ENGL 225 001
2016 Winter term, Tuesdays and Thursdays at 11 a.m.
Classroom Buchanan D317
Gillian Jerome
BUCH 414
Office Hours: Mondays noon to 2 p.m.
Introduction to the Pleasures of Poetry
The purpose of this course is to get you acquainted with narrative, lyric and conceptual poetries—their techniques, formal vocabularies and rich and varied traditions—so that you can learn to read various kinds of poems with depth, complexity and pleasure. The pedagogical focus of this course is to experience poetry by reading it aloud, talk about how poems work and move toward careful and sustained literary analysis (attention to formal features, historical and theoretical contexts) so that you can develop critical competence. The hope is that this course will not only make you a better reader of poetry, but inspire you to keep on reading it!
We’ll read a wide selection of poems from our Canadian Literature in English: Texts and Contexts anthology, as well as other poems not included in the anthology.
Requirements:
- Participation (10%)
- Recitation & Short Talk (15%)
- Short Close Reading (20%)
- Research Paper (25%)
- Exam (30%)
Texts:
Canadian Literature in English Texts and Contexts, Volume 2, Eds. Sugars and Moss
How to Read (and Write About) Poetry by Susan Holbrook
Teaching Philosophy and Course Proceedings:
In the first part of this course, say the first six weeks, we’ll focus on the fundamentals of poetry—definitions of terms that you might not know as well as technical features and devices. Once we’ve encountered some of the basic knowledge required to study poetry, we’ll move into reading poems more broadly and deeply through more theoretical/contextual approaches. As far as my teaching style goes, I teach concepts and ways of reading through modeling (lecture), conversation, questions and practice. You will always be invited to “practice” a concept or critical approach taught in class. The course assignments are designed to invite you to deepen that practice.
I like to teach formal and critical concepts as simply as possible so that you “get” the gist of what’s being taught and then, through questions and discussion, move into rich, complex, complicated conversations and readings. I will teach you how to do close textual analysis and introduce you to cultural and theoretical approaches to reading poems through my own readings and lectures as well as our collaborative work.
Above all, my teaching philosophy and practice comes from a love of teaching, reading and writing poetry. It’s important to me that you get a chance to experience poetry as it happens outside of a traditional scholarly format and so we’ll attend at least ONE public poetry reading together.
Detailed Course Requirements:
Participation 10%
Come to class prepared. This means that you read each poem closely and curiously—-read, re-read, re-read; annotate; define words; comment; question; think, think, think. Write out annotations, definitions, observations, thoughts and questions and bring them to class. Say what you think! Be brave and be gracious. We’ll take some time to talk about the kinds of conversations expected in this course.
Participation marks must be earned. You will not be given marks for charm or “good energy.” If you come to class consistently prepared with annotated poems, and thoughts and questions that stimulate discussions, you will earn an A. The less you do, and the less you offer, the less you earn.
Recitation & Short Talk 15% (Your date:_________)
You may choose to either recite a lyric poem or present to the class a concrete or conceptual poem for this assignment. Either way, you must deliver a 5-minute short, lively talk about how the poem works and what it means. All presentations should be no longer than 7 minutes. Please note that lyric poems must be memorized.
A one-page close reading 20%
In keeping with the objectives of a course that introduces you to the fundamentals of poetry, you must apply formal concepts and analytical methods taught in class by reading closely a poem from the anthology or reading list above. You are welcome to “read” the poem beyond its formal features but you must do so succinctly. Multiple drafts are highly recommended.
Research Paper 25%
You must write an original research paper in which you “read” a poem closely and critically (close reading) but also contextually (research). After reading the poem closely and carefully, and thinking through its meaning, you will ask questions about its broader references and implications as you move toward a critical approach to the text that deepens your reading of it. Following methods of theoretical analyses demonstrated in class, you may choose from a variety of critical perspectives (feminist, Marxist, psychoanalytic, postcolonial, new historical, cultural, etc.) to write a thoughtful, original analysis. You must cite the original text and at least three scholarly papers using MLA documentation. Maximum 6 pages or 3,000 words typed in Times New Roman 12-point font.
