Current Course Offerings

SPRING 2017

Radical Poetics, Radical Translation (COM 402/ TRA 402)

Karen R. Emmerich

This course invites students to consider not just what poems mean but how they mean, and how that, how, complicates, challenges, obscures, enlivens, or collides with the task of translation. We will look at forms of poetry that challenge the limits of the translatable, as well as radical translation methods that expand our notion of what translation is. Examples include poems written in made-up languages; unstable texts; homophonic and visual translation; erasure poetics; and multilingual poems. Exploring the places where poetry and translation meet (or diverge), we will put traditional concepts of originality and derivation to the test.

 

Studies in Forms of Poetry- Poetry, History, and Memory  (COM 565 / ENG 544 / FRE 565 / GER 565)

Sandra Bermann, Michael Wood

 

This seminar explores the intricate relations of poetry to history and memory in the troubled 20th century. Individual poets are closely studied for their intrinsic interest but also for their (known and still to be discovered) connections with each other. The poets are Eugenio Montale, César Vallejo, René Char, Paul Celan, Adrienne Rich and Anne Carson, but other writers are called on from time to time. Questions of war and resistance are important, and above all the course attends to what one might think of as the fate of language under pressure.

 

Chinese Literature – Prose and Poetry of the Northern Song  (EAS531)

Anna M. Shields

 

This course surveys Northern Song poetry and prose, focusing on new styles and genres appearing in the 11th century. Genres include: regulated verse; song lyrics; remarks on poetry (shihua); essays; travel writing; funerary texts. Authors include Ouyang Xiu, Mei Yaochen, Su Shi, Huang Tingjian, Yan Shu, Liu Yong, Wang Anshi, Sima Guang. Secondary scholarship in Chinese, Japanese, and English focuses on genres and writers. We consider Song literature in the framework of Chinese literary history, the discursive nature of Song poetry, aesthetics of song lyrics, and new prose styles.

 

Reading Literature: Poetry (ENG 205)

Susan Stewart

An introduction to poetry from the middle ages to the present through close reading of a series of great poems–from medieval songs to Ginsberg’s “Howl”–and their criticism. We will invite living poets to come discuss their favorite poets of the past and we will attend a number of poetry events together.

 

 

Chaucer I: Chaucer’s Canterbury Tales (ENG 512)

Andrew Cole

In this course we carefully study Geoffrey Chaucer’s poetry and prose collected in the Canterbury Tales. We attend to the literary and historical contexts of the poet’s work; learn about the manuscripts that preserved and canonized his writing from the late fourteenth century on; and read a good deal of secondary criticism on both the poet and his times.

 

American Poetry- American Elegy (ENG 558)

Diana Fuss

This course examines the literary, social, and cultural importance of a body of American mourning poetry that, while immensely popular in its time, remains today largely under-read. Beginning in colonial America and moving through the eras of manifest destiny, world war, and psychoanalysis, we explore a range of personal and public elegies addressing the experiences of dying, loss, and grief, from deathbed to hospital bed, home front to battlefield, bourgeois parlor to rural woods.

 

20th Century French Poetry or Theater- Surrealism (FRE 525)

Efthymia Rentzou

This course examines the development of surrealism from its birth in Dada-infused Paris through its years of exile in New York to its decline after the Second World War. Materials considered include literary and theoretical texts, visual works (including film), and magazines. The course treats the topic at a variety of inter-related levels, exploring surrealism as part of the broad historical phenomenon of the avant-garde, examining its specific ways of (re)conceiving literature and art, and investigating the epistemological ramifications of surrealism’s aesthetic, political, and moral positions. (In English)

 

The Origins of Rome: Livy and Vergil (LAT 108)

Denis Feeney

We will read selections from Livy and Vergil, the masters of prose and poetry respectively in the period of Augustus. Our objectives are: to develop the ability to read Latin with greater ease and enjoyment; to improve sight-reading skills; to experience the artistry of Latin prose and poetry; and to examine some of the questions associated with the Romans’ interpretation of their history.

 

Pushkin and His Time (SLA 413 / RES 413)

Ksana Blank

The course is envisioned as both a language and literature course. Readings and discussion will be in Russian. We will sample writings in many genres (lyric and narrative poetry, short prose, drama).

