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100% online

Comece imediatamente e aprenda em seu próprio cronograma.

Prazos flexíveis

Redefinir os prazos de acordo com sua programação.

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Aprox. 58 horas para completar


Legendas: Inglês

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4 horas para concluir

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 vídeos ((Total 164 mín.)), 8 leituras, 2 testes
9 videos
watch video on Dickinson's "Tell all the truth but tell it slant"15min
watch further discussion on "Tell all the truth"10min
watch video on Emily Dickinson's "The Brain within its Groove" (part 1)15min
watch video on Emily Dickinson's "The Brain within its Groove" (part 2)13min
watch video on Walt Whitman's "Song of Myself" (part 1)24min
watch video on Walt Whitman's “Song of Myself” (part 2)21min
watch video on canto 47 of "Song of Myself"21min
watch video discussion of the Whitmanian and Dickinsonian modes18min
8 leituras
introduction to chapter 1, week 1: audio & transcript15min
read Emily Dickinson's “I dwell in Possibility”2min
listen to Al Filreis recite "I dwell in Possibility"1min
read Dickinson's "Tell all the truth but tell it slant"2min
read Dickinson's "The Brain within its Groove"2min
(optional) watch condensed video on Dickinson's "Brain within its Groove"10min
read sections 1, 2, 3, 5, 6, 8, 10, 14, 47 & 52 of Walt Whitman’s “Song of Myself”20min
listen to recordings of “Song of Myself”20min
2 exercícios práticos
on "Possibility" in Emily Dickinson's "I dwell in Possibility"2min
on the dash in Emily Dickinson’s “I dwell in Possibility”2min
6 horas para concluir

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 vídeos ((Total 132 mín.)), 22 leituras, 3 testes
9 videos
watch video on William Carlos Williams's "Danse Russe"19min
watch video on Allen Ginsberg's "A Supermarket in California"15min
watch video on Lorine Niedecker's "Grandfather Advised Me"13min
watch video on Lorine Niedecker's "You are my friend"12min
watch video on Lorine Niedecker's "Foreclosure"8min
watch video on Cid Corman's "It isnt for want"14min
watch video on Rae Armantrout's "The Way"21min
watch video on distinctions between “Dickinsonian” and “Whitmanian” proto-modernism11min
22 leituras
introduction to week 2: audio & transcript11min
read William Carlos Williams’s “Smell!”2min
listen to Williams perform “Smell!”1min
read/listen to "Smell!" in text-audio alignment1min
read Williams's "Danse Russe"2min
listen to Williams perform "Danse Russe"1min
read/listen to “Danse Russe” in text-audio alignment1min
read Allen Ginsberg's “A Supermarket in California”5min
listen to Ginsberg perform “A Supermarket in California”2min
read/listen to Ginsberg's “A Supermarket in California” as text-audio alignment2min
read Lorine Niedecker's “Grandfather advised me”2min
read Lorine Niedecker's “You are my friend”2min
read Lorine Niedecker's “Foreclosure”2min
listen to Lorine Niedecker perform “Foreclosure”1min
listen to a 30-minute discussion of “Foreclosure” (& another short poem)30min
read Cid Corman's "It isnt for want"2min
listen to Cid Corman perform “It isnt for want”1min
read Rae Armantrout's “The Way”2min
listen to Rae Armantrout perform “The Way”1min
listen to Rae Armantrout talk briefly about “The Way”5min
listen to PoemTalk discussion of “The Way”30min
essay assignment #110min
2 exercícios práticos
on Niedecker's "Grandfather advised me"2min
on Corman's "It isnt for want"2min
3 horas para concluir

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 vídeos ((Total 70 mín.)), 12 leituras, 1 teste
5 videos
watch video on H.D.'s "Sea Poppies"13min
watch video on Ezra Pound's "In a Station of the Metro"11min
watch video on Ezra Pound's "The Encounter"13min
watch further discussion on "Thirteen Ways of Looking at a Blackbird"9min
12 leituras
introduction to week 3: audio & transcript25min
imagism briefly defined5min
read H.D.'s "Sea Rose"5min
read H.D.'s "Sea Poppies"5min
read Ezra Pound's "In a Station of the Metro"2min
read Pound's "In a Station of the Metro" as it appeared in Poetry magazine2min
read a selection of critical commentary on "In a Station of the Metro"10min
watch brief further discussion of Pound's "In a Station of the Metro"2min
read Ezra Pound's "The Encounter"5min
read Wallace Stevens's "Thirteen Ways of Looking at a Blackbird"5min
listen to a discussion of Stevens's "Thirteen Ways of Looking at a Blackbird"28min
essay #1: write reviews of others' essays10min
1 exercício prático
on "In a Station of the Metro"1min
3 horas para concluir