Exam 30% (April _______)
Your final exam will ask you to provide definitions for key terms and answer short-answer questions as well as one essay question. It’s important to take good, succinct notes through out the term and study the key concepts presented in class. The independent work you do reading and annotating poems for class is essential practice for the final exam.
Commonplace Books:
“For centuries, philosophers, scholars, lawyers, doctors, theologians, artists and poets have gathered the memorable thoughts and words of others and organized them in commonplace books. These treasure houses of ancient and modern knowledge preserve quotations, anecdotes, maxims, jokes, verses and magical spells, as well as astrological predictions, medicinal and culinary recipes, devotional texts and mathematical tables—in short, subject matter of every stripe. As such, they have played an integral and abiding role in Western intellectual life throughout the ages.”
-Curator, Beinecke Library’s Exhibit: Commonplace Books: Manuscripts and Printed Books from Antiquity to the Twentieth Century
Commonplace books became common in Italy in the 15th century. By the 17th century, the great thinkers and writers of England were also commonly using them. A commonplace book is not a journal, which is chronological, introspective and autobiographical. Think of it as a book for note taking: every time you read a poem for this class, write it out and take notes on it. Annotate it. Write out definitions for words you don’t know. Make observations. Ask questions. Typically, a commonplace book is organized by subject matter; feel free to simply use it for one subject—-poetry—or divine your own kind of taxonomy.
Buy a notebook, your very own commonplace book, and use it. Bring it to class.
Evaluation:
You will be graded in your written work on the organization and development of argument, content (information, clarity of thought and critical thinking), and mechanics (style, grammar, punctuation, spelling and reference format).
Essays will be graded according to the English Department’s grading standards and penalized 10% per day (including weekends) for late submissions unless you have a doctor’s note.
I do not accept papers via email.
You cannot receive a passing grade in this course unless you have submitted all major assignments and completed the final exam. To receive full credit, all written assignments must be submitted on time, in the proper format (on 8 1/2 x 11 paper, with proper margins, 12 pt Times New Roman font, double spaced, and with a title page), and with the required supporting materials.
Be sure to keep a copy of any papers you hand in to me, in the unlikely event that I lose one, you will be asked to supply another copy or re-write the assignment. If you ever have questions about my comments, evaluations or your grades, seem me right away; do not let problems fester.
Attendance:
Regular attendance, promptness and preparation before class are all crucial. Instructors are not obligated to reteach material that has already been taught in regular classes and so it’s a good idea to exchange emails with other students. Do not contact me if you have missed class: notes, handouts and other missed information is your responsibility.
The UBC Department of English attendance policy states that if you miss 40% or more of the classes for this course, including absences both avoidable and unavoidable, you will be considered unable to meet the learning outcomes of this course and excluded from the final exam.
Class Participation (please read this carefully!):
Come to class prepared to discuss a given poem or group of poems. This means that you will need to know things: the meanings of words, the significance of names and dates, places, historical or mythological allusions. I will expect you to know the meanings of all words in the assigned poems. More importantly, you will be expected to write TWO questions for each poem you read in this class in your commonplace books. I will call upon people randomly to share their questions with the class. Your homework in this class is mandatory but will not always be graded; however, all homework has been chosen specifically to prepare you for the final exam.
Guidelines for Participation:
Participation in class discussion is your responsibility. You must read all assigned readings and bring the required texts for that day to class. (See course schedule for the daily reading list.) An “A” student reads the texts assigned with a depth of critical understanding: that is, you take notes, ask questions and offer critical thoughts on the central ideas. Your ideas stimulate and develop the conversation by taking it to the next level before the professor does. You also encourage other students to contribute to the group.
Disabilities Accommodation:
Students with disabilities who require reasonable accommodations to fully participate in course activities or meet course requirements must register with the Disability Resource Center. If you qualify for services through DRC, bring your letter of accommodation to me as soon as possible and I will be happy to sit down with you to discuss a suitable arrangement.