 

Major Russian Poets and Poetic Movements – Post-Symbolist Poets (SLA 518)

Olga P. Hasty

This seminar is devoted to major writings of Russian poets during the post-Symbolist period up to the Stalinist era. Close readings of selected poetry and prose of Acmeists Akhmatova and Mandel’shtam, Cubo-Futurists Mayakovsky and Khlebnikov, and the unaligned Tsvetaeva and Pasternak serve as points of departure to discuss hallmarks of Russian modernism and issues relating to emigration, art and politics, gender, and the negotiation of novelty and tradition. The art of self-presentation and the act of reading – how they both shape and are shaped by the texts and their authors – is considered over the course of the entire semester.

 

Milton (ENG 325)

Nigel Smith

We will explore John Milton’s entire career, largely as poet, but also as dramatist, prose writer and thinker: a lifelong effort to unite the aims of intellectual, political and literary experimentation. In doing so Milton made himself the most influential non-dramatic poet in the English language. We will spend much time with Paradise Lost, regarded by many as the greatest non-dramatic poem in English or any modern language, and which has extensive debt to drama. We will encounter Milton’s profound, extensive learning and his startling innovations with words, songs and in ideas of personal, domestic and communal liberty.

 

Topics in Renaissance – Erotic Poetry (ENG 328)

Bradin Cormack

This class considers short poems of the 16th and 17th centuries that are variously concerned with love, desire, and sexual intimacy. What are the modes of address in the erotic lyric? How do poems make an erotic subject or erotic object? What is the social or political work of these poems? How might love and rhetoric or love and philosophy be themselves intimates?

 

The Romantic Period- Coming of Age in the Age of Romanticism (ENG 550)

Susan Wolfson

Lively questions of gender, poetic form, genre, narrative logic, literary imagination, socio-historical contexts and reception focus a study of five brilliant projects in Long Romanticism about growing up in the world: Wollstonecraft’s Vindication of the Rights of Woman (1792); Wordsworth’s epic poetic autobiography, The Prelude (begun in 1798, pub. 1850), Byron’s Don Juan, published serially from 1819-1824; Austen’s Northanger Abbey (1817, her earliest-drafted, posthumously pub. novel), and some of Browning’s autobiographically coded epic poem Aurora Leigh (1856–the decade of The Prelude).

 

American Literary Traditions – Postwar New York (ENG 555)

Joshua Kotin

This seminar focuses on the literature, art, and culture of postwar New York.

 

Creative Writing – Poetry (CWR 202)

Michael C. Dickman, James Richardson, Susan Wheeler, Monica Y. Youn

Practice in the original composition of poetry supplemented by the reading and analysis of standard works. Criticism by practicing writers and talented peers encourages the student’s growth as both creator and reader of literature. This class is open to beginning and intermediate students by application.

 

Advanced Creative Writing – Poetry (CWR 302)

Paul B. Muldoon, Claudia Rankine

Advanced practice in the original composition of poetry for discussion in regularly scheduled workshop meetings. The curriculum allows the student to develop writing skills, provides an introduction to the possibilities of contemporary literature and offers perspective on the places of literature among the liberal arts.

 

Life is Short, Art is Really Short (CWR 315)

James Richardson

All literature is short – compared to our lives, anyway – but we’ll be concentrating on poetry and prose at their very shortest. The reading will include proverbs, aphorisms, greguerias, one-line poems, riddles, jokes, fragments, haiku, epigrams and microlyrics. Imagism, contemporary shortists, prose poems, various longer works assembled from small pieces, and possibly even flash fiction. Students will take away from the thrift and edge of these literary microorganisms a new sense of what can be left out of your work and new ideas about how those nebulae of pre-draft in your notebooks might condense into stars and constellations.

 

 

 

 

PAST COURSE OFFERINGS

 

Intermediate Latin: Catullus and His Age (LAT 105)

This course aims at increasing facility in reading Latin prose and poetry and introduces students to the literacy culture of Republican Rome. We shall read selections from two important authors of the late Roman Republic, Caesar and Catullus.

Course Details

 

Creative Writing: Introductory Poetry (CWR 201)

James Richardson, Michael Dickman, Monica Youn, Susan Wheeler, Tracy K. Smith

Practice in the original composition of poetry supplemented by the reading and analysis of standard works. Criticism by practicing writers and talented peers encourages the student’s growth as both creator and reader of literature. This class is open to beginning and intermediate students by application.

Course Details

 

Advanced Creative Writing: Poetry (CWR 301)

Michael Dickman, Susan Wheeler

Advanced practice in the original composition of poetry for discussion in regularly scheduled workshop meetings. The curriculum allows the student to develop writing skills, provides an introduction to the possibilities of contemporary literature and offers perspective on the places of literature among the liberal arts. Application Required.