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 vídeos ((Total 78 mín.)), 21 leituras, 1 teste
7 videos
watch video on Williams's "Between Walls"9min
watch video on Williams’s “This Is Just to Say”12min
watch video on Williams's "The Red Wheelbarrow"12min
watch video discussion on Duchamp’s “Fountain”10min
watch video on Williams's "Portrait of a Lady"10min
on Marcel Duchamp's "Nude Descending a Staircase"11min
21 leituras
read William Carlos Williams's "Lines"2min
read William Carlos Williams's "Between Walls"5min
listen to Williams reading "Between Walls"1min
read/listen with text-audio alignment to Williams's "Between Walls"1min
listen to PoemTalk discussion of "Between Walls"30min
read William Carlos Williams's "This Is Just to Say"5min
read Flossie Williams's reply to "This Is Just to Say"5min
listen to William Carlos Williams's explanation of “This Is Just to Say”2min
listen to five recordings of Williams reading "This Is Just to Say"5min
listen to five recordings of Williams reading “This Is Just to Say” as text-audio alignment5min
read William Carlos Williams's "The Red Wheelbarrow"5min
listen to four recordings of Williams reading “The Red Wheelbarrow”3min
listen to four recordings of Williams performing “The Red Wheelbarrow” as text-audio alignment3min
watch further discussion of Williams’s “The Red Wheelbarrow”6min
look at a photograph of Marcel Duchamp’s “Fountain” at the Philadephia Museum of Art5min
watch a museum-goer’s video of Duchamp’s “Fountain” on display at SFMoMA1min
read William Carlos Williams's, “The rose is obsolete”5min
listen to a 6-minute close reading of “The rose is obsolete”6min
read William Carlos Williams's, "Portrait of a Lady"5min
listen to 3 recordings of Williams performing “Portrait of a Lady”5min
look at Marcel Duchamp’s “Nude Descending a Staircase”5min
1 exercício prático
on Williams's "Between Walls"2min
4 horas para concluir

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 vídeos ((Total 108 mín.)), 27 leituras, 1 teste
7 videos
watch further discussion on "A Long Dress"5min
watch video on Stein's "A Carafe, That Is a Blind Glass"18min
watch video on "Water Raining" and "Malachite"17min
watch video on Stein's ideas about narrative, composition, repeating & nouns22min
watch video on Stein's "Let Us Describe"11min
watch video on Stein's "If I Told Him"20min
27 leituras
introduction to week 4: audio & transcript17min
read Stein's "A Long Dress" from Tender Buttons5min
read Marjorie Perloff's comment on Stein and in particular on "A Carafe, That Is a Blind Glass"10min
read Gertrude Stein, "A Carafe, That Is a Blind Glass," from the "Objects" section of Tender Buttons5min
watch video of Laynie Browne discussing "A Carafe" and the "Objects" section of Tender Buttons6min
listen to Jackson Mac Low's 1978 performance of Stein's "A Carafe, That Is a Blind Glass"3min
listen to Jackson Mac Low's close reading of "A Carafe, That Is a Blind Glass"1min
watch video on Stein’s phrase “not unordered in not resembling”2min
read Stein's "Water Raining" and "Malachite" from Tender Buttons10min
watch Bob Perelman on Stein's use of the continuous present tense1min
watch Ron Silliman on how each Stein poem creates its own definition of reading1min
watch discussion of the pleasure to be gotten from Stein's “linguistic-ness”4min
read Stein on narrative5min
read Stein on the noun5min
read Stein on repetition5min
read Stein on composition5min
listen to Joan Retallack reading some propositions from Stein’s “Composition as Explanation”4min
condensed version of video on Stein's ideas about narrative, composition & nouns [alternative]10min
watch further discussion on the noun & loving repeating6min
read Gertrude Stein's "Let Us Describe"5min
read Stein’s “If I Told Him: A Completed Portrait of Picasso”5min
listen to Stein perform “If I Told Him”4min
read/listen with text-audio alignment of Stein's "If I Told Him"4min
watch a dance choreographed to Stein's “If I Told Him”2min
read Ulla Dydo's prefatory comment on "If I Told Him"2min
listen to Marjorie Perloff speaking about Stein’s portraits2min
essay assignment #210min
1 exercício prático
on "A Carafe, That Is a Blind Glass"2min
4 horas para concluir

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 vídeos ((Total 38 mín.)), 11 leituras, 2 testes
3 videos
watch video on Tristan Tzara's "To Make a Dadaist Poem"14min
watch video on Bishop's "A Recollection" and the sonnet in modernism8min
11 leituras
read Baroness Elsa von Freytag Loringhoven’s “A Dozen Cocktails—Please”5min
consult a scholarly digital edition of “A Dozen Cocktails—Please”5min
read Williams on the Baroness10min
listen to a brief bio of the Baroness2min
listen to a passage from Kenneth Rexroth’s account of the Baroness3min
read Tristan Tzara’s “To Make a Dadaist Poem”5min
re-read Tzara’s “To Make a Dadaist Poem” in an introduction to "chance operations"5min
watch a film-illustration of “To Make a Dadaist Poem”2min
read about the sonnet as a form7min
read William Carlos Williams on the sonnet2min
read John Peale Bishop, "A Recollection"5min
1 exercício prático
on Tzara's "To Make a Dadaist Poem"2min
1 hora para concluir

