
hat T
wai
n di
d in
Huc
kF
inn
is d
iffer
ent f
rom
del
iver
ing
his
mes
sage
out
right
. In
wha
t way
s do
they
thin
k T
wai
n's
appr
oach
is m
ore
effe
ctiv
e th
an a
dire
cton
e? In
wha
t
way
s do
they
thin
k it'
s le
ss e
ffect
ive?
2 B
ring
in o
r ha
ve s
tude
nts
brin
g in
som
ethi
ng fr
om p
opul
ar c
ultu
re th
at e
mpl
oys
satir
e to
mak
e its
poi
nt (
a co
mic
str
ipor
an
epis
ode
of T
he S
impa
ona,
for
inst
ance
). W
hat i
s th
e w
riter
's p
oint
of v
iew
abo
ut th
e so
ciet
y he
or
she
satir
izes
?
How
can
you
tell?
How
is h
e or
she
usi
ng s
atire
? N
ow a
sk s
tude
nts
to a
nsw
er th
ose
sam
e qu
estio
nsab
out H
uck
Fin
n.
You
mig
ht th
en h
ave
stud
ents
form
sm
all g
roup
s an
d fin
d as
man
y si
mila
ritie
s as
they
can
bet
wee
n th
e tw
ow
orks
, suc
h
as s
imila
r ta
rget
s of
the
auth
ors'
sat
ires,
met
hods
of s
atiri
zing
, or
even
rea
ctio
nsfr
om th
e pu
blic
whe
n th
e pi
ece
was
first
pre
sent
ed. I
n re
port
ing
back
to th
e cl
ass,
eac
h gr
oup
mig
ht a
lso
iden
tify
the
scen
e in
eac
h w
ork
they
find
tobe
the
mos
t effe
ctiv
e us
e of
sat
ire.
Sect
ion
V: R
ecla
imin
g th
e Se
IliT
he L
egac
y of
f Sl
aver
yS
ugge
sted
leng
th: 7
-14
days
End
ing
the
Huc
k F
inn
unit
with
a lo
ok a
t sla
ve n
arra
tives
and
an
exam
inat
ion
of th
e le
gacy
of s
lave
ry to
day
ises
sent
ial t
o te
achi
ng H
uck
Fin
n in
a fu
ller
cont
ext.
Stu
dent
s w
ho m
ay n
ot h
ave
stud
ied
slav
ery
in o
ther
cla
sses
will
bet
ter
unde
rsta
nd T
wai
n's
acco
unt o
f sla
very
as
fictio
n. T
hey
will
als
o ex
amin
e th
e co
nditi
ons
unde
r w
hich
slav
es li
ved,
and
the
varie
d w
ays
in w
hich
they
res
iste
d th
ese
cond
ition
s. [A
lthou
gh w
e su
gges
t rea
ding
Fre
deric
kD
ougl
ass'
s N
arra
tive
of th
e Li
fe o
f Fre
deric
k D
ougl
ass,
you
may
wan
t to
subs
titut
e it
with
oth
er r
eadi
ngs
from
The
Cla
ssic
Sla
ve N
arra
tives
, edi
ted
by H
enry
Lou
is G
ates
, Jr.
(N
ew Y
ork:
Men
tor,
198
7), s
uch
as H
arrie
t Jac
obs'
Inci
dent
s
in th
e Li
fe o
f a S
lave
Gir1
.1 S
tude
nts
will
thus
end
thei
r st
udy
of th
e bo
ok w
ith a
n im
age
of s
lave
s no
t as
pass
ive
orhe
lple
ss, b
ut a
s st
rong
and
def
iant
. Stu
dent
s m
ay r
e-ev
alua
te J
im in
a le
ss fa
vora
ble
light
afte
r re
adin
g ot
her
slav
ena
rrat
ives
. Thi
s pr
ovid
es a
goo
d op
port
unity
to r
evie
w T
wai
n's
goal
s in
writ
ing
the
nove
l and
the
diffe
renc
ebe
twee
n
the
impa
ct a
nd p
ower
of f
ictio
n ve
rsus
non
fictio
n.
The
orig
inal
Che
rry
Hill
cur
ricul
um s
ugge
sts
that
stu
dent
s w
ill m
ore
fully
app
reci
ate
Jim
's c
hara
cter
ifth
ey u
nder
stan
d
the
impo
rtan
ce o
f fol
k re
ligio
n an
d su
pers
titio
n an
d th
eir
plac
e in
Afr
ican
Am
eric
an c
ultu
re. T
o ad
d th
is to
the
sect
ion.
you
may
wan
t to
cons
ult t
he fo
llow
ing
sour
ces:
"B
lack
Rel
igio
usT
houg
ht in
Am
eric
a, P
art I
: Orig
ins"
in S
peak
ing
the
Tru
th:
Ecu
men
ism
, Lib
erat
ion,
and
Bla
ck T
heol
ogy
by J
ames
H. C
one
(Mar
ykno
ll, N
Y: O
rbis
Boo
ks. 1
999)
. and
"C
onju
re"
byA
lber
t
Rab
otea
u in
Sla
very
in A
mer
ican
Soc
iety
, edi
ted
by L
awre
nce
Goo
dhea
rt (
Lexi
ngto
n, M
A: D
.C. H
eath
6 C
ompa
ny,
1993
).
