ENGL 220: Introduction to Poetry Spring 2014 T Th, 9:30-10:45am, San Ignacio Hall C Prerequisites: ENGL 190 Ryan Day Office: San Ignacion Hall, Third floor, Room 9 Office hours: Tues./Thurs. 12:15-2:15pm and by appointment Email: [email protected] Course Description: This is a discussion-oriented, writing-intensive course in which we will look at the broad history of poetry in the English language. We will read poems that are grouped not simply across time, but by their treatment of subject, their stylistic approaches, their relationship to and use of setting, voice, form... This is a unique approach that will allows us to look at the progression of poetry not merely as a march across history, viewing moments and movements as isolated, but instead to see the commonalities across eras and cultures. Course Objectives: -Improve our ability to appreciate, understand, discuss, and write about poems. -Be able to identify as well as imitate a range of poetic forms and meters. -To understand the ways in which cultural and historical contexts shape poems and poetic traditions. -To understand some of the historical, cultural, and critical contexts that shape our perceptions of poems and poetic art. -To consider some of the performative and material contexts in which poems appear (and how these contexts shape the way meaning is produced in poems). -To learn to access, evaluate, and apply the resources necessary for conducting research on poems (and to use these resources in accordance with the University´s policy of academic integrity). Required texts: -The Norton Introduction to Poetry, ed. J. Paul Hunter, Alison Booth, and Kelly J. Mays Recommended Resources: -Princeton Encyclopedia of Poetry and Poetics (Library) -Oxford English Dictionary Online (Library Databases) -American Academy of Poets <http://www.poets.org/> -University of Illinois, Modern American Poetry <http://www.english.uiuc.edu/maps/> Requirements: -Regular attendance and participation. Class discussions are at the center of this course; it is essential that you show up on time and contribute to the intellectual climate of the group (this entails keeping up with the reading assignments, taking notes during class and as you complete the readings, posing questions in class, etc.). You are allowed three absences during the course of the semester. Additional unexcused absences will affect your final grade. You cannot pass the class if you miss eight classes or more for whatever reason (you must withdraw or you will receive an “F” as a final grade). Please take this into account if you have class trips scheduled or plan to participate in other school-sponsored activities that will require you to miss classes (I will fully support your involvement in these activities so long as you adhere to the class attendance policy). You are responsible for keeping up with class discussions and assignments, so please contact me as soon as possible if you miss a class. If you have questions or concerns about the attendance policy now or at any point in the semester, please do not hesitate to contact me. 10 % of final grade -3 essays: 2 pages, 4-5 pages, and 5-6 pages respectively. For the first two essays, you will be evaluated on your analytical and close-reading skills. The third essay will be a research assignment in which you will draw on critical and historical discussions of poetry to enhance your own readings and analysis. I will distribute topics, requirements, and assessment guidelines. for each essay at least two weeks prior to the due date (marked with ** on the schedule). We will workshop rough drafts of the second and third paper in class prior to the due date for the final draft (drafts will be due on the day of the workshop). Final papers turned in late and without prior notice will go down 1/3 of a letter grade per class day (starting with the due date) and will not receive comments. 50% of final grade -Short weekly response writings: 250-400 words. You are to use these weekly response writings to practice the analytical skills you’ll be graded on in a less formal context. Suggestions: write about a poem, a part of a poem, or compare parts of two poems that intrigue you. What kinds of poetic devices do you encounter (metaphor, simile, etc.)