Course Details

 

Special Topics in Poetry: Race, Identity, and Innovation (CWR 316/ AAS 336/ AMS 396/ LAO 316)

Monica Youn

This workshop explores the link between racial identity and poetic innovation in work by contemporary poets of color. Experimental or avant-garde poetry in the American literary tradition has often defined itself as “impersonal,” “against expression” or “post-identity.” Unfortunately, this mindset has tended to exclude or downplay poems that engage issues of racial identity. This course explores works where poets of color have treated racial identity as a means to destabilize literary ideals of beauty, mastery and the autonomy of the text while at the same time engaging in poetic practices that subvert conceptions of identity or authenticity. Application Required. (Wednesdays 1:30-3:50 PM).

Course Details

 

Tutto Dante (ITA 304/ MED 304)

Simone Marchesi

This course covers the study of the entirety of Dante’s “Commedia” in connection with Dante’s other poetic and prose works in the vernacular. Highly interactive seminar, taught in Italian. (Thursdays 1:30 PM – 4:20 PM)

Course Details

 

Modern Poetry (ENG 362)

Joshua Kotin and Daniel Braun

This seminar will introduce students to modern Anglophone poetry, with special emphasis on modern American and British poetry. It aims to balance the study of major poets with an investigation of key movements and poetry communities. The seminar will also attend to controversies that defined modern poetry and modernism, more generally–controversies concerning free verse, aesthetic difficulty, elitism, fascism and communism, gender, race, and the role of poetry in public discourse. (Tuesdays and Thursdays 11:00 AM – 12:20 PM).

Course Details

 

Early 17th Century: Polyglot Poetics: Transnationalism, Gender and Literature (ENG 532/ COM 531)

Nigel Smith

On the interaction of different vernacular literatures in early modern Europe in times of turbulent state formation, confessional difference and transcontinental imperial expansion. Through the careers of diplomats, exiles, actors, conquistadors and other travelers, we uncover the deep mutual interest of authors in their neighbors’ writings, a story obscured by emphasis upon classical antiquity’s continuing hold on learning. We consider work in all genres and are particularly concerned with the politics of theater; poetics; prosody; experiment; the attractiveness of translated prose fiction; philosophy and political theory therein. (Tuesdays 1:30 PM – 4:20 PM)

Course Details

 

Special Studies in the 19th Century: Poetry: From Phantasmagoria to Photography (ENG 553)

Isobel Mair Armstrong

This course is about the poetics of the lens and the mirror and their immanent presence in Romantic and Victorian poetry by men and women. The optical culture created by lens-made technologies developed from the late Enlightenment onwards saw the “high” science of the telescope and the microscope migrate to the popular screen images of the phantasmagoria, diorama, panorama, kaleidoscope and a host of optical toys exploiting visual ambiguities. Technologies of the lens and the mirror, from the phantasmagoria to photography, from astronomy to the magic lantern, had repercussions across aesthetics and politics. (Tuesdays 9:00 AM – 11:50 AM)

Course Details

 

Poetics: Modernist Poetics and its Discontents (ENG 563)

Robert Perelman

The disjunction between the poetics and the poetry of the modernist period is striking. The poetics–as articulated in statements by Pound, Stein, Eliot, Williams, Zukofsky, Olson–are fascinating, but they make equivocal guides to the writing itself. Stein’s lecture on <I>Tender Buttons</I> sheds only anecdotal light on that recalcitrant text; Zukofsky’s terse essays on poetry are of little help in reading the linguistic exuberance of his poetry; etc. We read, via exemplary excerpts, both sides of these improbable equations. (Wednesdays 9:00 AM – 11:50 AM).

Course Details

 

SPRING 2016

 

Homer (CLG 108)

Joshua D. Fincher

To learn to read Homer with pleasure. Introduction to Homeric dialect, oral poetry, and meter; discussion of literary technique, historical background to the epics, and Homer’s role in the development of Greek thought.

 

Creative Writing: Poetry (CWR 202)

Michael Dickman, Meghan O’Rourke, James Richardson, Tracy K. Smith, Monica Youn

Practice in the original composition of poetry supplemented by the reading and analysis of standard works. Criticism by practicing writers and talented peers encourages the student’s growth as both creator and reader of literature. This class is open to beginning and intermediate students by application.

