À propos de ce cours
4.9
172 notes
67 avis
100 % en ligne

100 % en ligne

Commencez dès maintenant et apprenez aux horaires qui vous conviennent.
Dates limites flexibles

Dates limites flexibles

Réinitialisez les dates limites selon votre disponibilité.
Niveau débutant

Niveau débutant

Heures pour terminer

Approx. 58 heures pour terminer

Recommandé : 7 hours/week...
Langues disponibles

Anglais

Sous-titres : Anglais
100 % en ligne

100 % en ligne

Commencez dès maintenant et apprenez aux horaires qui vous conviennent.
Dates limites flexibles

Dates limites flexibles

Réinitialisez les dates limites selon votre disponibilité.
Niveau débutant

Niveau débutant

Heures pour terminer

Approx. 58 heures pour terminer

Recommandé : 7 hours/week...
Langues disponibles

Anglais

Sous-titres : Anglais

Programme du cours : ce que vous apprendrez dans ce cours

Semaine
1
Heures pour terminer
4 heures pour terminer

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 vidéos (Total 164 min), 8 lectures, 2 quiz
Video9 vidéos
watch video on Dickinson's "Tell all the truth but tell it slant"15 min
watch further discussion on "Tell all the truth"10 min
watch video on Emily Dickinson's "The Brain within its Groove" (part 1)15 min
watch video on Emily Dickinson's "The Brain within its Groove" (part 2)13 min
watch video on Walt Whitman's "Song of Myself" (part 1)24 min
watch video on Walt Whitman's “Song of Myself” (part 2)21 min
watch video on canto 47 of "Song of Myself"21 min
watch video discussion of the Whitmanian and Dickinsonian modes18 min
Reading8 lectures
introduction to chapter 1, week 1: audio & transcript15 min
read Emily Dickinson's “I dwell in Possibility”2 min
listen to Al Filreis recite "I dwell in Possibility"1 min
read Dickinson's "Tell all the truth but tell it slant"2 min
read Dickinson's "The Brain within its Groove"2 min
(optional) watch condensed video on Dickinson's "Brain within its Groove"10 min
read sections 1, 2, 3, 5, 6, 8, 10, 14, 47 & 52 of Walt Whitman’s “Song of Myself”20 min
listen to recordings of “Song of Myself”20 min
Quiz2 exercices pour s'entraîner
on "Possibility" in Emily Dickinson's "I dwell in Possibility"2 min
on the dash in Emily Dickinson’s “I dwell in Possibility”2 min
Semaine
2
Heures pour terminer
6 heures pour terminer

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 vidéos (Total 132 min), 22 lectures, 3 quiz
Video9 vidéos
watch video on William Carlos Williams's "Danse Russe"19 min
watch video on Allen Ginsberg's "A Supermarket in California"15 min
watch video on Lorine Niedecker's "Grandfather Advised Me"13 min
watch video on Lorine Niedecker's "You are my friend"12 min
watch video on Lorine Niedecker's "Foreclosure"8 min
watch video on Cid Corman's "It isnt for want"14 min
watch video on Rae Armantrout's "The Way"21 min
watch video on distinctions between “Dickinsonian” and “Whitmanian” proto-modernism11 min
Reading22 lectures
introduction to week 2: audio & transcript11 min
read William Carlos Williams’s “Smell!”2 min
listen to Williams perform “Smell!”1 min
read/listen to "Smell!" in text-audio alignment1 min
read Williams's "Danse Russe"2 min
listen to Williams perform "Danse Russe"1 min
read/listen to “Danse Russe” in text-audio alignment1 min
read Allen Ginsberg's “A Supermarket in California”5 min
listen to Ginsberg perform “A Supermarket in California”2 min
read/listen to Ginsberg's “A Supermarket in California” as text-audio alignment2 min
read Lorine Niedecker's “Grandfather advised me”2 min
read Lorine Niedecker's “You are my friend”2 min
read Lorine Niedecker's “Foreclosure”2 min
listen to Lorine Niedecker perform “Foreclosure”1 min
listen to a 30-minute discussion of “Foreclosure” (& another short poem)30 min
read Cid Corman's "It isnt for want"2 min
listen to Cid Corman perform “It isnt for want”1 min
read Rae Armantrout's “The Way”2 min
listen to Rae Armantrout perform “The Way”1 min
listen to Rae Armantrout talk briefly about “The Way”5 min
listen to PoemTalk discussion of “The Way”30 min
essay assignment #110 min
Quiz2 exercices pour s'entraîner
on Niedecker's "Grandfather advised me"2 min
on Corman's "It isnt for want"2 min
Semaine
3
Heures pour terminer
3 heures pour terminer