chapter 3 (week 5)—communist poets of the 1930s

<p><b>Week 5 of ModPo 2019 covers chapters 3, 4, 5 & 6 and runs from Sunday, October 6, starting at 9 AM, to Sunday, October 13 at 9 AM (Philadelphia time). </b> For those doing ModPo on their own or in small groups, the week 5 materials are open and available all year. </p><p>Chapter 3 is a very brief look at communist poetry of the 1930s. These were years of economic crisis — the Depression. Like most other people, poets felt the urgency induced by privation, lack of opportunity, segregation and desperation. But poets had all along been inclined toward social as well as aesthetic experimentalism, and as they could write effectively, many felt they could be useful in the larger effort to find solutions — some modestly reformist, some more extreme — to the nation's and the world's huge problems. When the Depression set in, many poets embraced radical critiques of the economic status quo, and some even joined revolutionary groups such as the Communist Party of the United States. Such ideological journeys were often quite brief, however, and most once-Communist poets regretted joining the Party later, and said so. One of the myths created in the 1950s is that all modernist poets had repudiated modernism's embrace of opaqueness, indirection and self-referentiality and had decided suddenly to write clearly and “transparently” so that masses of people could understand their language. This is not true — many pre-1930s modernists continued to write in experimental modes and remained committed to cubism, surrealism, Dadaism, etc., as well as joining radical political causes. But for our purposes in this very brief chapter 3, we look at two poets whose poems might be said to contain radical content but to deliver that content in traditional — one might even say conservative — forms. What can we make of this apparent contradiction or irony? What can we learn here about modernism's relation to political life? </p><p><b>ASSIGNMENTS:</b> During week 5 (covering chapters 3, 4, 5 & 6), there are two quizzes due (see below). There are no writing assignments due. Peer reviews of writing assignment #2 are due and should be submitted anytime between 9 AM on 10/7/19 and 9 AM on 10/13/19. There is also a live webcast on Thursday, October 10, 2018, 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!</p>

2 vídeos ((Total 31 mín.)), 4 leituras
2 videos
watch video on Genevieve Taggard's "Interior"16min
4 leituras
introduction to week 5 (audio/transcript)25min
read Ruth Lechlitner’s “Lines for an Abortionist's Office”5min
read Genevieve Taggard’s “Interior’5min
essay #2: write reviews of others' essays10min
4 horas para concluir

chapter 4 (week 5 cont.)—the Harlem Renaissance

We continue ModPo week 5 with chapter 4 and Harlem Renaissance poetry. We look at poets whose concept of the relation between traditional stanza form and the content of racist hatred helps us understand the limits of formal experiment. For example, Harlem Renaissance writers such as Jean Toomer (in works like Cane) engaged a modernist sense of genre, and Sterling Brown closely studied and admired the modernist “New”-ness of Ezra Pound even though Brown chose to write his own poems in rhymed blues verse and sometimes vernacular "folk" language. Claude McKay's strategic use of the Shakespearean sonnet is as powerful a refusal of free verse as can be found anywhere — his sense of the complicated inheritance of English prosody will come back to us at the very end of the course (watch for it in week 10). Countee Cullen uses the ballad form to similar effect, and for similar reasons. These poets, and others such as Langston Hughes, emerged in the 1920s and 1930s, but the influence of what was called “The New Negro” artistic renaissance (after the anthology compiled by Alain Locke) extended well beyond its time and deeply influenced later poets such as Gwendolyn Brooks, whose poems “truth” and "Boy Breaking Glass" we will also read and discuss here in chapter 4. Brooks's idea of the truth is honored but also challenged, in turn, by a poet still later associated with the Black Arts movement: Etheridge Knight. Knight's response to Brooks (discussed in the PoemTalk episode linked to this week's syllabus) both reveres Brooks and at the same time urges further progress, just as Brooks's “truth” had revered and also moved beyond the McKay/Cullen mode. In "Boy Breaking Glass," Brooks understands a young man's "cry for art" as requiring a sympathetic modernist fragmentation in her own poem. Poetic influences are cultural ripples, never more so than here — an emanation but also a widening. Langston Hughes's “Dinner Guest: Me” is partly about how such ripple effect and communality sometimes must be taught. And because it must be taught, we felt it apt to add a special video (prepared for ModPo's Teacher Resource Center) on how teachers might teach that challenging poem by Hughes.

5 vídeos ((Total 102 mín.)), 11 leituras, 1 teste
5 videos
watch video on McKay's "If We Must Die"19min
watch video on Hughes's "Dinner Guest: Me"18min
watch video on teaching Hughes’s “Dinner Guest: Me”20min
watch video on Brooks’s “Boy Breaking Glass”27min
11 leituras
read Countee Cullen’s “Yet Do I Marvel”5min
read Countee Cullen’s “Incident”5min
read Claude McKay's "If We Must Die"5min
listen to McKay perform "If We Must Die"1min
listen to a PoemTalk episode about "If We Must Die"30min
read Langston Hughes’s “Dinner Guest: Me”5min
read Gwendolyn Brooks’s “Boy Breaking Glass”5min
watch edited version of the video on Brooks's "Boy Breaking Glass"10min
read Gwendolyn Brooks’s “truth”5min
listen to an audio discussion of Brooks's “truth”32min
listen to a 30-minute discussion of Brooks’s “truth” & Etheridge Knight’s poem-response30min
1 exercício prático
on Claude McCay's "If We Must Die"2min
2 horas para concluir

chapter 5 (week 5 cont.)—Frost

We continue ModPo week 5 with chapter 5. Robert Frost is widely considered a major modern American poet, but in fact his relationship to modernism is mostly antagonistic. In our series of short chapters featuring poets’ doubts about aspects of the modernist revolution, we consider just one poem by Frost — "Mending Wall" — for its frank but also witty way of raising the issue of subject-object relations. The speaker and a second figure find themselves on either side of a wall. Should that wall come down? Does Frost’s answer to that question have anything to do with his famous anti-modernist complaint — that free verse is “like playing tennis without a net”? We also offer a video recording of a ModPo-hosted symposium in which four poets debate Frost's wall.

