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Программа курса: что вы изучите

Неделя
1
Часов на завершение
4 ч. на завершение

chapter 1.1 (week 1)—Whitman & Dickinson, two proto-modernists

<p><strong>Week 1 of ModPo 2018 runs from Saturday, September 8 at 9 AM through Sunday, September 16 at 9 AM.</strong> For those doing ModPo on their own or in small groups, the week 1 materials are open and available all year. </p><p>In this first week of our course, we'll encounter two 19th-century American poets whose quite different approaches to verse similarly challenged the official verse culture of the time. As a matter of form (but also of content), Walt Whitman and Emily Dickinson were radicals. What sort of radicalism is this? In a way, this course is all about exploring expressions of that radicalism from Whitman and Dickinson to the present day. Such challenges to official verse culture (and often U.S. culture at large) present us with a lineage of ideas about art and expression, a tradition that can be outlined, mostly followed, somewhat traced. In this course, we follow, to the best of our ability — and given the limits of time — that tradition and try to make overall sense of it. </p><p>You will find that we do this one poem at a time. Here in week 1, we will explore Dickinson first, Whitman second, and then begin to sketch out the major differences between them, which, some say, amount to two opposite ends of the spectrum of poetic experimentalism and dissent in the nineteenth century. Which is to say: on the spectrum of traditional-to-experimental poetry, these two poets are on the same end (experimental); on the spectrum of experimentalism, their approaches can put them on opposite ends. In short, they offer us alternative poetic radicalisms, and their influences down the line (which we will explore in week 2) are both powerful but are also largely distinct. One question you'll be prepared to ask by the end of the course: Is the Dickinsonian or the Whitmanian tradition more ascendant and apt in today's experimental poetry? </p><p><strong>ASSIGNMENTS</strong>: During this week, there are two quizzes due (see below); there are no writing assignments or peer reviews due. There is a live webcast on Wednesday, September 12, 2018, at 3 PM (Philadelphia time).</p>...
Reading
9 видео (всего 164 мин.), 8 материалов для самостоятельного изучения, 2 тестов
Video9 видео
watch video on Dickinson's "Tell all the truth but tell it slant"15мин
watch further discussion on "Tell all the truth"10мин
watch video on Emily Dickinson's "The Brain within its Groove" (part 1)15мин
watch video on Emily Dickinson's "The Brain within its Groove" (part 2)13мин
watch video on Walt Whitman's "Song of Myself" (part 1)24мин
watch video on Walt Whitman's “Song of Myself” (part 2)21мин
watch video on canto 47 of "Song of Myself"21мин
watch video discussion of the Whitmanian and Dickinsonian modes18мин
Reading8 материала для самостоятельного изучения
introduction to chapter 1, week 1: audio & transcript15мин
read Emily Dickinson's “I dwell in Possibility”2мин
listen to Al Filreis recite "I dwell in Possibility"1мин
read Dickinson's "Tell all the truth but tell it slant"2мин
read Dickinson's "The Brain within its Groove"2мин
(optional) watch condensed video on Dickinson's "Brain within its Groove"10мин
read sections 1, 2, 3, 5, 6, 8, 10, 14, 47 & 52 of Walt Whitman’s “Song of Myself”20мин
listen to recordings of “Song of Myself”20мин
Quiz2 практического упражнения
on "Possibility" in Emily Dickinson's "I dwell in Possibility"2мин
on the dash in Emily Dickinson’s “I dwell in Possibility”2мин
Неделя
2
Часов на завершение
6 ч. на завершение