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 vidéos (Total 70 min), 12 lectures, 1 quiz
Video5 vidéos
watch video on H.D.'s "Sea Poppies"13 min
watch video on Ezra Pound's "In a Station of the Metro"11 min
watch video on Ezra Pound's "The Encounter"13 min
watch further discussion on "Thirteen Ways of Looking at a Blackbird"9 min
Reading12 lectures
introduction to week 3: audio & transcript25 min
imagism briefly defined5 min
read H.D.'s "Sea Rose"5 min
read H.D.'s "Sea Poppies"5 min
read Ezra Pound's "In a Station of the Metro"2 min
read Pound's "In a Station of the Metro" as it appeared in Poetry magazine2 min
read a selection of critical commentary on "In a Station of the Metro"10 min
watch brief further discussion of Pound's "In a Station of the Metro"2 min
read Ezra Pound's "The Encounter"5 min
read Wallace Stevens's "Thirteen Ways of Looking at a Blackbird"5 min
listen to a discussion of Stevens's "Thirteen Ways of Looking at a Blackbird"28 min
essay #1: write reviews of others' essays10 min
Quiz1 exercices pour s'entraîner
on "In a Station of the Metro"1 min
Heures pour terminer
3 heures pour terminer

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 vidéos (Total 78 min), 21 lectures, 1 quiz
Video7 vidéos
watch video on Williams's "Between Walls"9 min
watch video on Williams’s “This Is Just to Say”12 min
watch video on Williams's "The Red Wheelbarrow"12 min
watch video discussion on Duchamp’s “Fountain”10 min
watch video on Williams's "Portrait of a Lady"10 min
on Marcel Duchamp's "Nude Descending a Staircase"11 min
Reading21 lectures
read William Carlos Williams's "Lines"2 min
read William Carlos Williams's "Between Walls"5 min
listen to Williams reading "Between Walls"1 min
read/listen with text-audio alignment to Williams's "Between Walls"1 min
listen to PoemTalk discussion of "Between Walls"30 min
read William Carlos Williams's "This Is Just to Say"5 min
read Flossie Williams's reply to "This Is Just to Say"5 min
listen to William Carlos Williams's explanation of “This Is Just to Say”2 min
listen to five recordings of Williams reading "This Is Just to Say"5 min
listen to five recordings of Williams reading “This Is Just to Say” as text-audio alignment5 min
read William Carlos Williams's "The Red Wheelbarrow"5 min
listen to four recordings of Williams reading “The Red Wheelbarrow”3 min
listen to four recordings of Williams performing “The Red Wheelbarrow” as text-audio alignment3 min
watch further discussion of Williams’s “The Red Wheelbarrow”6 min
look at a photograph of Marcel Duchamp’s “Fountain” at the Philadephia Museum of Art5 min
watch a museum-goer’s video of Duchamp’s “Fountain” on display at SFMoMA1 min
read William Carlos Williams's, “The rose is obsolete”5 min
listen to a 6-minute close reading of “The rose is obsolete”6 min
read William Carlos Williams's, "Portrait of a Lady"5 min
listen to 3 recordings of Williams performing “Portrait of a Lady”5 min
look at Marcel Duchamp’s “Nude Descending a Staircase”5 min
Quiz1 exercices pour s'entraîner
on Williams's "Between Walls"2 min
Semaine
4
Heures pour terminer
4 heures pour terminer