7 0
7 1
33
'72
The
sug
gest
ed p
oem
s w
ill h
elp
mak
e so
me
of th
e th
emes
in th
is u
nit c
lear
er. H
ave
stud
ents
read
"If
We
Mus
t Die
"an
d "F
or M
y P
eopl
e" to
exa
min
e th
e is
sue
of r
esis
tanc
e an
das
evi
denc
e of
the
lega
cy o
f sla
very
. Dis
cuss
ion
topi
csin
clud
e w
heth
er o
r no
tH
uck
Finn
cont
ains
a r
ealis
tic p
ortr
ayal
of s
lave
life
, the
res
ista
nce
of o
ppre
ssed
peo
ple,
wha
tfr
eedo
m m
eant
to J
im a
nd to
Huc
k, a
nd w
ho th
e tr
ue h
ero
of th
e no
vel
is.
The
topi
cs in
this
sec
tion
are
com
plex
and
ric
h en
ough
to b
e st
udie
don
thei
r ow
n fo
r m
uch
long
er th
an tw
o w
eeks
.A
dditi
onal
bac
kgro
und
may
als
o be
pro
vide
d by
usi
ng b
ooks
abo
ut A
fric
an A
mer
ican
hist
ory
and
film
s su
ch a
s th
e P
BS
serie
sA
tric
ane,
in A
mer
ica
(for
mor
e in
form
atio
n vi
sit t
he W
eb s
ite a
t ww
w.p
bs.o
rg/a
fric
ansi
nam
eric
a).
You
may
wan
tto
team
teac
h a
less
on w
ith a
his
tory
teac
her
abou
t life
und
er s
lave
ry.
CO
MP
AN
ION
RE
AD
ING
S F
OR
ED
UC
AT
OR
S A
ND
ST
UD
EN
TS
Not
e: th
e po
ems
may
be
foun
d in
var
ious
ant
holo
gies
.
Dun
bar,
Pau
l Lau
renc
e. "
Sym
path
y" in
Cro
ssin
g th
e D
ange
r W
ater
. Thr
ee H
undr
ed Y
ears
of A
fric
anA
mer
ican
Writ
ing,
edi
ted
by D
eird
re M
ulla
ne. N
ew Y
ork:
Anc
hor
Boo
ks,
1993
, p. 3
51.
Har
per,
Fra
nces
W. T
he S
lave
Auc
tion"
in C
hild
ren
of P
rom
ise:
Afr
ican
Am
eric
an L
itera
ture
and
Art
for
You
ng P
eopl
e, e
dite
d by
Cha
rles
Sul
livan
. New
Yor
k: H
arry
A. A
bram
s, In
c.,
1991
, p. 4
o.
McC
ay, C
laud
e. "
If W
e M
ust D
ie"
in C
ross
ing
the
Dan
ger
Wat
er. T
hree
Hun
dred
Yea
rs o
f Afr
ican
Am
eric
an W
ritin
g, e
dite
d by
Dei
rdre
Mul
lane
. New
Yor
k A
ncho
r B
ooks
,19
93, p
. 467
.
Min
tz, S
teve
n. "
Intr
oduc
tion"
and
"C
ondi
tions
of L
ife"
in A
fric
an A
mer
ican
Voi
ces:
The
Life
Cyc
le o
fS
lave
ry e
dite
d by
Ste
ven
Min
tz. R
evis
ed e
ditio
n. S
t. Ja
mes
, NY
: Bra
ndyw
ine
Pre
ss,
1993
, pp.
1-2
8 an
d pp
. 69-
83.
Sal
em, D
orot
hy C
. "S
lave
Res
ista
nce"
in T
he J
ourn
ey: A
His
tory
of t
he A
fric
an A
mer
ican
Exp
erie
nce.
Dub
uque
, IA
: Ken
dall/
Hun
t, 19
97. p
p. 1
16-1
2.4.
Wal
ker,
Mar
gare
t. "F
or M
y P
eopl
e" in
Chi
ldre
n of
Pro
mis
e: A
fric
an A
mer
ican
Lite
ratu
re a
nd A
rt fo
rY
oung
Peo
ple,
edi
ted
by C
harle
s S
ulliv
an. N
ew Y
ork
Har
ry A
. Abr
amsI
nc.,i
991,
p.99
.
