I. ASCRC General Education Form Group IV. Expressive Arts Dept/Program English/Creative Writing Course Title Prerequisite Course # Introduction to Poetry Writing None Credits ENCR 211A 3 II. Endorsement/Approvals Complete the form and obtain signatures before submitting to Faculty Senate Office Please type / print name Signature Date Karen Volkman 9/16/08 243-4063 karen.volkman@umontana. edu Program Chair Casey Charles Dean Jon Tompkins III. Description and purpose of the course: General Education courses must be introductory and foundational. They must emphasize breadth, context, and connectedness; and relate course content to students’ future lives: See Preamble: http://www.umt.edu/facultysenate/gened/GEPreamble_final.htm Instructor Phone / Email An introduction to poetry writing, ENCR 211 is a studio course in which students re-discover and explore language as an expressive art, through in-class and at-home writing assignments based on sound and visual association, comparison, etymology, spontaneous response, and other exercises. Students also learn basic prosodic terms for discussing poems, skills in editing and critique, and read a wide range of poets representing diverse aesthetics. IV. Criteria: Briefly explain how this course meets the criteria for the group. See: http://www.umt.edu/facultysenate/ASCRCx/Adocuments/GE_Criteria5-1-08.htm Courses guide students, whether in individual Students write poems each week, exploring different expressive methods. or group settings, to acquire foundational skills to engage in the creative process and/or in interpretive performance. Through direct experience (for example, attendance and involvement with live performance, exhibitions, workshops, and readings), they will engage in critical assessment of their own work and the work of others. Students engage in discussion of assigned readings from anthologies and volumes of poetry by single authors. Students participate in workshops throughout the semester, receiving critiques of their own work and critiquing the work of their fellow students. V. Student Learning Goals: Briefly explain how this course will meet the applicable learning goals. See: http://www.umt.edu/facultysenate/ASCRCx/Adocuments/GE_Criteria5-1-08.htm Upon completion of this perspective students will be able to: express themselves in the making of an original work or creative performance; understand the genres and/or forms that have shaped the medium; and critique the quality of their own work and that of others. Students are assigned weekly poetry writing assignments exploring different aspects of the writing process. A final portfolio of revised poems demonstrates their progress in writing and revision skills. Each week, students discuss of reading from anthologies and course books representing a broad aesthetic range. A third to a half of each week’s class time is devoted to group workshops which develop skills in editing and critique. VII. Syllabus: Paste syllabus below or attach and send digital copy with form. ⇓ The syllabus should clearly describe how the above criteria are satisfied. For assistance on syllabus preparation see: http://teaching.berkeley.edu/bgd/syllabus.html Introduction to Poetry Writing ENCR 211 Karen Volkman Fall 2004 Tue/Thurs 12:40-2:00 Ph: 243-4063 Office hours: T/Th 2:00-3:30, and by appointment Office: LA 113 firstname.lastname@example.org Texts Kenneth Koch, Making Your Own Days Harryette Mullen, Sleeping with the Dictionary Joy Harjo, The Woman Who Fell From the Sky Course Description “. . . suddenly it struck me [what quality] Shakespeare possessed so enormously. I mean negative capability, that is, when man is capable of remaining in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason . . . what shocks the virtuous philosopher delights the chameleon poet.” John Keats, Letters The word “poetry” comes from the Greek poesis, which means “making.” A poem is a piece of art the poet makes from words. A painter uses paint, a composer shapes music out of sounds -poetry takes the words we use every day, and other, less common words buried in our minds, yanks them from their usual place, and makes them reappear, transformed, in the frame of the poem. Through language, poetry gives voice and form to a human