chapter 1.2 (week 2)—Whitmanians & Dickinsonians

<p><b>Week 2 of ModPo 2018 runs from Sunday, September 16 at 9 AM through Sunday, September 23 at 9 AM. </b>For those doing ModPo on their own or in small groups, the week 2 materials are open and available all year.</p><p>During this week, the second half of chapter 1, we will read the work of two poets writing in the Whitmanian mode and three poets writing in the Dickinsonian mode. We will encounter our Whitmanians, William Carlos Williams and Allen Ginsberg, again later in the course—Williams as a modernist and Ginsberg as a Beat poet. The Whitman/Williams/Ginsberg connection is a strong one; Ginsberg wrote directly in response to both Whitman and Williams and saw the lineage as crucial to the development of his approach. Our Dickinsonians are more disparate in their response to Dickinson’s writing. Of the three—Lorine Niedecker, Cid Corman, and Rae Armantrout—only the last could be said to be a direct poetic descendant of Emily Dickinson's aesthetic. </p><p><b>ASSIGNMENTS:</b> During this week, there are two quizzes due and a writing assignment. Writing assignment #1 is open for submission between 9 AM on 9/17/18 and 9 AM on 9/23/18; after that, peer reviews will be submitted any time between 9 AM on 9/24/18 and 9 AM on 9/30/18. There is also a live webcast on Thursday, September 20, at noon (Philadelphia time).</p>...
Reading
9 видео (всего 132 мин.), 22 материалов для самостоятельного изучения, 3 тестов
Video9 видео
watch video on William Carlos Williams's "Danse Russe"19мин
watch video on Allen Ginsberg's "A Supermarket in California"15мин
watch video on Lorine Niedecker's "Grandfather Advised Me"13мин
watch video on Lorine Niedecker's "You are my friend"12мин
watch video on Lorine Niedecker's "Foreclosure"8мин
watch video on Cid Corman's "It isnt for want"14мин
watch video on Rae Armantrout's "The Way"21мин
watch video on distinctions between “Dickinsonian” and “Whitmanian” proto-modernism11мин
Reading22 материала для самостоятельного изучения
introduction to week 2: audio & transcript11мин
read William Carlos Williams’s “Smell!”2мин
listen to Williams perform “Smell!”1мин
read/listen to "Smell!" in text-audio alignment1мин
read Williams's "Danse Russe"2мин
listen to Williams perform "Danse Russe"1мин
read/listen to “Danse Russe” in text-audio alignment1мин
read Allen Ginsberg's “A Supermarket in California”5мин
listen to Ginsberg perform “A Supermarket in California”2мин
read/listen to Ginsberg's “A Supermarket in California” as text-audio alignment2мин
read Lorine Niedecker's “Grandfather advised me”2мин
read Lorine Niedecker's “You are my friend”2мин
read Lorine Niedecker's “Foreclosure”2мин
listen to Lorine Niedecker perform “Foreclosure”1мин
listen to a 30-minute discussion of “Foreclosure” (& another short poem)30мин
read Cid Corman's "It isnt for want"2мин
listen to Cid Corman perform “It isnt for want”1мин
read Rae Armantrout's “The Way”2мин
listen to Rae Armantrout perform “The Way”1мин
listen to Rae Armantrout talk briefly about “The Way”5мин
listen to PoemTalk discussion of “The Way”30мин
essay assignment #110мин
Quiz2 практического упражнения
on Niedecker's "Grandfather advised me"2мин
on Corman's "It isnt for want"2мин
Неделя
3
Часов на завершение
3 ч. на завершение