Sect
ion
V: A
ctiv
ityT
o br
idge
a r
eadi
ng o
f Fre
deric
k D
ougl
ass
(or
othe
r sl
ave
narr
ativ
es)
with
your
stu
dy o
fH
uck
Fin
n,ha
ve s
tude
nts
imag
ine
wha
t Jim
mig
ht w
ant t
o sa
y to
Dou
glas
s if
he r
ead
his
auto
biog
raph
y an
d w
hat D
ougl
ass
mig
ht w
ant t
o sa
y to
Jim
if h
ere
adH
uck
Finn
.H
ave
them
writ
e an
exc
hang
e of
lette
rs o
r ro
le p
lay
a di
alog
ue b
etw
een
the
two.
BE
ST
CO
PY
AV
AIL
AB
LE
73
Seet
Lon
VI:
Fin
al P
roje
cta
Cho
ose
one
or m
ore
of th
ese
culm
inat
ing
activ
ities
to w
rap
up th
e un
it:
(1.4
.% S
ome
peop
le fe
el th
at r
ace
rela
tions
in A
mer
ica
toda
y ar
e st
ill in
fluen
ced
by th
e le
gacy
of s
lave
ry. W
hat i
s th
at le
gacy
?H
ow d
oes
it re
late
to r
eadi
ngH
uck
Finn
?T
hrou
ghou
t the
uni
t, ha
ve s
tude
nts
indi
vidu
ally
or
in s
mal
l gro
ups
colle
ctne
wsp
aper
and
mag
azin
e ar
ticle
s, m
usic
lyric
s, p
oem
s, e
xcer
pts
from
boo
ks, a
rtw
ork,
etc
. tha
t the
y be
lieve
in s
ome
way
exp
ress
es h
ow A
mer
ica
is s
till a
ffect
ed b
y sl
aver
y to
day.
At t
he e
nd o
f the
uni
t, st
uden
ts c
an e
ither
do
a sh
ort o
ral o
rm
ultim
edia
pre
sent
atio
n on
thei
r fin
ding
s, o
r th
ey c
an c
reat
e a
"boo
k" in
whi
ch th
ese
findi
ngs
are
colle
cted
and
ann
otat
ed.
Is o
r is
n't
Huc
k Fi
nnra
cist
? D
oes
read
ing
Huc
k Fi
nnhe
lp o
r ha
rm r
ace
rela
tions
? H
ave
stud
ents
sta
ge a
moc
k tr
ial w
ithth
e bo
ok o
r M
ark
Tw
ain
as th
e de
fend
ant.
(You
may
als
o w
ant t
o vi
sit t
he W
eb s
ite, v
vww
.ilst
u.ed
u/de
pts/
labs
chl/e
p/vo
l3/tw
ain.
htm
l,
whi
ch c
onta
ins
a de
taile
d le
sson
pla
n on
sta
ging
a tr
ial,
deve
lope
d by
teac
her
Dia
ne W
alke
r.)
Stu
dent
s co
uld
also
exp
lore
this
que
stio
n in
a ta
lk s
how
form
at fe
atur
ing
Huc
k, J
im, T
wai
n, a
nd a
nyon
e el
sere
al o
r im
agin
ed, l
ivin
g or
dea
dthe
ybe
lieve
mig
ht a
dd to
the
conv
ersa
tion.
it\ W
hat d
oes
Dav
id B
radl
ey m
ean
in th
e qu
ote
belo
w a
bout
the
endi
ng'o
fH
uck
Fin
n?A
sk s
tude
nts
to im
agin
e th
ey a
reM
ark
Tw
ain'
s ed
itor
and
writ
e hi
m a
lette
r ex
plai
ning
why
and
how
he
shou
ld c
hang
e th
e en
ding
. (T
o ex
tend
this
activ
ity, h
ave
stud
ents
act
ually
rew
rite
the
endi
ng, a
nd c
ompa
re th
eir
vers
ions
to th
e or
igin
al.)
Hav
e st
uden
ts w
rite
a sc
ene
or a
"tr
eatm
ent"
for
a ne
w m
ovie
or
nove
l, se
t in
cont
empo
rary
tim
es, i
n w
hich
Huc
kan
d Ji
m m
eet a
nd b
ecom
e fr
iend
s. W
ho w
ould
they
be
toda
y? W
hat w
ould
thei
r is
sues
be?
Whe
re w
ould
thei
rjo
urne
y ta
ke p
lace
?(-
1-\
5 U
sing
the
film
, the
libr
ary,
and
the
Web
, hav
e st
uden
ts r
evie
w th
e ca
se o
f Kat
hy M
onte
iro a
nd h
er c
ompl
aint
to th
eT
empe
, Ariz
ona,
sch
ool b
oard
, as
show
n in
the
"Bor
n to
Tro
uble
: Adv
entu
rea
ob H
uckl
eber
ry F
inn"
film
. Do
they
agr
eeor
dis
agre
e w
ith h
er?
