課程信息
21,288 次近期查看

100% 在線

立即開始,按照自己的計劃學習。

可靈活調整截止日期

根據您的日程表重置截止日期。

初級

完成時間大約為57 小時

英語(English)

字幕:英語(English)

100% 在線

立即開始,按照自己的計劃學習。

可靈活調整截止日期

根據您的日程表重置截止日期。

初級

完成時間大約為57 小時

英語(English)

字幕:英語(English)

教學大綱 - 您將從這門課程中學到什麼

1
完成時間為 4 小時

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

<p><strong>Week 1 of ModPo 2019 runs from Saturday, September 7 at 9 AM through Sunday, September 15 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 11, 2019, at 3 PM (Philadelphia time).</p>

...
9 個視頻 (總計 164 分鐘), 8 個閱讀材料, 2 個測驗
9 個視頻
watch video on Dickinson's "Tell all the truth but tell it slant"15分鐘
watch further discussion on "Tell all the truth"10分鐘
watch video on Emily Dickinson's "The Brain within its Groove" (part 1)15分鐘
watch video on Emily Dickinson's "The Brain within its Groove" (part 2)13分鐘
watch video on Walt Whitman's "Song of Myself" (part 1)24分鐘
watch video on Walt Whitman's “Song of Myself” (part 2)21分鐘
watch video on canto 47 of "Song of Myself"21分鐘
watch video discussion of the Whitmanian and Dickinsonian modes18分鐘
8 個閱讀材料
introduction to chapter 1, week 1: audio & transcript15分鐘
read Emily Dickinson's “I dwell in Possibility”2分鐘
listen to Al Filreis recite "I dwell in Possibility"1分鐘
read Dickinson's "Tell all the truth but tell it slant"2分鐘
read Dickinson's "The Brain within its Groove"2分鐘
(optional) watch condensed video on Dickinson's "Brain within its Groove"10分鐘
read sections 1, 2, 3, 5, 6, 8, 10, 14, 47 & 52 of Walt Whitman’s “Song of Myself”20分鐘
listen to recordings of “Song of Myself”20分鐘
2 個練習
on "Possibility" in Emily Dickinson's "I dwell in Possibility"2分鐘
on the dash in Emily Dickinson’s “I dwell in Possibility”2分鐘
2
完成時間為 4 小時

chapter 1.2 (week 2)—Whitmanians & Dickinsonians

<p><b>Week 2 of ModPo 2019 runs from Sunday, September 15 at 9 AM through Sunday, September 22 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 9/16/19 and 9 AM on 9/22/19; after that, peer reviews will be submitted any time between 9 AM on 9/23/19 and 9 AM on 9/29/19. There is also a live webcast on Wednesday, September 18, at noon (Philadelphia time).</p>

...
9 個視頻 (總計 132 分鐘), 22 個閱讀材料, 2 個測驗
9 個視頻
watch video on William Carlos Williams's "Danse Russe"19分鐘
watch video on Allen Ginsberg's "A Supermarket in California"15分鐘
watch video on Lorine Niedecker's "Grandfather Advised Me"13分鐘
watch video on Lorine Niedecker's "You are my friend"12分鐘
watch video on Lorine Niedecker's "Foreclosure"8分鐘
watch video on Cid Corman's "It isnt for want"14分鐘
watch video on Rae Armantrout's "The Way"21分鐘
watch video on distinctions between “Dickinsonian” and “Whitmanian” proto-modernism11分鐘
22 個閱讀材料
introduction to week 2: audio & transcript11分鐘
read William Carlos Williams’s “Smell!”2分鐘
listen to Williams perform “Smell!”1分鐘
read/listen to "Smell!" in text-audio alignment1分鐘
read Williams's "Danse Russe"2分鐘
listen to Williams perform "Danse Russe"1分鐘
read/listen to “Danse Russe” in text-audio alignment1分鐘
read Allen Ginsberg's “A Supermarket in California”5分鐘
listen to Ginsberg perform “A Supermarket in California”2分鐘
read/listen to Ginsberg's “A Supermarket in California” as text-audio alignment2分鐘
read Lorine Niedecker's “Grandfather advised me”2分鐘
read Lorine Niedecker's “You are my friend”2分鐘
read Lorine Niedecker's “Foreclosure”2分鐘
listen to Lorine Niedecker perform “Foreclosure”1分鐘
listen to a 30-minute discussion of “Foreclosure” (& another short poem)30分鐘
read Cid Corman's "It isnt for want"2分鐘
listen to Cid Corman perform “It isnt for want”1分鐘
read Rae Armantrout's “The Way”2分鐘
listen to Rae Armantrout perform “The Way”1分鐘
listen to Rae Armantrout talk briefly about “The Way”5分鐘
listen to PoemTalk discussion of “The Way”30分鐘
essay assignment #110分鐘
2 個練習
on Niedecker's "Grandfather advised me"2分鐘
on Corman's "It isnt for want"2分鐘
3
完成時間為 3 小時