chapter 2.1 (week 3)—the rise of poetic modernism: imagism

<p><b>Week 3 of ModPo 2018 runs from Sunday, September 23 at 9 AM through Sunday, September 30 at 9 AM.</b> For those doing ModPo on their own or in small groups, the week 3 materials are open and available all year.</p><p>Modernism in poetry had many beginnings; imagism marks just one. But in a fast introduction, this brief but influential movement gives us a good place to start. Imagists had no use for late Victorian wordiness, flowery figuration and “beautiful” abstraction. They rejected such qualities through staunch assertions demanding concision, concentration, precise visuality and a sort of super-focused emotive objectivity. In this first of four sections of chapter 2, we will ask ourselves whether each poem meets the impossible or nearly impossible standards set out by imagist manifestos. If any given poem “fails” to meet such standards, it is by no means a sign of “bad poetry.” But one way to learn about the rise of poetic modernism is to make discernments based on the poets' own (momentary) programmatic demands. </p><p><b>ASSIGNMENTS:</b> During this week there are two quizzes due (see below). This is also the week in which peer reviews of writing assignment #1 are due. Peer reviews should be submitted any time between 9 AM on 9/24/18 and 9 AM on 9/30/18. There is also a live webcast on Wednesday, September 26 at 10 AM (Philadelphia time).</p>...
Reading
5 видео (всего 70 мин.), 12 материалов для самостоятельного изучения, 1 тест
Video5 видео
watch video on H.D.'s "Sea Poppies"13мин
watch video on Ezra Pound's "In a Station of the Metro"11мин
watch video on Ezra Pound's "The Encounter"13мин
watch further discussion on "Thirteen Ways of Looking at a Blackbird"9мин
Reading12 материала для самостоятельного изучения
introduction to week 3: audio & transcript25мин
imagism briefly defined5мин
read H.D.'s "Sea Rose"5мин
read H.D.'s "Sea Poppies"5мин
read Ezra Pound's "In a Station of the Metro"2мин
read Pound's "In a Station of the Metro" as it appeared in Poetry magazine2мин
read a selection of critical commentary on "In a Station of the Metro"10мин
watch brief further discussion of Pound's "In a Station of the Metro"2мин
read Ezra Pound's "The Encounter"5мин
read Wallace Stevens's "Thirteen Ways of Looking at a Blackbird"5мин
listen to a discussion of Stevens's "Thirteen Ways of Looking at a Blackbird"28мин
essay #1: write reviews of others' essays10мин
Quiz1 практическое упражнение
on "In a Station of the Metro"1мин
Часов на завершение
3 ч. на завершение

chapter 2.2 (week 3 cont.)—the rise of poetic modernism: Williams

Now in the second of four parts of our chapter on the rise of modernism—in the second part of week 3—we take a closer look at William Carlos Williams (1883-1963). We met Williams as a “Whitmanian” in chapter 1, the middle figure in a poetic line running from Whitman to Ginsberg. But that focus on him was a little misleading. The Williams of the late 1910s and 1920s was a poet fascinated by currents of formal experimentation—imagism, yes, but also Dadaism, cubism (especially drawing on innovations and painting) and a little later, objectivism. It's not the purpose of this course that we learn what all these “-isms” mean. Rather, let's start with a few poems by Williams that befit the imagist moment, and go from there. Quickly we'll find that Williams (always aesthetically restless) was interested in a writing that might capture the dynamism of its modern subject matter and was (mostly) willing to face problems created by traditional approaches to description and portraiture. When these conventions seemed to him to fail, he was prepared to include such failure in the poem itself—disclosing the troubled process of representation....
Reading
7 видео (всего 78 мин.), 21 материалов для самостоятельного изучения, 1 тест
Video7 видео
watch video on Williams's "Between Walls"9мин
watch video on Williams’s “This Is Just to Say”12мин
watch video on Williams's "The Red Wheelbarrow"12мин
watch video discussion on Duchamp’s “Fountain”10мин
watch video on Williams's "Portrait of a Lady"10мин
on Marcel Duchamp's "Nude Descending a Staircase"11мин
Reading21 материала для самостоятельного изучения
read William Carlos Williams's "Lines"2мин
read William Carlos Williams's "Between Walls"5мин
listen to Williams reading "Between Walls"1мин
read/listen with text-audio alignment to Williams's "Between Walls"1мин
listen to PoemTalk discussion of "Between Walls"30мин
read William Carlos Williams's "This Is Just to Say"5мин
read Flossie Williams's reply to "This Is Just to Say"5мин
listen to William Carlos Williams's explanation of “This Is Just to Say”2мин
listen to five recordings of Williams reading "This Is Just to Say"5мин
listen to five recordings of Williams reading “This Is Just to Say” as text-audio alignment5мин
read William Carlos Williams's "The Red Wheelbarrow"5мин
listen to four recordings of Williams reading “The Red Wheelbarrow”3мин
listen to four recordings of Williams performing “The Red Wheelbarrow” as text-audio alignment3мин
watch further discussion of Williams’s “The Red Wheelbarrow”6мин
look at a photograph of Marcel Duchamp’s “Fountain” at the Philadephia Museum of Art5мин
watch a museum-goer’s video of Duchamp’s “Fountain” on display at SFMoMA1мин
read William Carlos Williams's, “The rose is obsolete”5мин
listen to a 6-minute close reading of “The rose is obsolete”6мин
read William Carlos Williams's, "Portrait of a Lady"5мин
listen to 3 recordings of Williams performing “Portrait of a Lady”5мин
look at Marcel Duchamp’s “Nude Descending a Staircase”5мин
Quiz1 практическое упражнение
on Williams's "Between Walls"2мин
Неделя
4
Часов на завершение
4 ч. на завершение