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 vidéos (Total 108 min), 27 lectures, 1 quiz
Video7 vidéos
watch further discussion on "A Long Dress"5 min
watch video on Stein's "A Carafe, That Is a Blind Glass"18 min
watch video on "Water Raining" and "Malachite"17 min
watch video on Stein's ideas about narrative, composition, repeating & nouns22 min
watch video on Stein's "Let Us Describe"11 min
watch video on Stein's "If I Told Him"20 min
Reading27 lectures
introduction to week 4: audio & transcript17 min
read Stein's "A Long Dress" from Tender Buttons5 min
read Marjorie Perloff's comment on Stein and in particular on "A Carafe, That Is a Blind Glass"10 min
read Gertrude Stein, "A Carafe, That Is a Blind Glass," from the "Objects" section of Tender Buttons5 min
watch video of Laynie Browne discussing "A Carafe" and the "Objects" section of Tender Buttons6 min
listen to Jackson Mac Low's 1978 performance of Stein's "A Carafe, That Is a Blind Glass"3 min
listen to Jackson Mac Low's close reading of "A Carafe, That Is a Blind Glass"1 min
watch video on Stein’s phrase “not unordered in not resembling”2 min
read Stein's "Water Raining" and "Malachite" from Tender Buttons10 min
watch Bob Perelman on Stein's use of the continuous present tense1 min
watch Ron Silliman on how each Stein poem creates its own definition of reading1 min
watch discussion of the pleasure to be gotten from Stein's “linguistic-ness”4 min
read Stein on narrative5 min
read Stein on the noun5 min
read Stein on repetition5 min
read Stein on composition5 min
listen to Joan Retallack reading some propositions from Stein’s “Composition as Explanation”4 min
condensed version of video on Stein's ideas about narrative, composition & nouns [alternative]10 min
watch further discussion on the noun & loving repeating6 min
read Gertrude Stein's "Let Us Describe"5 min
read Stein’s “If I Told Him: A Completed Portrait of Picasso”5 min
listen to Stein perform “If I Told Him”4 min
read/listen with text-audio alignment of Stein's "If I Told Him"4 min
watch a dance choreographed to Stein's “If I Told Him”2 min
read Ulla Dydo's prefatory comment on "If I Told Him"2 min
listen to Marjorie Perloff speaking about Stein’s portraits2 min
essay assignment #210 min
Quiz1 exercices pour s'entraîner
on "A Carafe, That Is a Blind Glass"2 min
Heures pour terminer
4 heures pour terminer

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 vidéos (Total 38 min), 11 lectures, 2 quiz
Video3 vidéos
watch video on Tristan Tzara's "To Make a Dadaist Poem"14 min
watch video on Bishop's "A Recollection" and the sonnet in modernism8 min
Reading11 lectures
read Baroness Elsa von Freytag Loringhoven’s “A Dozen Cocktails—Please”5 min
consult a scholarly digital edition of “A Dozen Cocktails—Please”5 min
read Williams on the Baroness10 min
listen to a brief bio of the Baroness2 min
listen to a passage from Kenneth Rexroth’s account of the Baroness3 min
read Tristan Tzara’s “To Make a Dadaist Poem”5 min
re-read Tzara’s “To Make a Dadaist Poem” in an introduction to "chance operations"5 min
watch a film-illustration of “To Make a Dadaist Poem”2 min
read about the sonnet as a form7 min
read William Carlos Williams on the sonnet2 min
read John Peale Bishop, "A Recollection"5 min
Quiz1 exercices pour s'entraîner
on Tzara's "To Make a Dadaist Poem"2 min

Enseignants

Avatar

Al Filreis

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

À propos de 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. ...

Foire Aux Questions

  • Une fois que vous êtes inscrit(e) pour un Certificat, vous pouvez accéder à toutes les vidéos de cours, et à tous les quiz et exercices de programmation (le cas échéant). Vous pouvez soumettre des devoirs à examiner par vos pairs et en examiner vous-même uniquement après le début de votre session. Si vous préférez explorer le cours sans l'acheter, vous ne serez peut-être pas en mesure d'accéder à certains devoirs.

  • Lorsque vous achetez un Certificat, vous bénéficiez d'un accès à tout le contenu du cours, y compris les devoirs notés. Lorsque vous avez terminé et réussi le cours, votre Certificat électronique est ajouté à votre page Accomplissements. À partir de cette page, vous pouvez imprimer votre Certificat ou l'ajouter à votre profil LinkedIn. Si vous souhaitez seulement lire et visualiser le contenu du cours, vous pouvez accéder gratuitement au cours en tant qu'auditeur libre.

  • 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.

D'autres questions ? Visitez le Centre d'Aide pour les Etudiants.