? How do elements of rhythm, form, or visual appearance contribute to the poem’s (or part of the poem’s) meaning(s)? Look up words in the Oxford English Dictionary (available online via the SLU library’s webpage). Do you find any meanings (related to the word as it is used in the poem and in its historical context) that surprise you? You are to post ONE response writing per week (starting with week two) to our class blog the address of which I will announce on the first day. Response writings will be due by 8am on the day we are scheduled to talk about the poem or poems on which you´ve chosen to write (ie, if you choose to respond to a poem that we are reading for Monday, you´ll need to email your response to me by 8am on Monday). No response writings will be due during the weeks in which final drafts of papers are due. 20% of final grade. -Poetry Portfolio: On the last day of class, you will be required to turn in a portfolio of three poems you’ve written using three of the following four forms: Sonnet, sestina, villanelle, free verse. Your grade will depend less on your skills as a poet than on your understanding of these forms and your ability to engage with them thoughtfully as well as creatively. 5 % of final grade. Midterm Exam: A short answer exam on key terms and other concepts covered thus far. 5% of final grade. Final Exam: An essay exam in which you will be asked to make connections among three of the poems we´ve covered during the semester. You will be evaluated on your ability to make thoughtful and compelling connections among disparate texts, conduct close readings, and to analyze poems using the literary and critical terms covered during the semester. 10 % of final grade. Academic Honesty: You are expected to maintain the standards of academic integrity required by Saint Louis University. To quote from the University´s policy: Although not all forms of academic dishonesty can be listed here, it can be said in general that soliciting, receiving, or providing any unauthorized assistance in the completion of any work submitted toward academic credit is dishonest. It not only violates the mutual trust necessary between faculty and students but also undermines the validity of the University´s evaluation of students and takes unfair advantage of fellow students. Further, it is the responsibility of any student who observes such dishonest conduct to call it to the attention of a faculty member or administrator…Possible sanctions for a violation of academic integrity include, but are not limited to, disciplinary probation, suspension, and dismissal from the University. Examples of plagiarism include: turning in someone else´s work (published or unpublished) as your own; presenting ideas that are not your own, or that are not common knowledge, either directly (verbatim) or paraphrased (this includes quoting from or paraphrasing outside sources without proper citation; willful misrepresentation of sources (citing a source that isn´t the source from which you obtained your information). Policy: If you turn in work that violates these policies and if this is your first offense, you will receive an “F” on the assignment. If you violate the policy for a second time, you will receive an “F” as a final grade for the class. Accommodation Statement Any student who needs an accommodation based on the impact of a disability (learning disabilities, physical handicaps, or other reasons) should contact me privately to discuss your specific needs. If you qualify for accommodations and are not registered with our Disabilities Services, accommodations can be coordinated for students with documented disabilities. Please contact Vickie Andrews or Laurie Mazzuca at 91 554 5858 Ext. 230, or stop by their office in Manresa Hall. Escriba para introducir texto Week Day Class Description Introduction to the course. T-Jan-14 What is this course about? Getting to know