Plagiarism:
Plagiarism is subject to disciplinary action by the University. Please see the Calendar on the definition of plagiarism and penalties. Plagiarism is easily avoided if you acknowledge all sources, whether you quote directly or use someone else’s basic ideas. Citation guidelines are available any writing handbook.
Grades:
UBC English Department Grading System
Percent Letter Grade
90-100 A+
85-89 A
80-84 A-
76-79 B+
72-75 B
68-71 B-
64-67 C+
60-63 C
55-59 C-
50-54 D
00-49 F
An “A” Paper:
This paper must be fully focused on the topic and consistently strong in structure, content, expression, mechanics and presentation. If the paper is based on a text or if it draws material from other primary or secondary sources, it must include full documentation in the MLA style. An “A” paper should contain an original and credible argument in response to the topic.
A “B” Paper:
This paper must be well focused on the topic; its thesis must be well supported by convincing evidence and explanations. The structure of a “B” paper must be strong and clear; its thesis must be specific and significant. If this paper contains errors of expression, they must be occasional rather than chronic, and they must not obscure meaning. A “B” paper based on research must be accurately documented in the MLA style. The principal difference between an “A” paper and a “B” paper is the quality and the level of argument. A “B” paper is less adventurous than an “A”; it may tend to rely more heavily on materials and arguments raised in lectures and discussions than an “A” paper would.
A “C-D” Paper:
A paper at this level is generally clear in its expression, but it is weaker in content and/or structure than a “B” paper. Its thesis may be vague (but still on topic); its transitions may be inconsistent; its evidence may be occasionally unconvincing or incomplete. Language errors in this category will be more frequent than those at the “A” or “B” level, but they will not be so serious or so chronic that they make a paper difficult or impossible to understand.
An “F” Paper:
A paper at this level will suffer from one or more of the following serious flaws: it may be off topic; it may lack a thesis; it may lack clear and adequate development and paragraphing; it may be deficient in presentation of evidence; it may contain serious and repeated errors in sentence structure, diction and grammar—-errors that obscure meaning.
A Grade of Zero:
Any paper that does not give complete or accurate credit for directly quoted material OR for ideas and arguments that the student paraphrased from another source must receive a grade of zero.
Reading Schedule
Canadian Literature in English Texts and Contexts, Volume 2, Eds. Sugars and Moss (CLC)
How to Read (and Write About) Poetry by Susan Holbrook (Holbrook)
All work listed for a given class (readings, discussion, homework, exercises) much be completed by that class. Typically, in Thursday’s class we’ll continue on from discussions started during Tuesday’s class.
You have three kinds of written assignments this term: a short talk, close reading, a research paper. Read Holbrook to understand close reading and research as well as key terms to gain some preliminary understanding of how to write critically about poetry. We’ll discuss all of this in class.
| Class Proceedings | Homework (to be read/written on date listed) |
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Week 1 January 4-8 Course Introduction: Poetries
Jan 7 |
Dover Beach by Matthew Arnold Birth Poem by Lillian Allen Christian Bök reads from Chapter I, Eunoia https://www.youtube.com/watch?v=fUNwHmQc9yk Caroline Bergvall reads from “Summer Tale” |
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| Week 2 Jan 11-15
Lecture on Canadian Poetries #1 Indigeneity, Nation-Making, Empire
Jan 14
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“A Sea Chant” Inuit poem translated by Danish Anthropologist Knud Rasmussen Inuit throat singing “A Cry from an Indian Wife” by Pauline Johnson (handout)
Return to “A Cry from An Indian Wife” by Pauline Johnson
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| Week 3 January 18-22
Lecture on Canadian Poetries #2 Enduring Colonial Mythologies, Resistances and Postmodern Experiments
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“Helpless” by Neil Young (handout) “Sandra Lee Scheuer” by Gary Geddes (handout) “Dark Pines Under Water” by Gwendolyn MacEwen (handout)
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“Jacob” by Maria Campbell (handout) |
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| Jan 21
Week 4 January 25-29
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Essay: Read “Sad Anthropologists: the Dialectical Use of Tone” by Tony Hoagland (handout) + questions
Catch Up |
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