chapter 2.3 (week 4)—the rise of poetic modernism: Stein

<p><b>Week 4 of ModPo 2018 runs from Sunday, September 30 at 9 AM through Sunday, October 7 at 9 AM. </b> For those doing ModPo on their own or in small groups, the week 4 materials are open and available all year.</p><p>Gertrude Stein's contribution to modernist poetry and poetics cannot be overstated, so now, in the third section of chapter 2, we turn to her, spending the better part of week 4 of our course on a selection of her supposedly “difficult” writings. The difficulty of deriving any sort of conventional semantic meaning from the short prose-poems that comprise Stein's Tender Buttons turns out for many readers to be a helpful inducement to look for other kinds of signifying. As we hope you'll see from the video discussions in this section, such difficulty need not excuse us from close reading. Stein's poems really can be interpreted. They might reject representation, but by no means do they turn away from reference. The hard work you do in this part of chapter 2 will be amply rewarded when we get to chapter 9. Stein is a particular influence on John Ashbery in chapter 8, but she is a crucial influence on nearly every poet we'll read in chapter 9. As a matter of fact, here in chapter 2 we have a chance to listen to Jackson Mac Low (a chapter 9 poet) talk about why he finds Stein's opaque and difficult Tender Buttons so nonetheless meaningful. And we hear Joan Retallack (another chapter 9 poet) paying homage to Stein's “Composition as Explanation.”</p><p><b>ASSIGNMENTS:</b> During this week there are two quizzes due (see below). There is also a writing assignment due. Writing assignment #2 should be submitted any time between 9 AM on 10/1/18 and 9 AM on 10/7/18; after that, peer reviews will be submitted any time between 9 AM on 10/8/18 and 9 AM on 10/14/18. <em>There is also a live webcast on Thursday, October 4, at 6:30 PM (local time) — we will be coming to you live from our annual "on the road" webcast, and we welcome ModPo’ers in or visiting the area to join us!</em></p> ...
Reading
7 видео (всего 108 мин.), 27 материалов для самостоятельного изучения, 1 тест
Video7 видео
watch further discussion on "A Long Dress"5мин
watch video on Stein's "A Carafe, That Is a Blind Glass"18мин
watch video on "Water Raining" and "Malachite"17мин
watch video on Stein's ideas about narrative, composition, repeating & nouns22мин
watch video on Stein's "Let Us Describe"11мин
watch video on Stein's "If I Told Him"20мин
Reading27 материала для самостоятельного изучения
introduction to week 4: audio & transcript17мин
read Stein's "A Long Dress" from Tender Buttons5мин
read Marjorie Perloff's comment on Stein and in particular on "A Carafe, That Is a Blind Glass"10мин
read Gertrude Stein, "A Carafe, That Is a Blind Glass," from the "Objects" section of Tender Buttons5мин
watch video of Laynie Browne discussing "A Carafe" and the "Objects" section of Tender Buttons6мин
listen to Jackson Mac Low's 1978 performance of Stein's "A Carafe, That Is a Blind Glass"3мин
listen to Jackson Mac Low's close reading of "A Carafe, That Is a Blind Glass"1мин
watch video on Stein’s phrase “not unordered in not resembling”2мин
read Stein's "Water Raining" and "Malachite" from Tender Buttons10мин
watch Bob Perelman on Stein's use of the continuous present tense1мин
watch Ron Silliman on how each Stein poem creates its own definition of reading1мин
watch discussion of the pleasure to be gotten from Stein's “linguistic-ness”4мин
read Stein on narrative5мин
read Stein on the noun5мин
read Stein on repetition5мин
read Stein on composition5мин
listen to Joan Retallack reading some propositions from Stein’s “Composition as Explanation”4мин
condensed version of video on Stein's ideas about narrative, composition & nouns [alternative]10мин
watch further discussion on the noun & loving repeating6мин
read Gertrude Stein's "Let Us Describe"5мин
read Stein’s “If I Told Him: A Completed Portrait of Picasso”5мин
listen to Stein perform “If I Told Him”4мин
read/listen with text-audio alignment of Stein's "If I Told Him"4мин
watch a dance choreographed to Stein's “If I Told Him”2мин
read Ulla Dydo's prefatory comment on "If I Told Him"2мин
listen to Marjorie Perloff speaking about Stein’s portraits2мин
essay assignment #210мин
Quiz1 практическое упражнение
on "A Carafe, That Is a Blind Glass"2мин
Часов на завершение
4 ч. на завершение