each other. Week 1 Th-Jan-16 Telling it Slant From reading to writing T-Jan-21 Week 2 Writing about Poetry Th-Jan-23 Reading for the Day Dickinson (slant), Plath (metaphors), Williams (red wheel barrow), Shakespeare (Mine mistress eyes), Norton Introduction to Poetry, pp. 1-15 (poems by Elizabeth Barrett Browning, Jarold Ramsey, Linda Pastan, Ezra Pound, and Liz Rosenberg, Ben Jonson, Howard Nemerov, Seamus Heaney, Rita Dove, and Anne Sexton). Review carefully the suggested guidelines for reading and responding to poems as we’ll be referring back to these throughout the semester. ). Norton Introduction to Poetry, pp. 16-26 (poems by W. H. Auden, Andrew Marvell, Anne Bradstreet, William Shakespeare, Alan Bold, Sharon Olds, Stephen Dunn, Denise Levertov, Mary, Lady Chudleigh, W. B. Yeats, and Li-Young Lee) Assignments Take notes and be prepared to discuss responses to each poem. Turn in weekly reflection. F-Jan-24 Last Day to Drop a Class Without a Grade W and/or Add a Class Norton Introduction to Poetry, pp. 27-34, 47-48, 50-53, 5657, 59-60 (poems by Marge Piercy, W. D. Snodgrass, Thom Gunn, Etheridge Knight, Take notes and be prepared to T-Jan-28 William Blake, Susan discuss responses to each Musgrave, and Alan Dugan poem. poems by Yvonne Sapia, Week 3 Alberto Alvaro Ríos, Jimmy Santiago Baca, William Blake, and Robert Lowell) Norton Introduction to Poetry, Speaker pp. 81-84, 92 (poems by Sir Take notes and be prepared to Thomas Wyatt, Fred Chappell, discuss responses to each Th-Jan-30 Walt Whitman, Andrew poem. Turn in weekly Hudgins, and Gwendolyn reflection. Brooks). Tone Where, When, Why/ Space, Time, Speaker T-Feb-4 Week 4 Mapping the Poem Norton Introduction to Poetry, pp. 93-109 (poems by James Dickey, John Donne, Rita Dove, Linda Pastan, and John Milton Sylvia Plath, Matthew Arnold, Mark Strand, Andrew Marvell, Emily Brontë, and Margaret Atwood). Take notes and be prepared to discuss responses to each poem. Turn in 2 page analysis Norton Introduction to Poetry, pp. 111-12, 114-119 (poems Take notes and be prepared to by Virginia Hamilton Adair, discuss responses to each Th-Feb-6 Mary Jo Salter, John Donne, poem. Turn in weekly Sylvia Plath, Mark Strand, and reflection. Joy Harjo). Last Day to choose Audit (AU) or Pass/No Pass (P/NP) Options M-Feb-10 Precision and Ambiguity/ Rhythm Norton Introduction to Poetry, and Repetition pp. 129-143 (poems by Sarah Cleghorn, Anne Finch, Countess of Winchelsea, Charles Bernstein, Yvor Take notes and be prepared to Winters, Walter de la Mare, T-Feb-11 discuss responses to each Pat Mora, and Emily poem. Dickinson, Theodore Roethke, Sharon Olds, Martha Collins, Week 5 Paul Muldoon, Emily Dickinson, William Carlos Williams, and Ogden W-Feb-12 Registration for Summer 2014 Sessions begins Language of Description Norton Introduction to Poetry, pp. 153-55, 158, 162-3 Take notes and be prepared to (poems by Jeanne Marie discuss responses to each Th-Feb-13 Beaumont, Ted Hughes, poem. Turn in weekly Andrew Marvell, and Ben reflection. Jonson). Metaphor and Simile T-Feb-18 Week 6 Symbol Th-Feb-20 Prosody T-Feb-25 Week 7 Words and Music Th-Feb-27 Norton Introduction to Poetry, pp. 199-200, 202-207 (poems by Helen Chasin, Kenneth Fearing, and Alexander Pope). Norton Introduction to Poetry, pp. 208-214, 227-28 (poems by Samuel Taylor Coleridge, Wendy Cope, Anonymous, John Dryden, Edgar Allan Poe, and Charles Wright). take notes and be prepared to discuss responses to each poem. take notes and be prepared to discuss responses to each poem. Turn in weekly reflection. No Class (winter break) No Class (winter break) M-Mar-3 Week 8 Norton Introduction to Poetry, pp. 165-71, 173-78, 180-81 (poems by William Shakespeare, Linda Pastan, take notes and be prepared to David Wagoner, Robert discuss responses to each Burns, Anonymous, and John poem. Donne, David Ferry, Dorothy Livesay, Amy Lowell, and Margaret Cavendish, Duchess of Newcastle). Norton Introduction to Poetry, take notes and be prepared to pp. 183-87, 191-92 (poems by discuss responses to each Sharon Olds, James Dickey, poem. Turn in weekly