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

<p><b>Week 3 of ModPo 2019 runs from Sunday, September 22 at 9 AM through Sunday, September 29 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 9/23/19 and 9 AM on 9/29/19. There is also a live webcast on Wednesday, September 25 at 10 AM (Philadelphia time).</p>

...
5 個視頻 (總計 70 分鐘), 12 個閱讀材料, 1 個測驗
5 個視頻
watch video on H.D.'s "Sea Poppies"13分鐘
watch video on Ezra Pound's "In a Station of the Metro"11分鐘
watch video on Ezra Pound's "The Encounter"13分鐘
watch further discussion on "Thirteen Ways of Looking at a Blackbird"9分鐘
12 個閱讀材料
introduction to week 3: audio & transcript25分鐘
imagism briefly defined5分鐘
read H.D.'s "Sea Rose"5分鐘
read H.D.'s "Sea Poppies"5分鐘
read Ezra Pound's "In a Station of the Metro"2分鐘
read Pound's "In a Station of the Metro" as it appeared in Poetry magazine2分鐘
read a selection of critical commentary on "In a Station of the Metro"10分鐘
watch brief further discussion of Pound's "In a Station of the Metro"2分鐘
read Ezra Pound's "The Encounter"5分鐘
read Wallace Stevens's "Thirteen Ways of Looking at a Blackbird"5分鐘
listen to a discussion of Stevens's "Thirteen Ways of Looking at a Blackbird"28分鐘
essay #1: write reviews of others' essays10分鐘
1 個練習
on "In a Station of the Metro"1分鐘
完成時間為 3 小時

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.

...
7 個視頻 (總計 78 分鐘), 21 個閱讀材料, 1 個測驗
7 個視頻
watch video on Williams's "Between Walls"9分鐘
watch video on Williams’s “This Is Just to Say”12分鐘
watch video on Williams's "The Red Wheelbarrow"12分鐘
watch video discussion on Duchamp’s “Fountain”10分鐘
watch video on Williams's "Portrait of a Lady"10分鐘
on Marcel Duchamp's "Nude Descending a Staircase"11分鐘
21 個閱讀材料
read William Carlos Williams's "Lines"2分鐘
read William Carlos Williams's "Between Walls"5分鐘
listen to Williams reading "Between Walls"1分鐘
read/listen with text-audio alignment to Williams's "Between Walls"1分鐘
listen to PoemTalk discussion of "Between Walls"30分鐘
read William Carlos Williams's "This Is Just to Say"5分鐘
read Flossie Williams's reply to "This Is Just to Say"5分鐘
listen to William Carlos Williams's explanation of “This Is Just to Say”2分鐘
listen to five recordings of Williams reading "This Is Just to Say"5分鐘
listen to five recordings of Williams reading “This Is Just to Say” as text-audio alignment5分鐘
read William Carlos Williams's "The Red Wheelbarrow"5分鐘
listen to four recordings of Williams reading “The Red Wheelbarrow”3分鐘
listen to four recordings of Williams performing “The Red Wheelbarrow” as text-audio alignment3分鐘
watch further discussion of Williams’s “The Red Wheelbarrow”6分鐘
look at a photograph of Marcel Duchamp’s “Fountain” at the Philadephia Museum of Art5分鐘
watch a museum-goer’s video of Duchamp’s “Fountain” on display at SFMoMA1分鐘
read William Carlos Williams's, “The rose is obsolete”5分鐘
listen to a 6-minute close reading of “The rose is obsolete”6分鐘
read William Carlos Williams's, "Portrait of a Lady"5分鐘
listen to 3 recordings of Williams performing “Portrait of a Lady”5分鐘
look at Marcel Duchamp’s “Nude Descending a Staircase”5分鐘
1 個練習
on Williams's "Between Walls"2分鐘
4
完成時間為 4 小時