1 vídeo ((Total 19 mín.)), 5 leituras
5 leituras
read Robert Frost's "Mending Wall"5min
listen to Frost declaim "Mending Wall"2min
read/hear Frost's "Mending Wall" with machine-aided text-audio alignment10min
watch & listen to four contemporary poets debate “Mending Wall”1h
watch 6-minute excerpt from the 1-hr. video on "Mending Wall"10min
1 hora para concluir

chapter 6 (week 5 cont.)—formalism of the 1950s

We conclude ModPo week 5 with chapter 6. There are several ways of looking generally at U.S. poetry in the postwar (post-World War II) period, 1945-60. No single generalization will do, but our course implies two main trends. First, there was a retrenchment, a “coming home,” a consolidation — a mainstreaming of modernism and for some, a new formalist (or "neo-formalist") reaction against what was deemed to be modernist experimental excess. This consolidation coincided with a general renewed cultural conservatism or quietism, generally understood as caused or aided by several factors: fears of communism, concerns about women who had entered the wartime workplace and were now expected to resume domestic life, the apparent ease of daily life during a time of economic growth, the "massification" of university education, the flight from cities, and the suburbanization of values and lifestyle. For some, this meant assuming modernist gains — free verse, wide choice of subject matter, everyday diction — while suppressing radical experiment. For others, it meant an outright antimodernism, though it was now more conservative than the antimodernism of poets in chapters 3 and 5. The latter impulse expressed itself in a neo-classicist use of satire and irony — a kind of new Augustan poetics. Chapter 6 gives us a very brief look at this postwar neo-formalism. [] A second, very different, trend was the explosion of a new poetic radicalism fueled by a sometimes ecstatic and often antic negative response to the above-mentioned quietism and poetic conservatism. Drawing on the experimental spirit of modernism and sometimes celebrating the influence of individual modernist poets, this trend generally came to be known as the “New American” poetry. The Beats of chapter 7 and the New York School poets of chapter 8 are instances of this trend. There are other New American approaches and groupings, to be sure, but we will not have time to consider them except in passing references. First, let us quickly end week 5 — our rapid tour through the doubters and troublers of chapters 3, 4, 5 and 6 — with a glance at two neo-formalists: Richard Wilbur and X. J. Kennedy.

4 vídeos ((Total 54 mín.)), 2 leituras, 1 teste
4 videos
watch further discussion of Wilbur's "The Death of a Toad"5min
watch video on Kennedy’s “Nude Descending a Staircase”18min
watch further discussion on Kennedy's "Nude Descending a Staircase"10min
2 leituras
read Richard Wilbur's "The Death of a Toad"5min
read X. J. Kennedy’s “Nude Descending a Staircase”5min
1 exercício prático
on Richard Wilbur's "The Death of a Toad"2min
7 horas para concluir

chapter 7 (week 6)—breaking conformity: the beats

<p><b>Week 6 starts at 9 AM (Philadelphia time) on Sunday, October 13, 2019, and ends at 9 AM on Sunday, October 20, 2019.</b>For those doing ModPo on their own or in small groups, the week 6 materials are open and available all year.</p><p>The so-called “New American Poetry” that emerged in the late 1940s and 1950s went in many directions; some trends, styles, and approaches overlapped, while some were (or seemed to be) more distinct and separable than others. The “Beat” poets were a fairly distinct community of writers, making it easier than it would be otherwise to study as a coherent movement their ecstatic, antic, apparently anti-poetic break with official verse culture. Our approach, in just one week, looks at two “classic” Beats (Allen Ginsberg and Jack Kerouac) and then quickly moves off to adjacent figures. Robert Creeley was not a Beat poet, but his most famous poem engages poetic, psychological, and social matters with which Ginsberg, Kerouac, and the others were obsessed. Anne Waldman is an “outrider” poet and is more closely associated with the second generation of “New York School” poets (see chapter 8), but she was a dear friend of Ginsberg and learned a great deal from his political pedagogy. Amiri Baraka, as Leroi Jones, was a Beat poet for a few years and then broke away. The poem by Baraka that we study here gives us a chance to look back on Countee Cullen's traditionally formal poetic response to racist hatred. The prose-poem/manifesto by Baraka on how poets (should) sound extends a theme already important to this chapter: the primacy of sound (or music) as a form of freedom from linguistic convention. Jayne Cortez gives us a perfect example of this and permits us to suggest connections among the Beat aesthetic, Black Arts, the influences of jazz, and the emergence of “spoken word” performance. Our focus on Jack Kerouac in chapter 7 is a little unusual — he, of course, is known more as a novelist than a poet. But his “babble flow” has been a significant influence on contemporary poets, more than his narrative fictional stance as psycho-social itinerant. We will have occasion, then, to examine and question Kerouac’s — and implicitly, Ginsberg’s — claim to be writing naturally spontaneous language. Our chapter 9 poets for the most part doubt such a claim. </p><p><b>ASSIGNMENTS:</b> During this week there are two quizzes due (see below). There are no writing assignments due, nor peer reviews. There is a live webcast on Wednesday, October 16, at noon (Philadelphia time).</p5

