In addition to becoming familiar with voice, students can expect to acquire proficiency in recognizing and understanding various poetic tropes and conventions and in analyzing elements of prosody (meter and rhyme). Through extensive close readings, we will investigate how this relationship informs and/or reveals important aspects of a poem’s cultural and aesthetic environments. Who or what is the voice of the poem, and how is that voice constructed? How has the conception of voice or speaker shifted through time? We will situate each poem in its literary and historical contexts, strongly focusing on the relationship between form and content. ![]() In this course we will read a wide array of British and American poetry (and some critical writings) comprising several genres and periods, with an emphasis on the concept of the speaker. Other course requirements may include two formal analysis papers, a midterm exam, quizzes, discussion leaders, and a final exam.ĮNGL 103 Voices in History: Poetry and Poetics in British and American Poetry Students enrolled in this course should expect to do a substantial amount of reading and to come to each class fully prepared to engage those readings through class discussion and/or short response papers which may be shared with the class. Through informal and formal written responses, students will also learn to compose coherent arguments about a literary text or problem and how to select and appropriate effective textual evidence to support those arguments. In addition to becoming familiar with poetic genres, students can expect to acquire proficiency in recognizing and understanding various poetic tropes and conventions and in analyzing elements of prosody (meter and rhyme). In this course, students will read a wide array of English and American poetry (and some critical writings) comprising several genres and periods, though the bulk of our readings will derive from the modern to the present eras. Together, we will analyze the ways different modes have enhanced or complicated storytelling by adding (and sometimes removing) the various elements that make up the books, movies, shows, and video games we have come to adore. What role do books and movie adaptations play in the consumption and sharing of stories? This course will explore various works and their adaptations across genres and mediums. Two questions we may come back to are these: To what extent is all literature a game of telephone? In other words, does all writing that we’d call “literature” bear some sign of translation?ĮNGL 101 “The book was better”: Literature and Adaptations My goal in this class is not to tell you what I think so much as to get you to ask each other questions about all this. This course looks at literature carried across time (from the ancients to now), carried across nations (from all continents but one), and carried across genres (from canonized forms like novels, short stories, essays, memoir, poetry, and drama to those less often taught in school, like song lyrics and stand-up comedy). ![]() ![]() Translation - from the Classical Latin meaning, “carried across” - gives our lives happiness and wisdom we would not have without it. ![]() Many writers admit that they don’t fully know their own work until it is reflected in what their readers understand. Still, it must be translated between the mind of one writer to that of many readers, readers sometimes from a different century, country, or at least with different cultural backgrounds and understanding of the language. Fiction, when going from preindustrial novelist to postmodern reader, might be written in what we’d call the same language. Some argue that fiction and, especially, poetry can’t be translated. ENGL 101 Understanding Literature as a Game of Telephone
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