Let g
roup
s or
indi
vidu
al s
tude
nts
prep
are
a pr
esen
tatio
n to
a B
oard
of E
duca
tion
in w
hich
they
argu
e ei
ther
for
or a
gain
st te
achi
ng th
e no
vel i
n th
e sc
hool
cur
ricul
um. R
emin
d st
uden
ts to
ant
icip
ate
the
obje
ctio
nsth
at m
ight
com
e fr
om d
iffer
ent m
embe
rs o
f the
com
mun
ity, i
nclu
ding
par
ents
, tea
cher
s, r
elig
ious
lead
ers,
stu
dent
s,an
d ad
min
istr
ator
s.
"[Critics haven't] been able to suggest much less writea better
ending'
They failed for the same reason that Twain Wrote the
ending as he did: America has never been able to write a better
ending. 'America has never
been
to write any ending at all."
Writ
er D
avid
Bra
cilii
. 'B
orn
to T
roub
le.'
'1'4
75
Re6
ourc
eaM
ark
Tw
ain
Hou
se
351
Far
min
gton
Ave
nue
Har
tford
, CT
061
05
(86o
) 24
7-09
98w
ww
.har
tnet
.org
/twai
n
The
Mar
k T
wai
n H
ouse
is a
mus
eum
and
res
earc
h ce
nter
loca
ted
in th
e 19
-roo
m m
ansi
onth
at w
as c
usto
m b
uilt
for
Mar
k T
wai
n (S
amue
l L. C
lem
ens)
in H
artfo
rd, C
onne
ctic
ut. T
hem
useu
m o
ffers
tour
s of
the
hom
e w
here
Tw
ain
lived
with
his
fam
ily fr
om 1
874-
1891
. The
mis
sion
of t
he M
ark
Tw
ain
Hou
se, w
hich
is o
n th
e N
atio
nal
,Reg
iste
r of
His
toric
Lan
dmar
ks,
is to
fost
er a
n ap
prec
iatio
nof
Mar
k T
wai
n as
one
of t
hena
tion'
s de
finin
g cu
ltura
lfig
ures
and
to d
emon
stra
te th
eco
ntin
ued
rele
vanc
e of
his
wor
k, li
fe, a
nd ti
mes
Con
tact
the
Edu
catio
n D
epar
tmen
t at
exte
nsio
n 36
for
teac
her
reso
urce
s
,Ig
;t1 "a P o.
` -a
!p
76
Mar
k T
wai
n C
ircle
of A
mer
ica
Pro
fess
or J
ohn
Bird
Exe
cutiv
e C
oord
inat
orE
nglis
h D
epar
tmen
tW
inth
rop
Uni
vers
ityR
ock
Hill
, SC
297
33
A s
chol
arly
gro
up d
evot
ed to
Tw
ain
stud
ies.
Nat
iona
l Ass
ocia
tion
for
the
Adv
ance
men
t of C
olor
edP
eopl
e (N
AA
CP
)48
05 M
t. H
ope
Driv
eB
altim
ore,
MD
212
15
(4io
) 35
8-89
00w
ww
.naa
cp.o
rgA
civ
il rig
hts
orga
niza
tion
that
wor
ks to
ens
ure
the
polit
ical
,ed
ucat
iona
l, so
cial
, and
econ
omic
equ
ality
of m
inor
ityci
tizen
s in
the
Uni
ted
Sta
tes.
Mar
k T
wai
n H
ouse
Har
tford
CT
and
book
s on
Mar
k T
wai
n an
dA
dven
ture
s ob
Huc
kleb
erry
Fin
n.In
add
ition
to th
e cu
rric
ulum
read
ings
, you
may
wan
t to
use
som
e of
thes
e se
lect
ed ti
tles.
Art
icle
s"E
J F
orum
: Mar
k T
wai
n's
Jim
:R
ole
Mod
el, S
tere
otyp
e, In
visi
ble
Man
?" E
nglis
h Jo
urna
l(N
ovem
ber
1993
). A
n is
sue
devo
ted
to th
e di
scus
sion
of t
hech
arac
ter
of J
im.
Mor
row
, Lan
ce. "
Huc
kleb
erry
Fin
n an
d C
enso
rshi
p" in
Rea
ding
s on
Mar
k T
wai
n,Li
tera
ry C
ompa
nion
toA
mer
ican
Aut
hors
, edi
ted
byB
runo
Leo
ne. S
an D
iego
:
Gre
enha
ven
Pre
ss, 1
996.
An
over
view
of t
he b
ook
and
the
issu
es.
Sm
iley,
Jan
e. "
Say
It A
in't
So.
Huc
k: S
econ
d T
houg
hts
onT
wai
n's
'Mas
terp
iece
.'" H
arpe
r's(J
anua
ry 1
996)
. A c
ontr
over
sial
artic
le c
ompa
ring
Huc
k F
inn
with
Unc
le T
om's
Cab
in.
"Tw
ain
and
His
Nov
el."