 

Advanced Creative Writing: Poetry (CWR 302)

Marie Howe, Paul Muldoon

Advanced practice in the original composition of poetry for discussion in regularly scheduled workshop meetings. The curriculum allows the student to develop writing skills, provides an introduction to the possibilities of contemporary literature and offers perspective on the places of literature among the liberal arts.

 

Czeslaw Milosz: Poetry, Politics, History (SLA 395/ RES 395)

Irena G. Gross

Polish-American poet Czeslaw Milosz won the Nobel Prize in literature in 1980. In this seminar, which combines textual analyses, history of literature and intellectual history, we will speak on the basis of his major works (and some of his contemporaries – Seamus Heaney, Joseph Brodsky, Derek Walcott), about World War II, Polish-Russian relations, global dominance of English-language poetry, growth of high culture in the United States, and the decline of exile. (Wednesday 1:30-4:20 PM)

 

Dante’s Inferno (ITA 303/ MED 303)

Simone Marchesi

Intensive study of the “Inferno”, with major attention paid to poetic elements such as structure, allegory, narrative technique, and relation to earlier literature, principally the Latin classics. Course conducted in English with highly interactive classes and preceptorials. One precept in Italian will be scheduled on a need-to-be basis. (Tuesday and Thursday 11:00 AM – 12:20 PM)

 

Life is Short, Art is Really Short (CWR 315)

James Richardson

All literature is short – compared to our lives, anyway – but we’ll be concentrating on poetry and prose at their very shortest. The reading will include proverbs, aphorisms, greguerias, one-line poems, riddles, jokes, fragments, haiku, epigrams and microlyrics. Imagism, contemporary shortists, prose poems, various longer works assembled from small pieces, and possibly even flash fiction. Students will take away from the thrift and edge of these literary microorganisms a new sense of what can be left out of your work and new ideas about how those nebulae of pre-draft in your notebooks might condense into stars and constellations. (Thursday 1:30-4:20)

 

Milton (ENG 325)

Russell J. Leo

We will explore John Milton’s entire career, largely as poet, but also as prose writer and thinker: a lifelong effort to unite the aims of intellectual, political and literary experimentation. In doing so Milton made himself the most influential non-dramatic poet in the English language. We will spend much time with Paradise Lost, regarded by many as the greatest non-dramatic poem in English or any modern language; we will encounter Milton’s profound, extensive learning and his startling innovations with words, and in ideas of personal, domestic and communal liberty. (Monday and Wednesday 10:00-10:50 AM).

 

Vergil’s Aeneid (LAT 333)

Yelena Baraz

This course will concentrate on the role of topography and landscape in the poem. Students will be required to participate in a trip to Italy over Spring Break. (Monday and Wednesday 1:30 PM -2:50 PM)

 

Verse in Shows: Poetry on Stage, 405 B.C.E- 2015 A.D. (ENG 384/ THR 338)

Stuart J. Sherman

From Attic tragedies to Broadway musicals, verse forms have been central to the way theater works. Playwrights have deployed them to deliver powerful, sometimes subliminal effects to the ears of audiences well-versed in registering them. In plays ranging from Euripides’ Bakkhai through Elizabethan and Restoration theater to Lin-Manuel Miranda’s Hamilton, we’ll look at, and above all listen for, the intricate interactions of verse, prose, and song, trying to work out how they may have operated on their original audiences (whose ears were often in such matters more acute than ours), and how we can make sense of and savor them now. (Tuesday and Thursday 1:30-2:50 PM)

 

Lyric Language and Form II: The Modern Period (COM 422/ ENG 423/ GER 422/ FRE 422)

Claudia Joan Brodsky

This course is the continuation of a 2-semester sequence for undergraduates and graduate students, but may be taken independently of the fall semester course (COM 421). We will focus on reading major poets of the modern period in English, French, German and Spanish with additional readings in the theoretical reflections on modernity, poetry, and the arts written by several of the poets we read. These include: Baudelaire, Mallarmé, Rilke, Celan, Garcia Lorca, Pax, Borges, Stevens, Bishop and Ashbery, among others. Secondary readings will include essays by major theorists and critics. (Monday 1:30-4:20 PM)

 

Classical Arabic Poetry (NES 527/ COM 508)

Lara Harb

This course introduces students to the major Arabic poets and poems from the pre-Islamic period up to and including the Mamluk period. The goal of the course is twofold: to increase the ease with which students are able to read classical Arabic poetry and to expand their knowledge of the various styles, genres and their development. Besides preparing the assigned poems, students are expected each week to put together a brief biographical sketch of the poets we are reading using primary sources exclusively. (This could be done collaboratively) Advanced knowledge of Arabic required. (Wednesday 1:30 – 4:20 PM).