12 vídeos ((Total 223 mín.)), 23 leituras, 2 testes
12 videos
watch video on the first section of Ginsberg's "Howl" (part 2)13min
watch video on Kerouac's ideas about prose19min
watch video on these instances of Kerouac's "spontaneous prose"24min
watch ModPo TAs debate spontaneity & first thought/best thought11min
watch video: can we do a close reading of babble flow?6min
watch video on Bob Kaufman's "Jail Poems"30min
watch video on Creeley's "I Know a Man"14min
watch video on Waldman’s “Rogue State”12min
watch video on Baraka's "Incident"15min
watch video on Baraka's "How You Sound??"25min
watch video on Jayne Cortez's "She Got He Got"30min
23 leituras
introduction to chapter 7, week 6 (audio & transcript)35min
read Allen Ginsberg's "Howl" (part 1)10min
listen to Ginsberg perform "Howl" in 195613min
listen to a brief excerpt from Ginsberg’s performance of “Howl”1min
read Jack Kerouac’s “Essentials of Spontaneous Prose”5min
read Jack Kerouac’s “Belief & Technique for Modern Prose”5min
read three passages of Kerouac's “spontaneous prose”10min
read the opening passage of Jack Kerouac’s “October in the Railroad Earth”5min
listen to Kerouac perform the opening passage of "October in the Railroad Earth"3min
read/listen to Kerouac's "October in the Railroad Earth" as text-audio alignment3min
read Kerouac’s comment to Ted Berrigan about “October in the Railroad Earth”2min
read a sample of Kerouac's "babble flow"2min
read Bob Kaufman's “Jail Poems” (sections 3, 4, 7, 14, 19, 22, 34 & 35)5min
(alternative) watch shorter version of video on Kaufman's "Jail Poems"10min
read Robert Creeley's "I Know a Man"2min
listen to 5 recordings of Creeley performing “I Know a Man”5min
read/listen with text-audio alignment to Creeley's "I Know a Man"1min
listen to PoemTalk on Creeley's "I Know a Man"30min
listen to Anne Waldman perform “Rogue State”2min
watch video of Waldman’s performance of “Rogue State”3min
read Amiri Baraka’s “Incident”5min
read Amiri Baraka's “How You Sound??”5min
watch & listen as Jayne Cortez performs “She Got He Got”6min
2 exercícios práticos
on Ginsberg's “Howl”2min
on Robert Creeley's "I Know a Man"2min
8 horas para concluir

chapter 8 (week 7)—the New York School

<p><b>Week 7 starts at 9 AM (Philadelphia time) on Sunday, October 20, 2019 and ends at 9 AM on Sunday, October 27, 2019.</b> For those doing ModPo on their own or in small groups, the week 7 materials are open and available all year.</p><p>Frank O'Hara, John Ashbery, Barbara Guest, and Kenneth Koch represent the New York School of poets in this week of our course. We met Anne Waldman briefly in chapter 7 — from the “second generation” New York School. Now we add two others of that second generation: Ted Berrigan and Bernadette Mayer. Our super-close readings of Guest's “20” and Ashbery's “Some Trees” are intended, in part, to show that the non-narrative or anti-narrative styles of this group — and their propensity for sudden shifts in pronoun use, inconsistent imagery, and inside-the-community name dropping — nonetheless produce writing that can be interpreted line by line. During this week (a bare-minimum introduction to this playful postmodernity), we will get a bit of pastiche from Koch and several instances of O'Hara's I-do-this-I-do-that explorations of lunchtime, as well as examples of Ashbery's opaque lyricism, Guest's stunning memory-as-word associationalism, Berrigan’s anti-narrative as daily social resistance, and Mayer’s application of O’Hara’s exuberant attention to daily details to a woman’s life and language. Patrick Rosal's contemporary poem begins with an ensemble-voiced, present-tense, frenetic romp through New York City, very much influenced by O’Hara’s mode and sensibility. But then Rosal’s poem moves elsewhere, enacting diasporic return, and pushes the New York School style beyond its earlier categories by developing its own powerful synthesis of global concerns. </p><p><b>ASSIGNMENTS</b>: During this week there are two quizzes due (see below). There is also a writing assignment due. Writing assignment #3 can be submitted anytime between 9 AM on 10/21/19 and 9 AM on 10/27/19; after that, peer reviews will be submitted anytime between 9 AM on 10/28/19 and 9 AM on 11/3/19. There is also a live webcast on Wednesday, October 23, at 9 AM (Philadelphia time).

14 vídeos ((Total 221 mín.)), 24 leituras, 3 testes
14 videos
watch video on Koch's “Variations on a Theme by William Carlos Williams”9min
watch video on Ashbery's “The Instruction Manual”18min
watch further discussion of Ashbery’s “The Instruction Manual”12min
watch video on O'Hara's “A Step Away from Them”15min
watch video on Guest's “20”17min
watch further discussion of Guest’s “20”6min
watch video on Ashbery's "Some Trees" (part 1)16min
watch video on Ashbery's "Some Trees" (part 2)15min
watch video discussion of Ashbery’s “Hard Times”18min
watch video on Berrigan's “3 Pages”9min
watch video on Mayer’s “Invasion of the Body Snatchers”14min
watch video on Patrick Rosal's "Uptown Ode That Ends on an Ode to the Machete" Part I18min
watch video on Patrick Rosal's "Uptown Ode That Ends on an Ode to the Machete" Part II26min
24 leituras
introduction to chapter 8, week 7: audio & transcript48min
read Frank O’Hara’s “The Day Lady Died”2min
listen to O'Hara perform “The Day Lady Died”1min
watch video of O'Hara reading “The Day Lady Died"2min
read Kenneth Koch’s "Variations on a Theme by William Carlos Williams"2min
read John Ashbery’s “The Instruction Manual”5min
listen to Ashbery perform “The Instruction Manual”5min
read O’Hara’s “A Step Away from Them”2min
read Barbara Guest’s “20” & listen to a recording2min
read James Schuyler's "February"10min
read John Ashbery’s “Some Trees”2min
listen to Ashbery perform “Some Trees”2min
read/listen to Ashbery’s “Some Trees” with text-audio alignment2min
read John Ashbery’s “Hard Times”2min
watch Ashbery performing “Hard Times”2min
read Ted Berrigan's “3 Pages”2min
listen to Berrigan perform “3 Pages”1min
listen to PoemTalk on Berrigan’s “3 Pages”30min
read Bernadette Mayer’s “Invasion of the Body Snatchers”2min
listen to Mayer perform “Invasion of the Body Snatchers”2min
read/listen to Mayer’s “Invasion of the Body Snatchers” with text-audio alignment2min
read Patrick Rosal’s “Uptown Ode That Ends on an Ode to the Machete”5min
listen to Patrick Rosal read "Uptown Ode"10min
essay assignment #310min
2 exercícios práticos
on O'Hara's "The Day Lady Died"2min
on Guest's "20"2min
9 horas para concluir