The
New
Yor
ker
(Jun
e z6
6 J
uly
3, 1
995)
.A
col
lect
ion
of c
omm
enta
ries
on H
uck
Fin
n.
Wal
lace
, Joh
n. "
Huc
kleb
erry
Fin
n is
Offe
nsiv
e."
The
Was
hing
ton
Poe
t, A
pril
II, 1
982.
An
edito
rial i
n w
hich
Wal
lace
advo
cate
d th
at H
uck
Fin
n be
rem
oved
from
sch
ools
.
Bod
oA
rac.
Jon
atha
n. H
uckl
eber
ryF
inn
as Id
ol a
nd T
arge
t: T
heF
unct
ions
of C
ritic
ism
in O
urT
ime.
Mad
ison
. WI:
The
Uni
vers
ity o
f Wis
cons
in P
ress
,19
97. A
n ex
amin
atio
n of
the
hist
ory
and
scho
lars
hip
of th
eM
ick
Fin
n co
ntro
vers
y.
Cha
dwic
k-Jo
shua
. Joc
elyn
. The
lim D
ilem
ma:
Rea
ding
Rac
e in
Huc
kleb
erry
Fin
n. J
acks
on, M
I:U
nive
rsity
of M
issi
ssip
pi P
ress
,19
98. E
xplo
res
the
cont
rove
rsy
and
pres
ents
rat
iona
les
for
teac
hing
the
book
.
Doy
no, V
icto
r. W
ritin
g H
uck
Fin
n: M
ark
Tw
ain'
s C
reat
ive
Pro
cess
. Phi
lade
lphi
a:U
nive
rsity
of P
enns
ylva
nia
Pre
ss. 1
993.
An
exam
inat
ion
ofT
wai
n's
liter
ary
styl
e an
d ar
tistr
y.
Fis
hkin
. She
lley
Fis
her.
Ligh
ting
Out
for
the
Ter
ritor
y:R
efle
ctio
ns o
n M
ark
Tw
ain
and
Am
eric
an C
ultu
re. N
ew Y
ork:
Oxf
ord
Uni
vers
ity P
ress
. 199
8. A
look
at w
ho T
wai
n w
as a
nd h
ispr
esen
ce in
con
tem
pora
ry c
ultu
re.
Fis
hkin
. She
lley
Fis
her.
Was
Huc
k B
lack
? M
ark
Tw
ain
and
Afr
ican
-Am
eric
an V
oice
s. N
ewY
ork:
Oxf
ord
Uni
vers
ity P
ress
.19
94. H
ow A
fric
an A
mer
ican
voic
es, l
angu
age,
and
rhe
toric
cont
ribut
ed to
the
gene
sis
ofH
uck
Fin
n.
Inge
. M. T
hom
as, e
d. H
uck
Fin
n A
mon
g th
e C
ritic
s: A
Cen
tenn
ial S
elec
tion.
Fre
deric
k, M
D: U
nive
rsity
Pub
licat
ions
of A
mer
ica.
198
5.A
col
lect
ion
of e
ssay
s an
dcr
itiqu
es, f
rom
the
nine
teen
thce
ntur
y to
the
pres
ent.
77
a
Kap
lan,
Jus
tin. M
r. C
lem
ens
and
Mar
k T
wai
n. N
ew Y
ork:
Sim
onan
d S
chus
ter,
199
1. A
wel
l-kno
wn
biog
raph
y of
Mar
k T
wai
n.
Sun
dqui
st, E
ric. T
o W
ake
the
Nat
ions
: Rac
e in
the
Mak
ing
of A
mer
ican
Lite
ratu
re.
Cam
brid
ge. M
A: B
elkn
ap P
ress
,19
93. H
ow b
lack
and
whi
telit
erat
ure
form
s a
sing
leA
mer
ican
lite
rary
trad
ition
.
Web
a it
eaA
mer
ican
Sla
ve N
arra
tives
http
://xr
oads
.virg
inia
.edu
i-H
YP
ER
/wpa
/wpa
hom
e.ht
ml
Con
tain
s na
rrat
ives
of f
orm
ersl
aves
(do
cum
ente
d fr
om 1
936-
1938
) of
the
nine
teen
th c
entu
ry.
Mar
k T
wai
n H
ome
Pag
em
arkt
wai
n.m
inin
gco.
com
Con
tain
s co
mpl
ete
text
s of
som
eof
Tw
ain'
s w
orks
, as
wel
l as
biog
raph
ies,
lite
rary
crit
icis
m.
anal
yses
of c
enso
rshi
p, a
ndlin
ks to
oth
er T
wai
n si
tes.
The
Tria
l ot M
ark
Tw
ain
http
://vn
vw.il
stu.
edu.
dept
s/la
bsch
Vep
/vol
3/tw
ain.
htm
lE
nglis
h te
ache
r D
iane
Wal
ker
deve
lope
d th
is e
xerc
ise
for
stud
ents
to d
o af
ter
finis
hing
aun
it on
Huc
k F
inn.
