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Viewing: ENG 207 : Studies in Poetry

Last approved: Sat, 09 Sep 2017 08:02:34 GMT

Last edit: Sat, 09 Sep 2017 08:02:34 GMT

Catalog Pages referencing this course
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Major
ENG (English)
207
008415
Dual-Level Course
Cross-listed Course
No
Studies in Poetry
Studies in Poetry
College of Humanities and Social Sciences
English (16ENG)
Term Offering
Fall, Spring and Summer
Offered Every Year
Spring 2017
Previously taught as Special Topics?
No
 
Course Delivery
Face-to-Face (On Campus)

Grading Method
Graded with S/U option
3
16
Contact Hours
(Per Week)
Component TypeContact Hours
Lecture3.0
Course Attribute(s)
GEP (Gen Ed)

If your course includes any of the following competencies, check all that apply.
University Competencies

Course Is Repeatable for Credit
No
 
 
John Morillo
Associate Professor

Open when course_delivery = campus OR course_delivery = blended OR course_delivery = flip
Enrollment ComponentPer SemesterPer SectionMultiple Sections?Comments
Lecture3030Non/a
Open when course_delivery = distance OR course_delivery = online OR course_delivery = remote

Is the course required or an elective for a Curriculum?
Yes
SIS Program CodeProgram TitleRequired or Elective?
16ENGBA-16LLTEnglish BA-LiteratureElective
16ENGLBAEnglish BAElective
16ENGLBA-16ENGLCRWEnglish BA-Creative WritingElective
16ENGLBA-16ENGLFLMEnglish BA-FilmElective
16ENGLBA-16ENGLLWREnglish BA-Language, Writing, and RhetoricElective
16ENGLBA-16ENGLTEDEnglish BA-Teacher EducationElective
16ENGLBA-16ENGLMEnglish BA-MinorElective
Main features of poetry such as tone, voice, form, diction, figurative language, and sound patterns. Reading of poetry from different periods with the goal of learning how to understand, appreciate, and analyze different kinds of poems.

This is a part of the GEP HUM Review. 


No

Is this a GEP Course?
Yes
GEP Categories
Humanities
Humanities Open when gep_category = HUM
Each course in the Humanities category of the General Education Program will provide instruction and guidance that help students to:
 
 
At the end of the course students will be able to interpret a poem with increasingly precise language and appropriate textual or contextual evidence.
 
 
Sample Second paper assignment is focused on the human experience of poetic authorship:

Choose any poem you especially like in the Seagull Reader. Next go to the back of the book and read the short biography of the poet who wrote the work you like. Then find one other longer, published biography of the same poet, either in print or online. Be sure to write down the source information, including author (if stated), title, publishing information if printed, or the URL if online.

After reading more about the life of your poet, see what connection(s) you can make between some particular, interesting detail in the poet’s life, and what shows up—or doesn’t-- in ONE of his or her poems of your choice.

Start with a brief one-paragraph summary of most relevant information about the poet’s life. Then focus on just the single most important connection you can draw between the life of the poet and the character of the poetry he or she writes. Consider not only what your poet finds interesting, but how that interest is expressed in verse. You may find some very direct links between lives and poems, but if you don’t, don’t be surprised, and don’t give up. There may not be a simple match between your poet’s life and poetry. Many poets create voices of characters in their poems who are not always versions of themselves. Instead consider how life experience may be both revealed and concealed in writing, and how poets can transform and recreate themselves.

At the end of your paper be sure to include your source information for your poet’s biography.
 
 
At the end of the course students will be aware of the provisional nature of all interpretive claims, especially their own.
 
 
Sample essay assignment:

For this paper you will combine independent interpretation and evaluation, the levels of thinking many consider more challenging and important. Write a 4-5 page essay in which you explain as precisely and concretely as you can which poem in the Seagull Reader is the best one to keep in future editions of that anthology. Which one is best to help teach students to understand what is most valuable and interesting about excellent poems? Draw upon whatever aspects of poetry we have learned about and you find most relevant to making a persuasive case for why your chosen poem is so good. Your decision is of course based on your opinions, but aim to explain to others what is so valuable about your chosen poem. Like a good critic try to speak for your audience, not just about yourself.
 