 

French Modernist Poetry (FRE 525)

Efthymia Rentzou

This course investigates Modernist poetics in France from mid-19th to mid-20th c. and seeks to re-evaluate Modernism in French literary history. Course will treat the topic at a variety of interrelated levels by exploring French poetry as part of the broad historical phenomenon of Modernism, while examining the specific ways it materialized in France as formal innovation and as response to modernity. Seminal poets such as Baudelaire, Mallarmé, Apollinaire, and Cendrars, will be discussed as well as specific movements. Readings and theoretical questions will also address the complex relationship between avant-garde and Modernism. (In English) (Wednesday 1:30-4:30 PM)

 

Modern European Fiction & Poetry (COM 559/ FRE 558)

David M. Bellos

A study of 20th century writing in European languages relying to some degree on the principle of constraint or ‘strict form’. Queneau, Calvino, Mathews, Perec, Roubaud and other members of Oulipo will constitute the central focus, but depending on students’ linguistic competences works by e.g., Harig, Kharms, Nabokov, Cortazar may be included. Attention is focussed on underlying principles as well as on practice and product. (Tuesday 1:30-4:20 PM)

 

Poetics: 19thC English and American Poetry: New Tools, New Archives (ENG 563)

Meredith Martin and Meredith McGill

Histories of 19th-C poetry are generally keyed to books and anthologies–breakthrough volumes, collected works, and influential collections. Yet a great deal of this poetry was printed in or supported by the circulation of periodicals, creating dynamic poetic cultures that were provisional, collaborative, and transatlantic. In this course we tackle head-on what the new availability of these resources means for the study of British and American poetry. How might the digitization of magazines, newspapers, and print ephemera change canonical literary histories? (Monday 1:30-4:20 PM)

 

The Evolution of Russian Poetic Form (SLA 512)

Michael A. Wachtel

The course serves as an introduction to Russian verse forms and genres. Considerable attention is given to translations into Russian (and conceivably out of Russian) to understand the qualities of Russian poetry that distinguish it from other European verse traditions (English, German, French, Italian). To some extent exemplary texts are chosen in conjunction with students’ linguistic competencies and interests. (Thursday 1:30-4:20 PM).

 

FALL 2015 

 

20th Century Poetry: Politics, Love, Religion, and Nature (FRS 111)

(Butler College Freshman Seminar)

Neil Rudenstine

This seminar focuses on the work of four major 20th-century poets, placing them in the context of their different eras: W. B. Yeats, T. S. Eliot, W. H. Auden and Robert Frost. There will be weekly background readings that will suggest some of the ways in which the experience of political divisiveness, or impassioned love, or nature, or religious and spiritual values had a powerful effect on the writers we will be studying.

We will spend three weeks on each of the four writers, reading a rich selection of important poems in order to trace how the work and ideas of each poet developed over time. The seminar will be run as an active participatory discussion group. Writing: one modest-size paper on each poet. (Monday 1:30-4:20 p.m.)

 

The Lyric, the Long Poem, and the Sequence: 20th-Century British and Irish Poetry (FRS 137)

(Mathey College Freshman Seminar)

Clair Wills

This seminar will focus on close reading and analysis of a range of 20th-century poetic texts from Britain and Ireland. A major concern will be with the relationship between the lyric, on the one hand, and the long poem, sequence, or linked collection, on the other. What strategies have 20th-century poets used for building larger lyric structures, and what lies behind the impulse to do so? We will consider ways in which poets have attempted to respond to moments of historical crisis — the Irish Civil War, the Spanish Civil War, the Second World War, the Northern Irish Troubles, and environmental disaster — by stretching lyric form towards more open-ended and even “journalistic” and documentary structures. Pulitzer Prize-winning poet Paul Muldoon, the Howard G. B. Clark ’21 University Professor in the Humanities and professor of creative writing in the Lewis Center for the Arts, will join us in December for a session focusing on his work. (Tuesday 1:30-4:20 p.m.)

 

Creative Writing: Poetry (CWR 201)

Michael C. Dickman, James Richardson, Tracy K. Smith, Susan Wheeler, Monica Y. Youn

Practice in the original composition of poetry supplemented by the reading and analysis of standard works. Criticism by practicing writers and talented peers encourages the student’s growth as both creator and reader of literature. This class is open to beginning and intermediate students by application.