consciousness in relation to its surrounding circumstances, real or imaginative – a relationship that may be contradictory, complicated, and illogical. So, unlike much fiction, a poem often doesn’t tell a story in a coherent way, and it may not have a content that can be summarized apart from its form. Many poets, when asked what a poem means, will simply say it means what it is – the meaning can’t be separated from the making. Our first goal in class is to rediscover words as material, as sounds and shapes giving rise to sensation and association. All writing balances spontaneous, impulsive creation and an urge toward order and form. This semester we will consider both aspects of the writing process. For the first half of the term, we will focus on the words themselves, considering sound and visual association, comparison, etymology, illogical leaps, and spontaneous responses in group and partner writing. At the same time, you will learn prosodic terms to provide a vocabulary for discussing the poems we read. In the second half of the semester, we will turn to a more analytic mode, discussing revision strategies, workshopping poems, and moving to exercises which engage resonances of history, culture, and self-representation. At mid-term, I will meet with each of you to discuss your work. Your final portfolio for the class will include revisions, self-assignments, and a short response paper. Assignments 1) In-class and at home poetry writing. You will write frequently in class, with additional poem assignments to complete at home. Work will be shared regularly. Workshopping will begin later in the term; selected students will bring copies of their poems for the class on specific dates. 2) Reading. We’ll be reading sections from Kenneth Koch’s Making Your Own Days and poems from the anthology at the back of that volume, along with two books by contemporary poets. Please read all assignments carefully and thoughtfully —remember, poems are highly compressed and should be read several times! 3) Response paper. You will read and write a short (3 page) response to one additional volume of poetry you read outside of class. We will discuss your choice at the mid-term conference. 4) Final portfolio. You’ll receive more details on the final portfolio after mid-term. It will include revisions of workshopped poems and in-class writing, at least one self-assignment, and the response paper. Requirements 1) Attendance and Punctuality. Regular attendance is essential in a creative writing workshop – always attend class as an active, engaged participant. Four absences (which equals two weeks of class) will lower you one letter grade; a fifth absence and beyond will lower you one halfletter grade. If you arrive more than ten minutes after the class starts, you will be marked late; two lates will be counted as one absence. 2) Class Participation. A good workshop experience depends on all students being actively involved, open-minded, and generous in their responses. Share your thoughts during discussions, ask questions, provide comments for your peers when you exchange writing. Class participation weighs very heavily in determining your final grade. 3) Policy regarding late work. If you miss a writing assignment, get the assignment from me or one of your classmates as soon as possible and make up the work no later than one week after the original due date. Late assignments should be typed and include the original due date and assignment number as well as date submitted. Grading How are creative writing courses graded? It is hard to put a grade on creative work, so no grades will be given for individual poems. Your grade will be “holistic,” based on your performance over the entire semester, with a final portfolio of drafts and revised poems representing your creative work. We will also discuss your progress at the mid-term conference. Regular class participation in workshop and discussions is also crucial for a high grade. Course participation: 50% Final Portfolio: 50% Course Schedule Except where indicated, reading assignments are from Kenneth Koch’s Making Your Own Days. Other selections will be drawn from Joy Harjo’s The Woman Who Fell From the Sky and Harryette Mullen’s Sleeping with the Dictionary – we’ll