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

<p><b>Week 4 of ModPo 2019 runs from Sunday, September 29 at 9 AM through Sunday, October 6 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 9/30/19 and 9 AM on 10/6/19; after that, peer reviews will be submitted any time between 9 AM on 10/7/19 and 9 AM on 10/13/19. <em>There is also a live webcast on Wednesday, October 2, at 8 PM (Philadelphia time)</em></p>

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

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.

...
3 個視頻 (總計 38 分鐘), 11 個閱讀材料, 1 個測驗
3 個視頻
watch video on Tristan Tzara's "To Make a Dadaist Poem"14分鐘
watch video on Bishop's "A Recollection" and the sonnet in modernism8分鐘
11 個閱讀材料
read Baroness Elsa von Freytag Loringhoven’s “A Dozen Cocktails—Please”5分鐘
consult a scholarly digital edition of “A Dozen Cocktails—Please”5分鐘
read Williams on the Baroness10分鐘
listen to a brief bio of the Baroness2分鐘
listen to a passage from Kenneth Rexroth’s account of the Baroness3分鐘
read Tristan Tzara’s “To Make a Dadaist Poem”5分鐘
re-read Tzara’s “To Make a Dadaist Poem” in an introduction to "chance operations"5分鐘
watch a film-illustration of “To Make a Dadaist Poem”2分鐘
read about the sonnet as a form7分鐘
read William Carlos Williams on the sonnet2分鐘
read John Peale Bishop, "A Recollection"5分鐘
1 個練習
on Tzara's "To Make a Dadaist Poem"2分鐘
4.9
72 個審閱Chevron Right

來自Modern & Contemporary American Poetry (“ModPo”)的熱門評論

創建者 WCMar 21st 2017

best coursera class of them all. The instructor and teaching assistants are closely in the class + there is a lot more interaction with them and the rest of the students than any other MOOC.

創建者 DBSep 25th 2016

Great Course. Great Experience. Everyone Should at least One Course from Coursera. I highly recommend it to all my students, friends, colleagues living anywhere on this earth.

講師

Avatar

Al Filreis

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

關於 宾夕法尼亚大学

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. ...

常見問題

  • 注册以便获得证书后,您将有权访问所有视频、测验和编程作业(如果适用)。只有在您的班次开课之后,才可以提交和审阅同学互评作业。如果您选择在不购买的情况下浏览课程,可能无法访问某些作业。

  • Yes, ModPo is entirely free. There are no charges for any aspect of the course.

  • No. You need not know anything about poetry in order to thrive in ModPo. So ModPo is for those who are new to poetry. It is for those who have perhaps always loved poetry but have not yet studied modern and/or experimental poetry. And it is also for poets and teachers who want to see what happens when a community of thousands comes together to talk about poems such folks already know well. In short, ModPo will work, in some way, for anyone and everyone! You will encounter people in ModPo who were once novices but are now participating in the course for a second, third or fourth time! We’re all in this together.

  • 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.

還有其他問題嗎?請訪問 學生幫助中心