- Info
ENGL 310 - Modern Poetry, Spring 2007
—
filed under:
ballad form,
ploughman,
Broom,
resistance,
meter,
syntax,
elegy,
human,
British poet,
"imperfect",
"or",
"dark",
geography,
death,
knowledge,
religion,
"terrible beauty",
mad King Goll,
translation vs. quotation,
quotation,
poesis,
Theosophy,
neologism,
The Weary Blues,
"the logic of metaphor",
"sound of sense",
Walt Whitman,
jazz,
Prufrock,
combativeness,
sensual asceticism,
Odysseus,
tools labor and "making",
desire,
magic,
Moore,
free verse,
"Transmemberment",
women poets,
lyricism,
"poetry makes nothing happen",
audience,
truth,
visionary poem,
cycles,
Marcel Duchamp,
"talking cure",
dimeter,
joy and gaiety,
collectors,
"constant readjustment",
Brueghel,
rivers,
the "other",
optimism,
English literary canon,
blues,
divine,
Langston Hughes,
blank verse,
sentiment,
irony,
Fascism,
sexuality,
quest and desire,
epic,
Anglo-Saxon,
body,
process,
perception,
transportation,
serpent,
nature,
revision,
Charles Demuth,
indecision,
irony and satirization,
genre,
Irish-ness,
compression,
engraving,
drowning,
redemption,
individualism,
violence and history,
Eliot,
ritual,
iambic pentameter,
the Sublime,
rural England,
topography,
madness,
heart,
human connection,
solitude,
symbolism and metaphor,
homosexuality,
tools and labor,
homeless,
seasons,
soul,
abstract discourse,
landscape,
sensory experience,
impersonality,
Brooklyn Bridge,
white space,
Refrain,
pastoral poetry,
tradition and conformity,
The Waste Land,
nakedness,
"consciousness" vs. "volition",
"the anxiety of influence",
Blast,
American history,
urban,
restraint,
Norton Anthology,
The Bridge,
violence and aesthetics,
Horace,
Freud,
Emerson,
the Waste Land,
metaphysical poets,
translation,
Mythology,
Henry James,
presentation vs. representation,
Holmes,
Pound,
Dixie,
F.H. Bradley,
imagination,
Yeats,
Romanticism,
greyness and stone,
World War One,
"nothing",
feminism,
rhetorical question,
enjambment,
mythology,
propaganda,
literary tradition,
perspective,
The Criterion,
anti-Modernism,
"naked",
"word for word",
Easter Uprising,
God,
"ardor",
African-American poetry,
bestial,
politics,
Irish national theater,
centerless,
Imagism,
winter,
editing,
"strained relation",
Amygism,
economy,
illusion,
"Everpresence",
love poetry,
description,
"overheard speech",
"transmemberment",
alliterative verse,
Crossroads,
light verse,
affirmation,
Grail,
rural,
paradox,
"separate sense",
Emil Opffer,
tradition,
home front,
Longfellow,
history and violence,
Stevens,
Imagism and phanopoeia,
Modernist art,
age,
"the plain sense of things",
"The the",
the "thing",
Oedipus complex
his course covers the body of modern poetry, its characteristic techniques, concerns, and major practitioners. The authors discussed range from Yeats, Eliot, and Pound, to Stevens, Moore, Bishop, and Frost with additional lectures on the poetry of World War One, Imagism, and the Harlem Renaissance. Diverse methods of literary criticism are employed, such as historical, biographical, and gender criticism.
 |
About the Course
This course covers the body of modern poetry, its characteristic techniques, concerns, and major practitioners. The authors discussed range from Yeats, Eliot, and Pound, to Stevens, Moore, Bishop, and Frost with additional lectures on the poetry of World War One, Imagism, and the Harlem Renaissance. Diverse methods of literary criticism are employed, such as historical, biographical, and gender criticism. view class sessions >>
Course Structure:
This Yale College course, taught on campus twice per week for 50 minutes, was recorded for Open Yale Courses in Spring 2007.
|
About Professor Langdon Hammer
Langdon Hammer, chairman of the Department of English at Yale, earned his B.A. and Ph.D. from Yale. He is the author of Hart Crane and Allen Tate: Janus-Faced Modernism and editor of O My Land, My Friends: The Selected Letters of Hart Crane and the Library of America's, Hart Crane: Complete Poems and Selected Letters. A Guggenheim Fellow, he is currently at work on a biography of the poet James Merrill. His reviews of new poetry and literary criticism regularly appear in The New York Times Book Review and other magazines, and he is poetry editor of The American Scholar.
|
Yale University 2008.
Some rights reserved. Unless otherwise indicated in the credits section of certain lecture pages, all content on this website is licensed under a
Creative Commons License.
Please refer to the Credits section to determine whether third-party restrictions on the use of content apply.
Cite/attribute Resource.
|