chapter 9.1 (week 8)—some trends in recent poetry: L=A=N=G=U=A=G=E

<p><b>AN OVERVIEW OF THE FINAL THREE WEEKS OF MODPO:</b> We spend our final three weeks surveying three related groupings of experimental poetry, covering recent decades to the present. In week 8 (chapter 9.1), we look at the so-called “Language Poetry” movement as it emerged in the San Francisco Bay area and New York in the 1970s and early 1980s. In week 9 (chapter 9.2), we turn to chance-generated and aleatory and quasi-nonintentional writing. In week 10 (chapter 9.3), we look at the recent emergence (or resurgence) of conceptual and appropriative — supposedly 'uncreative' — poetry. Several of the 9.2 poets follow directly from the innovations of the 9.1 Language poets. A few of the 9.3 conceptualists see themselves as breaking away from Language poetry and embrace a “post-avant” status, while others see a continuity from modernism through Language and aleatory writing to conceptualism. The extent to which all these poets — but especially the 9.1 and 9.2 poets — show their indebtedness to modernists such as Duchamp, Stein, Williams, and the proto-modernist Dickinson does suggest that our course is the study of a line or lineage of experimental American poetry continuing out of modernism. </p><p><b>Week 8 begins at 9 AM on Sunday, October 27, 2019 and ends at 9 AM on Sunday, November 3, 2019. </b> For those doing ModPo on their own or in small groups, the week 8 materials are open and available all year.</p><p>By starting with Ron Silliman’s “Albany” and Lyn Hejinian’s 'My Life,' we focus on ways in which — and reasons why — Language poets refused conventional sequential, cause-and-effect presentations of the writing self. They imply that the self is languaged — formed by and in language — and that the self as written is multiple across time (moments and eras) and thus from paratactic sentence to paratactic sentence. While this radical revision of the concept of the lyric self (and of the super-popular genre of memoir) emphasizes one aspect of the Language Poetry movement at the expense of several other important ideas and practices, it is, we feel, an excellent way to introduce the group. Bob Perelman’s “Chronic Meanings,” aside from its contribution to this introduction, also picks up a theme of our course: the experimental writer attempts to encounter death (loss, grief, absence) by somehow making the form of the writing befit that discontinuity and disruption. We began this theme in chapter 2 with Stein's “Let Us Describe” and continued it in chapter 8 with O’Hara’s “The Day Lady Died,” and we will proceed with Jackson Mac Low's “A Vocabulary for Peter Innisfree Moore” in chapter 9.2. Chapter 9.1 concludes with two poems from Harryette Mullen's book of intense alphabetical and lexicographical self-consciousness, <em>Sleeping with the Dictionary.</em> Mullen's talent is diverse, and her work could have appeared in weeks 8 or 9 or 10, but it's here because we hope some readers will sense an interesting relationship between <em>Sleeping with the Dictionary</em> and Hejinian’s <em>My Life. </em>We realize that the list below makes week 8 seem like a long one, but please note that we are asking you here to read just eight poems. </p><p><b>ASSIGNMENTS:</b> During this week there are two quizzes due (see below). No new writing assignment is due. Peer reviews of writing assignment #3 are due. Peer reviews should be submitted anytime between 9 AM on 10/28/19 and 9 AM on 11/3/19. There is also a live webcast on Wednesday, October 30 at 7 PM (New York City time).</