It s
ets
up th
ero
les
(judg
e, c
lerk
, jur
y, w
itnes
ses,
pros
ecut
ion,
def
ense
. etc
.) a
ndth
e pr
oced
ure
of th
e tr
ial,
as w
ell
as g
ivin
g te
achi
ng ti
ps.
Mar
k T
wai
n F
orum
web
.mit,
edu/
lingu
istic
s/w
ww
/fo
nim
/twai
nweb
/htm
lA
n on
line
foru
m/n
ews
grou
p of
inte
rest
to T
wai
n sc
hola
rs a
ndsp
ecia
lists
.
Gen
eral
Rea
purc
eaT
hese
org
aniz
atio
ns,
book
s, a
nd W
eb s
ites
can
prov
ide
a st
artin
g po
int
for
teac
hers
and
stu
dent
sdo
ing
furt
her
rese
arch
into
any
aspe
ct o
f ce
nsor
ship
,in
telle
ctua
l fre
edom
, the
Firs
t Am
endm
ent,
and
arts
cont
rove
rsie
s.
7
Org
aniz
atio
nsT
he fo
llow
ing
orga
niza
tions
are
conc
erne
d w
ith fr
eedo
m o
fex
pres
sion
and
/or
issu
es o
fm
oral
ity in
con
tem
pora
ry c
ultu
re.
Am
eric
an B
ooks
elle
rsA
ssoc
iatio
n82
8 S
. Bro
adw
ayT
arry
tow
n. N
Y 1
0591
(914
) 59
1-26
65w
ww
.boo
kweb
.org
Thi
s tr
ade
orga
niza
tion
for
book
selle
rs in
clud
es th
eF
ound
atio
n fo
r F
ree
Exp
ress
ion,
whi
ch c
o-sp
onso
rs B
anne
dB
ooks
Wee
k an
d ot
her
anti-
cens
orsh
ip a
ctiv
ities
.
Am
eric
an L
ibra
ry A
ssoc
iatio
n5o
Eas
t Hur
on S
tree
tC
hica
go, I
L 60
611-
2795
(800
) 54
5-24
33w
ww
.ala
.org
The
ALA
sup
port
s in
telle
ctua
lfr
eedo
m a
nd fr
ee a
cces
s to
libra
ries
and
libra
ry m
ater
ials
thro
ugh
its O
ffice
of I
ntel
lect
ual
Fre
edom
. It p
ublis
hes
pam
phle
ts.
artic
les,
pos
ters
, new
slet
ters
,an
d th
e B
anne
d B
ooks
Wee
kR
esou
rce
Kit
(upd
ated
ann
ually
).
The
Ant
i-Def
amat
ion
Leag
ue82
3 U
nite
d N
atio
ns P
laza
New
Yor
k, N
Y 1
0017
(212
) 88
5-77
0o
ww
w.a
dl.o
rgA
n or
gani
zatio
n de
vote
d to
com
batin
g an
ti-S
emiti
sm a
ndbi
gotr
y. R
esou
rces
for
teac
hers
incl
ude
the
A W
orld
of D
iffer
ence
Inst
itute
, an
anti-
bias
trai
ning
and
curr
icul
um.
Fre
edom
For
umno
i Wils
on B
oule
vard
Arli
ngto
n, V
A 2
2203
(703
) 52
8-08
0olo
rivw
.free
dom
foru
m.o
rgT
he F
reed
om F
orum
is d
edic
ated
to fr
ee p
ress
and
free
spe
ech.
Its
reso
urce
s in
clud
e co
nfer
ence
s,ed
ucat
iona
l act
iviti
es, p
ublis
hing
,br
oadc
astin
g, o
nlin
e se
rvic
es,
fello
wsh
ips,
par
tner
ship
s.tr
aini
ng, a
nd r
esea
rch.
Mor
ality
in M
edia
475
Riv
ersi
de D
rive
Sui
te 2
39
New
Yor
k, N
Y 1
0115
(212
) 87
0-32
22
ww
w.n
etco
m.c
om/m
imny
cM
oral
ity in
Med
ia is
a n
atio
nal
inte
rfai
th o
rgan
izat
ion
that
wor
ks to
enf
orce
sta
te a
ndfe
dera
l obs
ceni
ty la
ws,
and
toup
hold
"st
anda
rds
of d
ecen
cy"
in th
e m
edia
.
Nat
iona
l Coa
litio
n A
gain
stC
enso
rshi
p27
5 S
even
th A
venu
e
New
Yor
k, N
Y w
ool
(212
) 80
7-62
22
ww
w.n
cac.
org
NC
AC
is a
n al
lianc
e of
orga
niza
tions
com
mitt
ed to
defe
ndin
g fr
eedo
m o
f tho
ught
,in
quiry
, and
exp
ress
ion
thro
ugh
publ
ic e
duca
tion
and
advo
cacy
.