Course Details

 

Advanced Creative Writing: Poetry (CWR 301)

Paul B. Muldoon, Monica Y. Youn

Advanced practice in the original composition of poetry for discussion in regularly scheduled workshop meetings. The curriculum allows the student to develop writing skills, provides an introduction to the possibilities of contemporary literature and offers perspective on the places of literature among the liberal arts.

Course Details

 

Reading Literature: Poetry (ENG 205)

Susan A. Stewart, Tuesday 1:30-4:20

This course will introduce students to the art of poetry written, spoken and sung in English over the course of nearly a millennium. Surveying forms as various as ballads and meditations, and writers from anonymous to the Beats, we will consider poetry as a form of beauty and a way of knowing.

Course Details

 

Chaucer (ENG 312)

Andrew Cole, Tuesday and Thursday 3:00-4:20

Look up Geoffrey Chaucer in the Urban Dictionary, and you will find an entry describing him as the original urban dictionary, a “medieval poet” whose Canterbury Tales “is a collection of stories filled with plenty of swearing, slang, and fart jokes.” In this course we will read and discuss that Chaucer–the brilliant, hilarious, dirty poet of the Canterbury Tales. We will enjoy this fun, often moving text while learning about the poet’s artistry, both the literary traditions he so deftly works over, and the sexual, political, and religious issues he so astutely figures and, as is so often the case, perverts.

Course Details

 

Horace (LAT 331)

Denis Feeney, Monday and Wednesday 3:00-4:20

Close reading of selected Odes of Horace, considering his poetic program and techniques, together with the contemporary Augustan context.

Course Details

 

Beowulf (ENG 421 / MED 421)

Sarah M. Anderson, Wednesday 1:30-4:20

How does Beowulf work as a poem? In this course, we aim to find out, learning Beowulf through close study of its manuscript context and of its literary and historical milieux. Topics emphasized include the poem’s genre; its sources, analogues, and afterlives; its place in theories of oral performance; its aesthetics; and its troubled relationship to the culture(s) that wrote it and to the modern cultural investment in it. Tune up your harp, sharpen your wits, and get set to explore a startling and crucial text.

Course Details

 

Lyric Language and Form I (COM 421/ ENG 332)

Claudia Joan Brodsky, Monday 1:30-4:20

Lyric poetry has the uncanny capacity to surprise, and so inscribe itself in the mental life of its reader. This course aims at rendering that inscription indelible by uncovering some of the sources of surprise in the language and form of Renaissance through Romantic lyric works. First of a 2-semester sequence. Second semester on Modern Lyric. Either semester may be taken separately.

Course Details

 

Radical Poetics, Radical Translation (COM402 / TRA402)

Karen R. Emmerich, Wednesday 1:30-4:20

This course invites students to consider not just what poems mean but how they mean and how that complicates, challenges, obscures, enlivens, or collides with the task of translation. We will look at forms of poetry that challenge the limits of the translatable, as well as radical translation methods that expand our notion of what translation is. Examples include poems written in made-up languages; unstable texts; homophonic and visual translation; erasure poetics; and multilingual poems. Exploring the places where poetry and translation meet (or diverge), we will put traditional concepts of originality and derivation to the test.

Course Details

 

Chinese Poetry- The Classic of Poetry (Shijing) (EAS531)

Martin Kern, Monday 1:30-4:20

Through close readings of original sources in classical Chinese, we analyze the Classic of Poetry (Shijing) in its aesthetic, historical, and hermeneutic dimensions from pre-imperial manuscripts through modern scholarship. In addition to reading the actual poetry and its classical commentaries, we discuss in detail its origins of composition and its reception as the master text of early Chinese cultural memory and identity, drawing on the relevant scholarship in Chinese, Japanese, English, and other languages.

Course Details

 

Poetics: Capital and Poetics (ENG 563)

Keston Sutherland, Wednesday 6:00-8:50 PM

In this course we will read Marx’s Capital closely, chapter by chapter, with the aim of mobilizing some of the figures and latent concepts in the critique of political economy for use in thinking about radical poetry and poetics today. We will investigate how far Capital itself and the whole logic of the capital-relation depends on poetic figuration and whether or not Marx proposes a concept of poetry. Alongside Capital we will read work by contemporary poets in English.

Course Details

 

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