10 vídeos ((Total 194 mín.)), 31 leituras, 2 testes
10 videos
watch Ron Silliman on how Stein never lapses into denotation31s
watch video on Hejinian’s My Life (part 1)24min
watch video on Hejinian’s My Life (part 2)23min
watch video on Perelman’s "Chronic Meanings"21min
watch video on Bernstein’s "In a Restless World Like This Is"17min
watch video on Howe’s “My Emily Dickinson”26min
watch video on Silliman's BART23min
watch brief video introducing Mullen's "Sleeping with the Dictionary"1min
watch video on Mullen’s “Sleeping with the Dictionary”30min
31 leituras
introduction to chapter 9.1, week 8: audio & transcript1h 11min
read Ron Silliman’s “Albany"5min
listen to Silliman perform “Albany”5min
listen to a ModPo person perform “Albany”5min
read 4 sections of Lyn Hejinian’s "My Life"10min
listen to Lyn Hejinian read 4 sections of "My Life"15min
read Bob Perelman’s “Chronic Meanings”5min
read Perelman’s note on “Chronic Meanings”5min
listen to Perelman talk briefly about “Chronic Meanings”2min
listen to Perelman perform “Chronic Meanings”5min
read/listen to Perelman’s “Chronic Meanings” as text-audio alignment5min
watch video of Bob Perelman & others discussing “Chronic Meanings”13min
read Charles Bernstein’s “In a Restless World Like This Is”2min
listen to Bernstein perform “In a Restless World Like This Is”1min
read/listen to Bernstein’s “In a Restless World Like This Is” as text-audio alignment1min
listen to PoemTalk about Bernstein’s “In a Restless World Like This Is”30min
watch Bob Perelman & others discussing Bernstein’s “Restless World”8min
read Emily Dickinson’s “My Life had stood—a Loaded Gun”5min
read passages from Susan Howe’s “My Emily Dickinson”10min
listen to an excerpt of Charles Bernstein’s conversation with Susan Howe about Emily Dickinson3min
listen to Rae Armantrout read and comment on “My Life had stood—a Loaded Gun”3min
listen to PoemTalk on Susan Howe’s "My Emily Dickinson"30min
(Option:) watch video on Howe's "My Emily Dickinson" (condensed version)10min
read Ron Silliman’s “BART”10min
watch Ron Silliman’s advice to those reading Language poets for the first time1min
listen to Silliman performing “BART”28min
listen to ModPo TAs discuss “BART” with Silliman42min
read two poems from Harryette Mullen’s book “Sleeping with the Dictionary”5min
listen to Harryette Mullen read & explain “Sleeping with the Dictionary”"5min
(Option:) Watch edited version of video on "Sleeping with the Dictionary"10min
essay #3: write reviews of others’ essays10min
2 exercícios práticos
on Perelman's "Chronic Meanings"2min
on Henijian's "My Life"2min
8 horas para concluir

chapter 9.2 (week 9)—some trends in recent poetry: chance

<p><b>Week 9 begins at 9 AM on Sunday, November 3, 2019 and ends at 9 AM on Sunday, November 10, 2019.</b> For those doing ModPo on their own or in small groups, the week 9 materials are open and available all year.</p><p>When Jackson Mac Low put a body of language (for instance a poem by Gertrude Stein) through a rigorous procedure, he would say that he created (or “wrote”—in the sense of computer programming) the procedure and that the procedure then created the poem. One of his goals was to experiment with the elimination or evacuation or at least the suppression of poetic ego. In this sense his work stands alongside that of Silliman and Hejinian who (by other means) sought to question the stable lyric subject that had been for so long been associated with the writing of poetry, and with imagination generally. On this point the chapter 9 poets are unified in breaking from modernism's implicit and often explicit claim of creative, a-world-in-a-poem-making genius. But otherwise the aesthetic connection between, for instance, Mac Low and Stein is strongly positive. (Please note: during our filmed discussion on Mac Low's “A Vocabulary for Peter Innisfree Moore,” Al Filreis gets a little carried away when reading a list of words made from Moore’s name; neither the word “spicer” nor the phrase “this weekend” can be derived from those letters!) </p><p><b>ASSIGNMENTS:</b> During this week there are two quizzes due (see below). There is also a writing assignment due. Writing assignment #4 should be submitted between 9 AM on 11/4/19 and 9 AM on 11/10/19; after that, peer reviews will be submitted any time between 9 AM on 11/11/19 and 9 AM on 11/17/19. There is also a live webcast on Wednesday, November 6, at 5 PM (Philadelphia time).</p>

8 vídeos ((Total 127 mín.)), 27 leituras, 3 testes
8 videos
watch video on Cage’s adagia20min
watch video on Mac Low's "A Vocabulary for Peter Innisfree Moore"19min
watch video on Mac Low's approach to Stein26min
watch video on Osman's "Dropping Leaflets"12min
watch video on Bernadette Mayer's writing experiments12min
watch video on Retallack's "Not a Cage"14min
watch further discussion of Retallack's "Not a Cage"1min
27 leituras
week 9 introduction: audio and transcript16min
read a description of mesostics10min
read a brief excerpt from John Cage’s “Writing through Howl”2min
read three pages on “Writing through Howl” by Marjorie Perloff10min
try your hand at making your own mesostic5min
read a selection of John Cage’s adagia10min
listen to Cage speak about why he seeks to “mak[e] English less understandable”2min
listen to an excerpt from Jackson Mac Low’s “A Vocabulary for Peter Innisfree Moore”7min
read Daniel Kane’s comment on Mac Low with reference to Peter Innisfree Moore5min
view Mac Low’s chart for performers of "A Vocabulary for Peter Innisfree Moore5min
read an article about Peter Innisfree Moore5min
read Mac Low’s elaborate performance instructions for “A Vocabulary for Peter Innisfree Moore”10min
watch discussion of chance poetry & mourning9min
listen to Mac Low's 1978 reading of Stein's "A Carafe, That Is a Blind Glass"1min
listen to Mac Low's commentary on Tender Buttons5min
read a brief introduction to Mac Low’s Stein poems2min
read Mac Low's poem #100 in his Stein series, “A Feather Likeness of the Justice Chair”7min
listen to Mac Low perform "A Feather Likeness of the Justice Chair"7min
read Jena Osman’s “Dropping Leaflets”5min
listen to Osman perform “Dropping Leaflets”5min
listen to PoemTalk on Osman’s “Dropping Leaflets”30min
read a selection of Bernadette Mayer's writing experiments10min
read Joan Retallack’s “Not a Cage”5min
listen to Retallack read "Not a Cage"3min
read/listen to Retallack’s “Not a Cage” as text-audio alignment3min
listen to PoemTalk on Retallack's “Not a Cage”30min
essay assignment #410min
2 exercícios práticos
on John Cage2min
on Joan Retallack's "Not a Cage"2min
9 horas para concluir

chapter 9.3 (week 10)—some trends in recent poetry: conceptualism & unoriginality

