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Course Criteria
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3.00 Credits
Much of modern and contemporary poetics tries to explore and expand the thesis that poetry is made of language but not of what we use language to produce: meanings, concepts, propositions, descriptions, narratives, expressions of feeling, and so on. (Not that a poem excludes these things. It is simply that poetry is no longer in their service--it is not a form of mediation.) In this course we will examine some of the more radical versions of this thesis: language poetry (arguably the most important poetic movement of the last century, with apologies to literary tradition), sound poetry, and concrete or visual poetry--instances in which the poem is not only an object but also an event, a performance, and/or a limit-experience.
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3.00 Credits
This course will be devoted principally to an intensive study of the writings of two contemporary American poets, Susan Howe (b. 1937) and Lyn Hejinian (b. 1941), with collateral readings of some poems by their older and younger colleagues (Barbara Guest, Lorine Niedecker, Rosmarie Waldrop, Joan Retallack).
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3.00 Credits
A close critical analysis of modernist strains in 20th Century American Literature.
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3.00 Credits
An exploration of "african" and "american" literature, theory, and poetics.
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3.00 Credits
American poetry and poetics of the second half of the Twentieth Century.
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3.00 Credits
American poetry and poetics of the second half of the Twentieth Century.
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3.00 Credits
Close critical analysis of modernist strains in 20th Century American literature.
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3.00 Credits
To look at American poetry as an avant-garde enterprise is to see it participating in aesthetic trends that span all of the arts. From this perspective, the most defining trend in the arts of the past hundred years has been the dissolution of fixed genres and the ascendancy of collage. Collage develops from early cubist experiments and continues in Dada and surrealist disruptions of the boundary between art and life, in mid-century assemblage and Happenings, and in late-century appropriationism and the present ubiquity of sampling. American poets have sometimes pioneered and other times responded to these methodological breakthroughs, making poetry a key participant in the avant-garde remaking of cultural life. Figures or works we will likely consider: Ezra Pound, William Carlos Williams, Mina Loy, Langston Hughes, Charles Reznikoff, Harry Smith's Anthology of American Folk Music, Lorine Niedecker, Donald Allen's The New American Poetry, John Cage, Jerome Rothenberg's Technicians of the Sacred, Laurie Anderson, Susan Howe, Laura Mullen, and D.J. Spooky. Requirements include a class presentation and a seminar paper.
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3.00 Credits
The study of media - including novels, technologies, processes, and social forms - has been changing the way humanities disciplines conceive of the work they do, and reconfiguring the fields of American literary study. Through the shared texts of media philosophy and the now-canonical works of interdisciplinary media studies, a common critical vocabulary has emerged for discussing media across disciplines, and for situating American literature within that tradition. Moreover, institutional investment in humanities and social science computing is producing new forms of scholarly collaboration and critical practice that demand a reconsideration of established models of intellectual production. Opportunities for critical thought and computational innovation circulate around the interdisciplinary cluster of studies related to media. Media thus form crucial objects and concepts through which to observe potential futures of literary study, the structures of the disciplines that inform current approaches to media, and in some cases, the reassertion of disciplinary autonomy in the face of these transformations. This course will examine the current debates in media theory and media studies in the context of a compact survey of twentieth-century American fiction. Readings will cover four primary areas of research: media aesthetics, media studies, communication, and new media. Each cluster of topics will involve the reading and re-reading of a central text for imagining media in twentieth-century America: these include works by James, Dos Passos, Baldwin, Highsmith, Danielewski, and Jackson. This broad range of readings is designed to make media a rich and multidimensional topic of inquiry, and to ground any discussion of the role of computing and technological innovation in twenty-first century scholarship in a long history of thinking about media as an object of philosophical investigation. The semester will conclude with a critical study of digital humanities programs and projects throughout the country, followed by a mini-conference in which students present either a media analysis of one of our literary texts, or a collaborative project putting the tools and critical practices of the digital humanities to work in a critique of modern media theory.
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3.00 Credits
The primary focus of this course will be on the poetry and prose of Elizabeth Bishop, a poet increasingly regarded as one of our most important poets of the 20th Century. Although highly regarded in her own time as a poet of exquisite artistry and craft, in the past couple of decades, the real philosophical and political import of her poetry has finally come to be readily acclaimed. In order to place Bishop, both for her poetic lineage and for her revolutionary divergences, we will also read a sampling of other poets, from Wallace Stevens to Adrienne Rich.
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