chapter 2.4 (week 4 cont.)—the rise of poetic modernism: modernist edges

"The Baroness" (Elsa von Freytag Loringhoven) was way out there. But because she so intensely embodied modernist experimentalism, our effort to learn something about her life and writing is an apt way, in part, to end our brief introduction to poetic modernism from roughly 1912 to 1929. The three instances of modernist extremity we will encounter in chapter 2.4 are very different expressions of “High Modernism.” Well, the Baroness was certainly high on highballs when she wrote the poem we'll read — or rather, her language remarkably simulates a reeling discombobulation, such that its critique of 1920s-style commercialism (not in itself unusual at the time) has a very sharp edge. She was “New York Dada” epitomized, while Tristan Tzara's ideas about cutting up newspapers to form “personal” poems were, among his many other radical notions, crucial to the Dadaist import. And John Peale Bishop, with whom we will end our two weeks of chapter 2? Well, as you'll see, Bishop's is another story altogether; his sonnet sets us up for our approach to doubts about modernist antics as expressed by the poets of chapters 3, 4 and 5. ...
Reading
3 видео (всего 38 мин.), 11 материалов для самостоятельного изучения, 2 тестов
Video3 видео
watch video on Tristan Tzara's "To Make a Dadaist Poem"14мин
watch video on Bishop's "A Recollection" and the sonnet in modernism8мин
Reading11 материала для самостоятельного изучения
read Baroness Elsa von Freytag Loringhoven’s “A Dozen Cocktails—Please”5мин
consult a scholarly digital edition of “A Dozen Cocktails—Please”5мин
read Williams on the Baroness10мин
listen to a brief bio of the Baroness2мин
listen to a passage from Kenneth Rexroth’s account of the Baroness3мин
read Tristan Tzara’s “To Make a Dadaist Poem”5мин
re-read Tzara’s “To Make a Dadaist Poem” in an introduction to "chance operations"5мин
watch a film-illustration of “To Make a Dadaist Poem”2мин
read about the sonnet as a form7мин
read William Carlos Williams on the sonnet2мин
read John Peale Bishop, "A Recollection"5мин
Quiz1 практическое упражнение
on Tzara's "To Make a Dadaist Poem"2мин

Преподаватель

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Al Filreis

Kelly Professor, Dir. Center for Programs in Contemporary Writing, Faculty Dir. Kelly Writers House

О University of Pennsylvania

The University of Pennsylvania (commonly referred to as Penn) is a private university, located in Philadelphia, Pennsylvania, United States. A member of the Ivy League, Penn is the fourth-oldest institution of higher education in the United States, and considers itself to be the first university in the United States with both undergraduate and graduate studies. ...

Часто задаваемые вопросы

  • Зарегистрировавшись на сертификацию, вы получите доступ ко всем видео, тестам и заданиям по программированию (если они предусмотрены). Задания по взаимной оценке сокурсниками можно сдавать и проверять только после начала сессии. Если вы проходите курс без оплаты, некоторые задания могут быть недоступны.