<p><b>Week 10, our final week, begins at 9 AM (Philadelphia time) on Sunday, November 10, 2019 and ends at 9 AM on Sunday, November 17.</b> We will then have a final day (November 17-18) to wrap up and say our final words. For those doing ModPo on their own or in small groups, the week 10 materials are open and available all year.</p><p>Not every artist we meet here claims to be part of a trend or movement now widely known as conceptualist poetics or uncreative writing. Some have at times embraced one or both of those terms: Kenneth Goldsmith, Christian Bok, Caroline Bergvall. Others, such as Rosmarie Waldrop, have been involved in appropriative and unoriginal practices for decades. Erica Baum is a photographer of found language who seems to thrive in the atmosphere created by the explicit conceptualists. Michael Magee is an original Flarfist, which some see as divergent from conceptualism but here at least seems certainly a cousin. Others we encounter in our final week (Jennifer Scappettone and Tracie Morris) are using unoriginality and linguistic borrowing and “writing through” for their own reasons and are creating distinct effects. But every artist in chapter 9.3 displays an intense virtuosity that defies what most people at first expect from writings made out of such an adamant rejection of creativity. We hope that despite the strangeness of it all you will find pleasure in watching them undertake their hyper-concentrated, seemingly impossible projects. What can look easy in such experimentalism is often demanding in the extreme. It's hard to imagine a better examples of this than 'Africa(n)' or 'Eunoia.' </p><p><b>ASSIGNMENTS:</b> During the final week of the course, there are two quizzes due (see below). Peer reviews of writing assignment #4 are also due. Peer reviews should be submitted any time between 9 AM on 11/11/19 and 9 AM on 11/18/19. There is also a webcast on Wednesday, November 13, at 3 PM (Philadelphia time).</p>

10 vídeos ((Total 223 mín.)), 30 leituras, 2 testes
10 videos
watch video on Bök’s “Eunoia”10min
watch video on Baum’s “Card Catalogue” and “Dog Ear”23min
watch video on Caroline Bergvall's "VIA"12min
watch video on Magee’s “Pledge” & “My Angie Dickinson”20min
watch video on Waldrop’s “Shorter American Memory”16min
watch video on Scappettone’s “Vase Poppies”17min
watch discussion of Nasser Hussain's SKY WRI TEI NGS50min
watch discussion of Nasser Hussain (condensed version)25min
watch video on Tracie Morris’s “Africa(n)” & final words25min
30 leituras
introduction to week 10: audio & transcript20min
read “Act 1” of Kenneth Goldsmith’s book “Soliloquy”20min
read an interview with Kenneth Goldsmith5min
read Christian Bök, “Chapter E” of “Eunoia”15min
listen to Christian Bök perform "Chapter E” of “Eunoia”15min
read & look at Erica Baum’s “Card Catalogue”10min
read & look at Erica Baum’s “Dog Ear”10min
listen to Caroline Bergvall perform “VIA”10min
read Caroline Bergvall’s “VIA”10min
read Bergvall’s preface to “VIA”5min
read Brian Reed's essay on Bergvall's “VIA”10min
listen to a PoemTalk discussion of Bergvall’s “VIA”30min
read an excerpt from Michael Magee’s “Pledge”5min
read Magee's comments on ModPo’ers’ responses to “Pledge”2min
read Ron Silliman on Michael Magee’s “My Angie Dickinson”5min
read a selection of poems from Magee’s “My Angie Dickinson”5min
read Magee's description of the methodology of “My Angie Dickinson”2min
read Magee’s definition of “flarf” poetry for Charles Bernstein5min
read Rosmarie Waldrop’s “Shorter American Memory of the Declaration of Independence”2min
listen to Waldrop perform “Shorter American Memory of the Declaration of Independence”2min
listen to an episode of PoemTalk on Waldrop’s “Shorter American Memory”30min
read Jennifer Scappettone’s “Vase Poppies”2min
listen to Scappettone reading "Vase Poppies"1min
read/listen to a text-audio alignment of Scappettone’s “Vase Poppies”1min
listen to PoemTalk on Scappettone’s “Vase Poppies” and H.D.’s “Sea Poppies”30min
read Nasser Hussain's "SKY WRI TEI NGS"15min
listen to Tracie Morris introduce & perform “Africa(n)”4min
watch a video of Tracie Morris performing “Africa(n)”2min
listen to a musical arrangement of “Africa(n)” with Val Jeanty3min
essay #4: write reviews of others' essays10min
2 exercícios práticos
on Goldsmith's "Soliloquy"2min
on Morris's "Africa(n)"2min
72 avaliaçõesChevron Right

Principais avaliações do Modern & Contemporary American Poetry (“ModPo”)

por 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.

por 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.



Al Filreis

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

Sobre Universidade da Pensilvânia

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. ...

Perguntas Frequentes – FAQ

  • Ao se inscrever para um Certificado, você terá acesso a todos os vídeos, testes e tarefas de programação (se aplicável). Tarefas avaliadas pelos colegas apenas podem ser enviadas e avaliadas após o início da sessão. Caso escolha explorar o curso sem adquiri-lo, talvez você não consiga acessar certas tarefas.

  • 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.

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