Nat
iona
l Cou
ncil
of T
each
ers
of E
nglis
hnn
W. K
enyo
n R
oad
Urb
ana.
IL W
oe(8
00)
369-
6283
ww
w.n
cte.
org
Thi
s pr
ofes
sion
al o
rgan
izat
ion
of E
nglis
h an
d la
ngua
ge a
rts
teac
hers
incl
udes
edu
cato
rsfr
om e
lem
enta
ry s
choo
l thr
ough
colle
ge th
roug
hout
the
coun
try.
It pr
ovid
es a
var
iety
of r
esou
rces
.in
clud
ing
Web
site
foru
ms.
publ
icat
ions
, tea
chin
g id
eas,
pol
icy
stat
emen
ts, a
nd p
rofe
ssio
nal
deve
lopm
ent m
eetin
gs a
ndco
nfer
ence
s.
Peo
ple
for
the
Am
eric
an W
ay20
00 M
Str
eet,
NW
, Sui
te g
ooW
ashi
ngto
n. D
C 2
0036
(202
) 46
7-49
99w
ww
.pfa
w.o
rgP
AW
dis
trib
utes
edu
catio
nal
mat
eria
ls, l
eafle
ts, a
ndbr
ochu
res
to p
rom
ote
dive
rsity
and
tole
ranc
e an
d pu
blis
hes
anan
nual
rep
ort o
n ce
nsor
ship
atte
mpt
s in
sch
ool.
Tea
chin
g T
oler
ance
goo
Was
hing
ton
Ave
nue
Mon
tgom
ery,
AL
3610
4
(334
) 26
4-02
86w
ww
.spl
cent
er.o
rg /t
each
ing
tole
ranc
e.ht
ml
The
nat
iona
l edu
catio
n pr
ojec
tof
the
Sou
ther
n P
over
ty L
awC
ente
r he
lps
educ
ator
s fo
ster
equi
ty, r
espe
ct, a
nd u
nder
stan
ding
in th
e cl
assr
oom
and
bey
ond.
Res
ourc
es in
clud
e a
bi-a
nnua
lm
agaz
ine
and
vide
o-an
d-te
xtte
achi
ng k
its.
Rea
ding
sN
ON
FIC
TIO
N
Am
eric
an B
ooks
elle
rsF
ound
atio
n fo
r F
ree
Exp
ress
ion.
Cen
sors
hip
and
Firs
tA
men
dmen
t Rig
hts:
A P
rimer
.T
arry
tow
n. N
Y: A
mer
ican
Boo
ksel
lers
Fou
ndat
ion,
199
1.A
how
-to
book
abo
ut d
ealin
gw
ith c
enso
rshi
p is
sues
.
Bla
ncha
rd. M
arga
ret.
Rev
olut
iona
ry S
park
s:F
reed
om o
f Exp
ress
ion
inM
oder
n A
mer
ica.
New
Yor
k:O
xfor
d U
nive
rsity
Pre
ss, 1
992.
A c
ompr
ehen
sive
his
tory
of
free
dom
of s
peec
h fr
ompo
st-C
ivil
War
to th
e m
os.
Bol
ton,
Ric
hard
, ed.
Cul
ture
War
s. N
ew Y
ork:
New
Pre
ss,
1qq2
. Doc
umen
ts d
ebat
es o
ver
art a
nd p
ublic
spe
ech,
in th
ew
ords
of t
he a
rtis
ts, l
obby
ists
,le
gisl
ator
s, a
nd c
ritic
s.
Del
fatto
re. J
oan.
Wha
t Joh
nny
Sho
uldn
't R
ead:
Tex
tboo
kC
enso
rshi
p. N
ew H
aven
, CT
:Y
ale
Uni
vers
ity P
ress
. 199
4. H
owsp
ecia
l int
eres
t gro
ups
influ
ence
the
cont
ent o
f tex
tboo
ks.
Dem
ac, D
onna
, A. L
iber
tyD
enie
d: T
he C
urre
nt R
ise
ofC
enso
rshi
p in
Am
eric
a. N
ewY
ork:
PE
N A
mer
ican
Cen
ter,
lino
.T
his
over
view
incl
udes
a c
hapt
eron
cen
sors
hip
in s
choo
ls a
ndlib
rarie
s.
79
PIP
Gat
es, H
enry
Lou
is J
r. L
oose
Can
ons:
Not
es o
n th
e C
ultu
reW
ars.
New
Yor
k: O
xfor
dU
nive
rsity
Pre
ss, 1
993.
One
of
the
natio
n's
lead
ing
acad
emic
sm
akes
the
case
for
mul
ticul
tura
tole
ranc
e an
d ed
ucat
ion.
Hug
hes.
Rob
ert.
