An introduction to poetry, XJ Kennedy, D Gioia

Tags: FIELD ASSIGNMENT, critical essays, the Field Lab, ELECTRONIC COURSE MATERIALS, poets, Class participation/attendance, critical essay, Figures of Speech, elements of poetry, sensuous imagery, students, English Literature, Ch, Faculty Name, Emily Dickinson
Content: Semester at Sea Course Syllabus
Voyage: Discipline: Course Title: Division: Faculty Name:
Spring 2014 English Literature ENSP 1559-102 - Studies in Poetry Lower John N. Serio
COURSE DESCRIPTION "If I feel physically as if the top of my head were taken off, I know that is poetry," writes Emily Dickinson. As one of the most compressed art forms, poetry relies on rich and sensuous imagery to convey meaningful experiences that have the power to evoke in us both genuine feeling and deep, often philosophical, thought. As with all art, poetry provides a mechanism to explore the complexities of our own existence as well as to step outside ourselves to understand others. This is especially important in our voyage around the world, as students will be asked to utilize their imagination to relate to foreign cultures, customs, and beliefs. Students will learn the art of reading--and enjoying-- poetry. They will be exposed to a rich and diverse selection from many cultures, countries, and ethnicities. As students attend to the nuances of context, tone, imagery, metaphor, symbol, form, and diction, they will expand their sensibilities and sharpen their imaginative capabilities. Through class discussion and various writing assignments, they will also improve their critical thinking and writing skills.
Course Objectives To teach students an appreciation of the many and lasting pleasures of poetry. To demonstrate how poetry, in exercising the imagination, teaches readers not only to peer deeply within themselves, but also to step outside themselves to increase their awareness and understanding of others. To introduce students to the formal elements of poetry, such as diction, imagery, tone, figurative language, symbol, rhythm, arrangement, as a means to elucidate not only the meaning of a poem but also the "how" of it, the way in which its form expresses its content. To introduce students not only to American poets, but also to a spectrum of international voices. To hone students' critical thinking and analytical skills through discussion and expository writing.
X. J. Kennedy and Dana Gioia
An Introduction to Poetry
DATE/EDITION: 2010 13th edition
B1 January 13
Ch. 18 What Is Poetry? (327­330)
B2 January 15
Ch. 01 Reading a Poem (5­18)
B3 January 18
Ch. 02 Listening to a Voice: Tone, Persona (19­32)
January 17 Hilo, United States
B4 January 21
Ch. 02 Listening to a Voice: Irony (33­47)
B5 January 23
Ch. 03 Words (48­71)
B6 January 26
Ch. 04 Saying and Suggesting (72­83)
B7 January 28
Ch. 05 Imagery (84­91)
January 29­February 3 Yokohama, Transit, Kobe, Japan
B8 February 5
Ch. 05 Imagery: Haiku (91­103)
February 6­11 Shanghai, Transit, Hong Kong, China
B9 February 13
Ch. 06 Figures of Speech: Metaphor and Simile (104­113)
February 14­19 Ho Chi Minh City, Vietnam
B10 February 21
Ch. 06 Figures of Speech: Other Figures of Speech (113­123)
February 22­23 Singapore
B11 February 26
February 27­March 4 Rangoon, Burma (Myanmar)
B12 March 6
Ch. 08 Sound (144­162)
B13 March 8
Ch. 09 Rhythm (163­182)
March 9­14 Cochin, India
B14 March 16
Ch. 10 Closed Form (183­192)
B15 March 19
Ch. 10 Closed Form (192­203)
March 21 Port Louis, Mauritius
B16 March 22
Ch. 11 Open Form (204­215)
B17 March 24
Ch. 11 Open Form (216­225)
B18 March 27
Ch. 12 Symbol (226­239)
March 28-April 2 Cape Town, South Africa
B19 April 4
Ch. 13 Myth and Narrative (240­260)
B20 April 6
Ch. 14 Poetry and Personal Identity (261­278)
B21 April 9
Ch. 17 Recognizing Excellence (305­323)
April 10­14 Takoradi, Tema, Ghana
B22 April 16
Ch. 19 Two Critical Casebooks--Emily Dickinson (331­347)
B23 April 18
Ch. 19 Two Critical Casebooks--Langston Hughes (348­365)
B24 April 21
Ch. 21Poems for Further Reading (selections)
April 23­27 Casablanca, Morocco
B25 April 29
B Day Finals: Examination
May 2 Arrive in Southampton, England
There will be several out-of-class essays, format and due dates to be announced as well
as possible quizzes.
FIELD WORK Wednesday, 2 April 2014, Cape Town, South African Poets In the morning, we will travel to the Book Lounge, a popular bookstore located in City Centre that hosts numerous literary events throughout the year. We will meet with several practicing South African poets, who will read from their work and discuss both their own poetry and South African poetry in general. In the afternoon, we will travel to the University of Cape Town where we will have lunch with some University students interested in creative writing. Then we will attend a poetry reading/workshop with renowned South African writer and poet Joan Hambridge. She will read from her poetry and discuss her sources of inspiration and the various techniques of composition. She will then conduct a brief poetry workshop.
ACADEMIC OBJECTIVES 1. To learn about and meet practicing South African poets 2. To discover their sources of inspiration, methods of composition, struggles, and rewards 3. To gain an appreciation not only of their poetry, but also of South African poetry in general 4. To benefit personally from this encounter, especially through a question-and-answer session and workshop
FIELD ASSIGNMENT Since the Field Lab constitutes 20% of the coursework, students will be required to write a critical essay on their experience. In particular, they will be asked to select several works by the poets we have met and to discuss critically their response to their work, especially in light of what they, as students, have learned both during the Field Lab and in the course. What modes of expression have the poets chosen and why are they appropriate? How has the social and political background of South Africa affected their poetry? How well do these poets employ the various elements of poetry we have studied, such as diction, imagery, rhythm, closed or open form, metaphor, simile, irony, and/or symbol? How well do their poems attain a universal level of expression?
METHODS OF EVALUATION / GRADING RUBRIC 20% Class participation/attendance (the Socratic method of teaching will be employed and students will be encouraged to volunteer their contributions to class discussion, and not simply respond when called upon) 30% Two in-class essays and/or examinations 30% Two formal critical essays 20% Field-Lab Assignment
J. D. McClatchy, Editor
The Vintage Book of Contemporary World Poetry
Knopf Publishing Group
ADDITIONAL RESOURCES None HONOR CODE Semester at Sea students enroll in an academic program administered by the University of Virginia, and thus they bind themselves to the University's honor code. The code prohibits all acts of lying, cheating, and stealing. Please consult the Voyager's Handbook for further explanation of what constitutes an honor offense. Each written assignment for this course must be pledged by the student as follows: "On my honor as a student, I pledge that I have neither given nor received aid on this assignment." The pledge must be signed, or, in the case of an electronic file, signed "[signed]." 4

XJ Kennedy, D Gioia

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