start reading poems from them right away, and discuss them as complete volumes later in the semester. Week 1 Tues, 8/31 Introduction Thurs, 9/2 Koch, “The Two Languages” (p.19-26) -- Sound and Poetry – Hopkins, “The Windhover” (p. 212) – Word association by sound –writing in pairs At-home writing assignment #1 – Leaping from a sound phrase Week 2 Tues, 9/7 Koch, “Music” (p.27-49) – Explanation of prosodic terms – Harryette Mullen, “Jinglejangle,” (p.34) -- group writing Thurs, 9/9 Koch, “Inspiration” (p. 81-92) – writing to music – homophonic translation – group writing At-home #1 due – share work with class At-home assignment #2 – extend from in-class music writing Week 3 Tues, 9/14 Simile and Metaphor – Koch, “Comparisons” (p.52-57)-- Aimee Cesaire, “Night Tom Tom,” “Sentence” (p. 290-291) -- Cummings, “Spring is Like a Perhaps Hand” (p.271) – In-class writing: multiplying metaphor At-home #2 due – share in class Thurs, 9/16 Imagery – Koch, “The Inclinations of the Poetry Language” (p.51-70) Pasternak, “Hops” (p.265) – Williams, “The Locust Tree in Flower” (p. – Writing outside (weather permitting) At-home #3 – The concentrated image Week 4 Tues, 9/21 Association by word roots and definition – dictionary poem – bring dictionary to class – Harryette Mullen, -- in-class N+7 At-home #3 due – share poems Thurs, 9/23 Koch, “Writing” (p. 93-108) -- Association by relation – the list – In-class writing: Simultaneous action – Blaise Cendrars, “Waking Up,” “Dawn” (p.257 – 258) At-home #4 – Simultaneous action continued Week 5 Tues, 9/28 Koch, “The Poetry Base”(P. 71-78) – Association by disjunction – negative image – In-class negative image -- Focus: Koch’s comments on revision (p.104108) At-home #4 due Thurs, 9/30 Koch, “Reading” (p. 109-133) – The line – Multiple views – Stevens, “Thirteen Ways of Looking at a Blackbird” (p. 229) – Shakespeare, from Romeo and Juliet (p. 168) At-home #5 – Multiple views -- Handout: Small group workshop Week 6 Tues, 10/5 At-home #5 due – Small group workshop Thurs, 10/5 Mullen, “Dim Lady” (p.20) and “Variations on a Theme Park” (p. 75) – Diction – homolexical translation – writing in pairs Week 7 Tues, 10/12 At-home #6 due – Small group workshop Thurs, 10/14 Apostrophe – Shelley, “Ode to the West Wind” (p.198) – Keats, “Bright Star” (p.203)– Moore, “To a Steam Roller” (p. 256) – O’Hara, “A True Account of Talking to the Sun at Fire Island” (p. 297) At-home #7 -- Apostrophe Week 8 Tues, 10/19 At-home #7 due -- Workshop Thurs, 10/21 Poem based on myth, history, folklore – Harjo, “The Woman Who Fell From the Sky” (p. 5) and “The Flood” (p.14) -- Anna Akhmatova, from “Requiem” (p. 262) – At-home #8 Week 9 Tues, 10/26 At-home #8 due -- Workshop Thurs, 10/28 What is a political poem? Selections from Mullen and Harjo Poem from beyond the grave – Anonymous, “The Unquiet Grave”(p.160) -Rossetti, “Song” (p. 208) – Handout: from the Greek Anthology Week 10 Tues, 11/2 -- Election Day – no class meeting Thurs, 11/4 On the street – The poem of observation and place– Langston Hughes, from Montage of a Dream Deferred (p.277) – Gary Snyder, “I Went into the Maverick Bar” (p.304) – Allen Ginsberg, “A Supermarket in California” -Melvin Tolson, from “The Harlem Gallery” (p. 273) -- O’Hara, the daily poem -At-home #9 Week 11 Tues, 11/9 At-home #9 due – Workshop Thurs, 11/11 – Veteran’s Day – no class meeting Week 12 Tues, 11/16 The Prose poem – Rimbaud, “Dawn” (p. 213)– O’Hara, “Meditation in an Emergency” (p. 295) – Mullen and Harjo At-home #10 – Prose poem Thurs, 11/18 Writing in response to visual art – trip to campus gallery Week 13 11/23 At-home #10 due -- Workshop 11/25 Thanksgiving Day – no class meeting Week 14 Tues, 11/30 Closed form -- Dante, “Sestina” and sestina handouts – group writing Thurs, 12/2 Other examples of set forms – Shakespeare, “Sonnet” (p. 173) – Herbert, “Prayer” – 179) – Ryota, “Communion” (p. 152) -- Handout: Haiku At-home #11: haiku Week 15 Tues, 12/7 At-home #11 due -- Workshop Thurs, 12/9 Catch-up – Book as form and structure – Mullen and Harjo Exam week Final meeting TBA *Please note: As an instructor of a general education course, you will be expected to provide sample assessment items and corresponding responses to the Assessment Advisory Committee.