WHAT FOLLOWS IS THE COURSE DESCRIPTION THIS COURSE WILL

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Crit Bus


What follows is the course description:


This course will examine poetry as a mode of literary production flourishing, in various forms, from ancient Greece onwards, with an emphasis on lyric poems from the romantic period to the mid-twentieth century. In order to give thematic coherence to our studies, the course will focus on ekphrasis in poetry—the verse representation of other arts, particularly painting, sculpture, and architecture, as well as more mundane objects (red wheelbarrows, snowmen, and the like).


The course should appeal both to students who have a long-standing interest in poetry and those who are intrigued by the form but to whom study of it is new. The course presumes no previous formal training in reading poetry: instruction in the technical matters of poetics, versification, and metrics will be offered early in the course, and students will gain a repertoire of readings in a variety of poetic types (dramatic verse, sonnets, the ode, etc.). The course will thus offer a good foundation for those new to the study of poetry and a valuable refresher for students who have encountered these technical matters before. We will then read philosophical and critical works theorizing ekphrasis, from the ancients to the twentieth century (e.g. Plato’s Republic and Phaedrus, Aristotle’s Poetics, W. J. T. Mitchell’s Picture Theory), so as to consider the ironies and complexities involved in the artistic representation of art, with application to a work of dramatic literature (Shakespeare’s A Winter’s Tale) and a range of short poems.


The heart of the course will be a discussion of lyric poems that take as their subject matter paintings, sculptures, and architectural structures. Our discussions will be investigatory, meaning we will often need to do detective work to uncover the relations between a poem and other artworks to which it (directly or obliquely) refers. How and why does the poet Oscar Wilde use and misuse the works of the painter Whistler to represent a prostitute? What is the effect of a poem referring to another poem about a painting that includes a depiction of a painting within its frame? Should a poet describe the Titanic or the iceberg it hit as works of art? Such sleuth work will also be central to the main research and writing project undertaken by the students in the course, each of whom will produce a critical edition of a poem, taking account of such matters as poet’s biography and a poem’s publishing history and critical reputation, and culminating in an analytic essay addressing the major ekphrastic themes of the poem.


As a UHC course, this section of “Reading Poetry” goes beyond the study of poetic representation to provide—through additional readings, in-depth discussions, and the students’ own research and writing projects—a foundational interdisciplinary understanding of the philosophical and critical matters involved in poetic production, and the reading of poetry, by considering the ways in which a range of ancient and modern critical works have tackled the matter of art representing art.



As an introductory course, this section of “Reading Poetry” will probably appeal especially to Honors students early in their university careers. Also, as a writing-intensive (W) course, it is aimed at students who are still in the earlier stages of honing their abilities as academic writers.


One of the goals of the course is not only to give students practice reading poetry—which, presumably, all sections of English Literature 0315 do—but to give them a foundational understanding of the philosophical and critical matters involved in poetic representation. This is where the particular theme of my course—ekphrasis—makes this course appropriate to and especially valuable for UHC students. Students in this course will gain an interdisciplinary understanding of the questions and issues involved in poetic production, and the reading of poetry, by considering the ways in which a range of ancient and modern critical works have tackled the matter of art representing art (in contrast, for example, to art representing nature). My intent is that students will read carefully selected critical (or, “secondary”) texts in great depth, so as then to turn to poetry (or, “primary” texts) representing the visual and plastic arts with an ability not only for fine-grained analysis of poetic form but also a sense of the intellectual problems that contextualize the production and reception of the poetry.


A detailed analysis of carefully selected primary and secondary texts is thus a chief goal of the course. The course will mainly be conducted as a discussion course in which professor and student work through the problems raised by the texts together (with, of course, the occasional necessary lecture by the professor).


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