 
At the end of the course students will be able to express the results of [poetic] interpretation in well-structured argument about specific poetic details
 
 
Midterm sample essay question:
Write a brief (1-2 page), cogent interpretation of ONE of the two following poems, drawing on anything you now know about poetry. Aim to say something significant about poetic form, itself a kind of meaning, by using the proper terminology, as well as commenting on whatever ideas in the poem you find most important to interpret the whole poem. Feel free to mark up the poem’s rhyme and meter if that helps you. My notes explain words you might not know.
Mathematical Sciences Open when gep_category = MATH
Each course in the Mathematial Sciences category of the General Education Program will provide instruction and guidance that help students to:
 
 

 
 

 
 

 
 

Natural Sciences Open when gep_category = NATSCI
Each course in the Natural Sciences category of the General Education Program will provide instruction and guidance that help students to:
 
 

 
 

 
 

 
 

Social Sciences Open when gep_category = SOCSCI
Each course in the Social Sciences category of the General Education Program will provide instruction and guidance that help students to:
 
 

 
 

 
 

 
 

 
 

 
 

Interdisciplinary Perspectives Open when gep_category = INTERDISC
Each course in the Interdisciplinary Perspectives category of the General Education Program will provide instruction and guidance that help students to:
 
 

 
 

 
 

 
 

 
 

 
 

 
 

 
 

Visual & Performing Arts Open when gep_category = VPA
Each course in the Visual and Performing Arts category of the General Education Program will provide instruction and guidance that help students to:
 
 

 
 

 
 

 
 

 
 

 
 

Health and Exercise Studies Open when gep_category = HES
Each course in the Health and Exercise Studies category of the General Education Program will provide instruction and guidance that help students to:
 
 

 
 

 
 

 
 

 
&
 

 
 

 
 

 
 

Global Knowledge Open when gep_category = GLOBAL
Each course in the Global Knowledge category of the General Education Program will provide instruction and guidance that help students to achieve objective #1 plus at least one of objectives 2, 3, and 4:
 
 

 
 

 
Please complete at least 1 of the following student objectives.
 

 
 

 
 

 
 

 
 

 
 

US Diversity Open when gep_category = USDIV
Each course in the US Diversity category of the General Education Program will provide instruction and guidance that help students to achieve at least 2 of the following objectives:
Please complete at least 2 of the following student objectives.
 
 

 
 

 
 

 
 

 
 

 
 

 
 

 
 

Requisites and Scheduling
100
 
a. If seats are restricted, describe the restrictions being applied.
 
N/A
 
b. Is this restriction listed in the course catalog description for the course?
 
N/A
 
List all course pre-requisites, co-requisites, and restrictive statements (ex: Jr standing; Chemistry majors only). If none, state none.
 
None
 
List any discipline specific background or skills that a student is expected to have prior to taking this course. If none, state none. (ex: ability to analyze historical text; prepare a lesson plan)
 
N/A
Additional Information
Complete the following 3 questions or attach a syllabus that includes this information. If a 400-level or dual level course, a syllabus is required.
 
Title and author of any required text or publications.
 
Kelly, Joseph., ed. The Seagull Reader: Poems. 2nd ed.New York: W. W. Norton, 2001. ($21.15)

Online Text Sources: Poetry Foundation, Poets.org

All other texts provided to students online.
 
Major topics to be covered and required readings including laboratory and studio topics.
 
Seagull Reader, 2nd edition; Reading and Listening Robert Frost, Stopping by Woods on a Snowy Evening (p. 129). Frost Reads [1923] William Carlos Williams, The Red Wheelbarrow (p. 338). Williams Reads [1923] Randall Jarrell, The Death of the Ball Turret Gunner (p. 176) Jarrell Reads [1945] Elizabeth Bishop, The Fish (p. 29) Bishop Reads [1946] Gwendolyn Brooks, We Real Cool (p. 45) Brooks Reads [1960] Robert Hayden, Those Winter Sundays (p. 147) Hayden Reads [1962] Aaron Belz, Alberto V05 @ 21:31 [2012] Taylor Mali, Like, Ya Know.

Wendell Berry "How to Be a Poet" Charles Bernstein, What Makes a Poem a Poem Billy Collins, Introduction to Poetry (p. 73) Archibald MacLeish, Ars Poetica ( p. 215) Marianne Moore, Poetry (p. 226)

Sylvia Plath, Metaphors (p. 237) William Carlos Williams, To Waken an Old Lady (third poem down on page)

Guide to Poetics and Prosody The Poet’s Language Toolkit: Punctuation, Lineation, Syntax (Morillo)
Charles Bernstein's Poem Profiler

The pleasure of sound: Lewis Carroll Jabberwocky ( p. 61) Galway Kinnell, Blackberry Eating ( p.189). Kinds of Rhyme: monorhyme: Thomas Hardy, The Convergence of the Twain (p. 141) rhymed couplets: Robert Browning, My Last Duchess ( p. 48) MacLeish, Ars Poetica (p. 215) alternate rhyme: Edward Robinson, Richard Cory (p.265); Hardy, Hap (p.140); internal rhyme : Yusef Komunyakaa, Facing It (p. 193) slant rhyme: Wilfred Owen, Strange Meeting