  • Оплатив сертификацию, вы получите доступ ко всем материалам курса, включая оцениваемые задания. После успешного прохождения курса на странице ваших достижений появится электронный сертификат. Оттуда его можно распечатать или прикрепить к профилю LinkedIn. Просто ознакомиться с содержанием курса можно бесплатно.

  • Yes, but our certificate is unique to ModPo, our own design. In order to receive the special ModPo certificate of completion, you must: 1) post a comment in at least one poem-specific discussion forum for each of ModPo's ten weekly sections; 2) write and submit all four writing assignments; 3) write and submit at least four peer reviews for each of the 4 assignments (at least 16 total); and 4) take and pass all quizzes (you can retake them until you pass).

  • The ModPo site is open all year, accessible to anyone who enrolls for free. Each year, though, we convene for an intense 10-week session from early September to late November. During that time, Al Filreis and his colleagues, the TAs and Community TAs (“mentors”) are all constantly available, and the discussion forums are quite active and your ModPo colleagues will respond to your questions and comments almost instantly. During this annual 10-week ModPo session or "symposium," the TAs each offer weekly office hours each. And we host our weekly live webcasts. During the rest of the year—ModPo’s “off season” or what ModPo’ers call “SloPo”—discussions continue intermittently and in small groups. During that time, too, new poems and new videos are added to ModPoPLUS and the Teacher Resource Center. You are welcome to finish the course in the off season if you could not complete it during the 10-week session. Teachers and their students are encouraged to use the site as part of a class. Reading groups are also encourage to convene around the ModPo materials. If you enroll in ModPo you will continue to be enrolled unless or until you decide to un-enroll. We hope you will continue to participate.

  • We're proud of the fame of our webcasts. They are quite innovative. During the 10-week September-to-November session of the course, we host a fully interactive live webcast, broadcasting from the Kelly Writers House in Philadelphia each week. You can participate by calling in by phone, by leaving a voicemail prior to the live session, by tweeting, by posting to the ModPo discussion forum, by commenting in our Periscope feed, or by coming in person to the Writers House. If you miss any live webcast, you can watch the recording later. Participation in ModPo webcasts are not part of the requirements for the certificate, but those who have been part of them have found them helpful and fun.

  • Yes, it is a 10-week course.* But it is also an ongoing interpretive community. And it is an always open meeting place for people who want to talk about modern poetry. And it is an aid to teachers who are teaching poetry to their students. And it is an ever-expanding archive of resources (ModPoPLUS, the Teacher Resource Center, the Crowdsourced Close Readings videos).

    [* Indeed, ModPo is based on a course that has been taught by Al Filreis at the University of Pennsylvania since 1985.]

  • Al Filreis is Kelly Professor of English, Faculty Director of the Kelly Writers House, Director of the Center for Programs in Contemporary Writing, Co-Director of PennSound, Publisher of “Jacket2” magazine—all at the University of Pennsylvania, where he has been a member of the faculty and administrator since 1985. He has published many essays on modern and contemporary American poetry, on the literary history of the 1930s and 1950s, on the literary politics of the Cold War, on the end of the lecture, and on digital humanities pedagogy. Among his books are “Modernism from Right to Left,” “Wallace Stevens and the Actual World,” and “Counter-Revolution of the Word: The Conservative Attack on Modern Poetry, 1945-60.“ He produces and hosts a monthly podcast/radio program, “PoemTalk,” co-sponsored by the Poetry Foundation. He has hosted three eminent writers for residencies each spring through the Kelly Writers House Fellows Program since 1999. He has won many teaching awards at Penn, was named Pennsylvania Professor of the Year in 2000 by the Carnegie Foundation, was named one of the Top Ten Tech Innovators in Higher Education for 2013 by the Chronicle of Higher Education, and received the first Faculty Innovation Prize from Coursera. He founded ModPo in 2012, one of the very first humanities MOOCs; he has been teaching a version of the ModPo course online since 1995.

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