Cul
ture
of
Com
plai
nt. N
ew Y
ork:
War
ner,
199
4. A
n ex
amin
atio
nof
mul
ticul
tura
lism
in A
mer
ica
and
wha
t Hug
hes
sees
as
itsde
vast
atin
g ef
fect
in th
e so
cial
,po
litic
al, a
nd m
oral
are
nas.
Sta
y, B
yron
L, e
d. C
enso
rshi
p:O
ppos
ing
Vie
wpo
ints
. San
Die
gtC
A: G
reen
have
n P
ress
. 199
7.
A w
ide
rang
e of
opi
nion
s on
free
spe
ech
issu
es r
epre
sent
ed it
piec
es r
angi
ng fr
om s
peec
hes
to a
rtic
les
to c
arto
ons
to b
ook
exce
rpts
.
Zei
nert
. Kar
en. I
ssue
s in
Foc
us: F
ree
Spe
ech,
Fro
mN
ewsp
aper
s to
Mus
ic L
yric
s.S
prin
gfie
ld, N
J: E
ns lo
w P
ublis
her.
1995
. Thi
s yo
ung
adul
t boo
kis
div
ided
into
cha
pter
s on
cens
orsh
ip in
boo
ks, m
agaz
ines
new
spap
ers,
mov
ies,
mus
icly
rics,
tele
visi
on, r
adio
, hat
esp
eech
, and
oth
ers.
FIC
TIO
N
Avi
. Not
hing
But
the
Tru
th.
New
Yor
k: A
von
Boo
ks,
1993
.W
hen
a ni
nth
grad
er r
efus
es to
sing
the
Nat
iona
l Ant
hem
, his
actio
ns c
ome
to in
volv
e th
een
tire
scho
ol c
omm
unity
.
Bra
dbur
y, R
ay. F
ahre
nhei
t 451
.N
ew Y
ork:
Bal
lant
ine
Boo
ks,
1995
. A c
lass
ic fu
turis
tic n
ovel
abou
t cen
sors
hip
and
thou
ght
cont
rol i
n w
hich
the
prot
agon
ist
is a
"fir
eman
" w
hose
job
it is
to b
urn
book
s.
Hen
toff,
Nat
. The
Day
The
yC
ame
to A
rres
t the
Boo
k.N
ew Y
ork:
Ban
tam
, 198
2.A
fict
iona
l acc
ount
of a
hig
hsc
hool
in w
hich
Huc
k Fi
nnis
cha
lleng
ed, a
nd s
tude
nts
and
teac
hers
ral
ly to
figh
tce
nsor
ship
.
Low
ry, L
ois.
The
Giv
er.
New
Yor
k: B
anta
m B
ooks
,pm
.Jo
nas'
s w
orld
is p
erfe
ctor
isit?
Thi
s no
vel e
xplo
res
wha
t
happ
ens
whe
n so
ciet
y pr
ovid
esev
eryt
hing
but
forb
ids
the
free
dom
to th
ink
and
feel
.
CD
- R
OM
oN
CT
E in
par
tner
ship
with
IRA
.R
atio
nale
sB
anne
d B
ooks
.(C
D-R
OM
), 1
998.
A c
olle
ctio
nof
ove
r tw
o hu
ndre
d ra
tiona
les
for
over
170
boo
ks a
nd fi
lms
that
incl
udes
cla
sroo
m a
ssig
nmen
tsan
d te
achi
ng o
bjec
tives
and
met
hods
. To
orde
r, c
all t
he N
CT
EC
usto
mer
Ser
vice
Dep
artm
ent
at (
boo)
369
-628
3.
Web
Site
&A
rtaC
dNet
of t
he G
etty
Inst
itute
for
the
Art
a
Idtl:
//ww
w.a
rtse
dnet
.get
ly.e
du/
A r
esou
rce
for
educ
ator
s.
incl
udin
g le
sson
pla
ns,
info
rmat
ion
on p
rofe
ssio
nal
deve
lopm
ent,
gran
t inf
orm
atio
n.id
eas
for
inte
rdis
cipl
inar
ypr
ojec
ts, a
nd a
"ph
iloso
phic
alfo
rum
Ifor
l ask
ing
big
ques
tions
abou
t art
."
Cen
sors
hip
and
Inte
llect
ual
Fre
edom
Pag
e
http
J/ph
p.in
dian
a.ed
u/-
quin
njf/c
enso
r.ht
ml
Con
tain
s re
sour
ces
and
links
toot
her
Web
site
s an
d us
enet
grou
ps w
ith d
escr
iptio
ns.
The
Cen
sors
hip
File
s
http
://w
ww
.cla
iresc
orne
r.co
m/
cens
orsh
ip/d
efau
tt.ht
mA
res
ourc
e co
mm
itted
to m
akin
gm
ore
info
rmat
ion
abou
tce
nsor
ship
of t
he a
rts
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U.S
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MA
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973
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89
I
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Title: 6, Nr.ra Spar h - 4 7Z, 9 a Ma cZs
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