Robert Frost, Stephen Dunn). reflection. T-Mar-4 Th-Mar-6 Review Week T-Mar-11 Poets on Poetry John Keats, Norton Introduction to Poetry, pp. 344-355 W-Mar-12 Last Day to Drop a Class and Receive a Grade of W Emily Dickinson Archive Week 9 Th-Mar-13 The Sonnet Week 10 T-Mar-18 Emily Dickinson, ¨Safe in their Alabaster Chambers¨ (1859 and 1861 versions); See ¨Emily Dickinson Writing a Poem: Production, Circulation, Reception¨ by Martha Nell Smith and Lara Vetter in the Dickinson Electronic Archives <http://www.emilydickinson. org> (see how Dickinson´s exchanges with her sisterin-law shaped her poetic process). Sonnets by Wyatt, Sidney, and Shakespeare Take notes and be prepared to discuss responses to each poem. Take notes and be prepared to discuss responses to each poem. Turn in weekly reflection. Take notes and be prepared to discuss responses to each poem. The Sonnet Th-Mar-20 Villanelle and Sestina T-Mar-25 Week 11 Free Form and Verse Th-Mar-27 Pastoral, Elegy, and Dramatic Monologue T-April-1 Week 12 Ballad, Aubade, Protest Poem Th-April-3 Sonnets by Lady Mary Wroth, John Milton, John Keats, and Christina Rossetti, Eavan Boland, ¨Atlantis—A Lost Sonnet¨ (handout), Elizabeth Bishop, “Sonnet” (NIP, p. 321), Gwendolyn Brooks, “First Fight, Then Fiddle” (NIP, p. 270), Billy Collins, “Sonnet” (NIP, p. 273). Take notes and be prepared to discuss responses to each poem. Turn in weekly reflection. Elizabeth Bishop, “Sestina” (NIP, p. 277), Dylan Thomas, “Do Not Go Gentle into That Good Night” (NIP, p. 275), Stephen Burt, ¨For Lindsay Whalen¨ and others in villanelle handout Whitman handout (excerpts from Song of Myself), Robert Frost, “Pertinax” (handout), Marjorie Perloff, ¨After Free Verse¨ (online) Christopher Marlowe, “The Passionate Shepherd to His Love” NIP, pp. 390; John Donne, Elegy 19 (handout); Frank O’Hara, “The Day Lady Died” (handout)Robert Browning, “My Last Duchess” (NIP, p. 329); Ai, “Salome” (handout), Eavan Boland, “Anorexic” (NIP, pp. 335-36) Take notes and be prepared to discuss responses to each poem. Turn in 4 page analysis Take notes and be prepared to discuss responses to each poem. Take notes and be prepared to discuss responses to each poem. Anonymous, “Sir Patrick Spens” NIP, p. 242-43; John Donne, “The Sun Rising” (NIP, p. 534); Gwendolyn Brooks, Take notes and be prepared to “The Chicago Defender Sends discuss responses to each a Man to Little Rock” poem. (handout); Thomas Lux, “People of the Other Village” (handout). Literary Tradition and Poetic Dialogue T-Apr-8 Week 13 W-Apr-9 Sir Walter Raleigh, “The Take notes and be prepared to Nymph’s Reply to the discuss responses to each Shepherd” (NIP, p. 397); poem. William Carlos Williams, “Raleigh Was Right” (NIP, p. 398); William Shakespeare, “Not marble, nor the gilded monuments” (NIP, p. 389); Wendy Cope, “Not only marble, but the plastic toys” (NIP, p. 401) Desmond Skirrow, “Ode on a Grecian Urn Summarized” (NIP, p. 400); W. H. Auden, “In Memory of W. B. Yeats” (NIP, p. 408); Anthony Hecht, “The Dover Bitch” (NIP, p. 400). Registration for Fall 2014 Semester begins Literary Tradition and Poetic Dialogue Th-Apr-10 Hart Crane, “To Emily Dickinson” (NIP, p. 406); Billy Collins, “Taking off Emily Dickinson’s Clothes” (NIP, p. 406-7), Adrienne Rich, “I am in danger—sir— ” (handout). Take notes and be prepared to discuss responses to each poem. M-Apr-14 T-Apr-15 Week TWApr-16 14 Th-Apr-17 Easter Break F-Apr-18 Harlem Renaissance T-Apr-22 Week 15 Harlem Renaissance Th-Apr-24 Week 16 T-Apr-29 Th-May-1 T-May-6 Week Last Day 17 of Class FINALS T-May WEEK 13 Symbolism and Modernism TBA Cultural Contexts Take notes and be prepared to Norton Introduction to Poetry, discuss responses to each pp. 423-35, 442-50. Langston poem. Hughes Norton Introduction to Poetry, pp. 436-438, 460-464. Take notes and be prepared to discuss responses to each poem. William Butler Yeats Take notes and be prepared to Poems TBA, T.S. Eliot discuss responses to each Poems TBA poem. No Class (Labor Day) TBA Turn in final paper FINAL EXAM FROM 8:30 - 11:30 PM
© Copyright 2024 Paperzz