Read the poems listed below for examples of formal, accentual syllabic verse: Iambic Tetrameter Poems Christopher Marlowe, The Passionate Shepherd to His Love (p. 219) Robert Herrick, Upon Julia's Clothes (p. 160); Ben Jonson, On My First Daughter (p. 178) Iambic pentameter, rhymed in couplets (heroic couplets) Robert Browning, My Last Duchess (p.48); Alexander Pope, from Essay on Man Trochaic Tetrameter Poems Henry Longfellow, Song of Haiwatha Alternating Trochaic & Iambic Tetrameter A. E. Housman Shot? so quick, so clean an ending? ( p.168)

Ballad Meter / Common Meter (alternating tetrameter & iambic trimeter lines) Ben Jonson, Song to Celia (p. 177) ; William Wordsworth, A Slumber Did My Spirit Seal Samuel Taylor Coleridge, The Rime of the Ancient Mariner Felicia Hemans, Casabianca (p. 155) Emily Dickinson, Because I Could Not Stop for Death (p. 91) Anapestic meter Dr. Seuss (Theodore Geisel), The Cat in the Hat (pdf) Lord Byron, The Destruction of Sennacherib Hip Hop Metrics MC Lars Teaches Prosody

The Enduring Sonnet William Shakespeare, Sonnets #12, 18 (original 16th-c pronunciation), 73 (pp. 274-279) #116 (modern pronunciation ; original pronunciation) 129, 130 (pp. 274-279) All audio from Shakespeare's Original Pronunciation. British Library, 2012. Cd- rom.

17 th -Century British Sonnets John Donne, Holy Sonnets #10, 14 (p. 100); Donne's original prounciation from Virtual Paul's Cross Project John Milton, When I Consider How My Light is Spent (p. 225) The Parable of the Talents in Milton’s poem M 10- 24 19 th -Century British Sonnets John Keats, On First Looking Into Chapman’s Homer (p. 179); When I Have Fears (p. 180) Percy Shelley, Ozymandias (p. 279) Charlotte Smith, Sonnet XLIV in Elegiac Sonnets Christina Rosetti, After Death (p. 271) Elizabeth Barrett Browning, Sonnets from the Portuguese # 32, 43 (p.47)

20th-Century Sonnets William Yeats, Leda and the Swan (p. 362 ) Robert Frost, The Silken Tent (p. 131) Robert Hayden, Those Winter Sundays (p. 147); Edna St. Vincent Millay, Love Is Not All (p. 224) Elizabeth Bishop, Sonnet (p. 34)

Elegantly Complex Forms Rime Royal: Thomas Wyatt, They Flee From Me (p. 361) [bring in With Naked Foot] Noel Crook, Rooster in Rime Royal Villanelle: Dylan Thomas, Do Not Go Gentle into That Good Night (p. 313) Bishop, One Art (p. 33), Steve Kowitt, The Grammar Lesson Sestina: Bishop, Sestina ( p. 32) John Ashberry, Farm Implements and Routabegas in a Landscape

21 st -Century Spoken Word Billy Collins on The Great Poets, and oral vs. written, high style vs. the language of the people in poetry Common, Live at the White House ; Harry Baker, British Slam Poetry Champ, Taylor Mali, I’ll Fight You For the Library
 
List any required field trips, out of class activities, and/or guest speakers.
 
N/A
No new resources are required. HUM review.

By studying how poets see, think, and write about the world, you will be learning how to improve your thinking, reading, speaking and writing skills. The written work will be response papers, some analytic and argumentative, others creative and, your own poems. 


Student Learning Outcomes

At the end of the course students should be able to:

1. Apply to poetic interpretation the fundamentals of prosody, alliteration, rhyme, simile and metaphor

2. Interpret a poem with increasingly precise language and appropriate textual or contextual evidence

3. Express the results of that interpretation in well-structured argument about specific poetic details

4. Use appropriate dictionaries and other reference resources

5. Recite a poem competently


Evaluation MethodWeighting/Points for EachDetails
Attendance5%View Attendance Policy on Syllabus.
Participation10%Includes doing the readings, in-class discussion, quizzes,
in-class writing assignments
Short Paper5%Paper 1: Graded Pass/Fail for Interpretation
Short Paper10%Paper 2: Letter Graded. Poets and Poems. Biography and Interpretation.
Short Paper5%Paper 3: Draft Phase Grade
Short Paper15%Paper 3: Revised and Final.
Midterm15%One Midterm Exam.
Project15%Creative Project.
Final Exam20%One Final Exam.

aeherget (Thu, 31 Aug 2017 15:15:23 GMT): AECHH: Uploading updated syllabus at instructor's request via email 8/31/2017.
Key: 2237