ENG Literary Modes & Genres: Visual Poetry Syllabus Fall 2011

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1 ENG Literary Modes & Genres: Visual Poetry Syllabus Fall 2011 Instructor: Elaine Wong Office Location: MB 2.306E Office Phone: Office Hours: T 3:15-4:15, W 4:45-5:45, and by appointment Required Texts 1. e. e. cummings, Selected Poems, Liveright 2007, paperback [ ]. 2. Susan Howe, The Nonconformist's Memorial: Poems, New Directions, 1993, paperback [ ]. 3. Stéphane Mallarmé, Henry Weinfield (trans.), Collected Poems: A Bilingual Edition, U of California Press, 2011, paperback [ ]. 4. Poems and articles to be downloaded from Blackboard every week. Course Description Attention to visual aspects of language has brought about attempts by poets and writers to liberate words from referentiality, discursiveness, and syntactic logic through foregrounding graphic form, structural composition, space as structure, typography, and the materiality of written signs. Focusing on poems designed specifically for the eyes, this course examines poetry, poetics, and language from visually-oriented perspectives through reading a variety of visually-oriented poems and poetical theories, and through applying semiotic and poststructuralist conceptual frames. Learning Objectives This course facilitates students to 1. acquire theoretically-based knowledge of visual poetry and poetics; 2. develop skills and competence in studying and discussing visual poetry and poetics; 3. obtain a sound understanding of elements and terminology of visual poetry and poetics; and 4. apply critical and theoretical frameworks to visual poetry and poetics. UTSA Academic Honor Code A. Preamble The University of Texas at San Antonio community of past, present and future students, faculty, staff, and administrators share a commitment to integrity and the ethical pursuit of knowledge. We honor the traditions of our university by conducting ourselves with a steadfast duty to honor, courage, and virtue in all matters both public and private. By choosing integrity and responsibility, we promote personal growth, success, and lifelong learning for the advancement of ourselves, our university, and our community. B. Honor Pledge In support of the ideals of integrity, the students of the University of Texas at San Antonio pledge: As a UTSA Roadrunner I live with honor and integrity. C. Shared responsibility The University of Texas at San Antonio community shares the responsibility and commitment to integrity and the ethical pursuit of knowledge and adheres to the UTSA Honor Code. The Road Runner Creed The University of Texas at San Antonio is a community of scholars, where integrity, excellence, inclusiveness, respect, collaboration, and innovation are fostered. 1

2 As a Roadrunner, I will: Uphold the highest standards of academic and personal integrity by practicing and expecting fair and ethical conduct; Respect and accept individual differences, recognizing the inherent dignity of each person; Contribute to campus life and the larger community through my active engagement; and Support the fearless exploration of dreams and ideas in the advancement of ingenuity, creativity, and discovery. Guided by these principles now and forever, I am a Roadrunner! Class Policy 1. Scholastic Integrity: Scholastic integrity is of utmost importance in the academic community. Everyone does his/her own work to achieve educational and personal developments. No plagiarism, collusion, or other forms of scholastic dishonesty will be tolerated in this course. Students are required to read and observe UTSA policy of scholastic dishonesty at 2. Classroom Civility: Be a considerate class participant. Arrive on time. Turn off all electronic devices before class begins, including mobile phones, PDAs, laptops, and others. As the class requires all students constant and active engagement, please refrain from using laptops, ipads, etc. Bring your own textbooks and handouts. Be attentive and participate in class. Students are expected to express views in a civil manner and to respect the points of view of others. See helpful tips on civil discourse at UTSA students share the obligation to maintain a classroom environment conducive to effective learning. Disruptive and inappropriate behavior in the classroom may lead, at a minimum, to a request to leave class. Such behavior also violates the Student Code of Conduct and may result in disciplinary action. (Adapted from UTSA Student Judicial Affairs) 3. Absence Policy: Absence from 25% or more of all class periods will automatically result in a Fail grade for the whole course. Each absence will also affect your Class Participation grade. Occasional late arrivals in class can be excused; however, habitual tardiness will lead to a deduction in the class participation grade. 4. Late Policy for Assignments: All assignments are expected to be turned in on time. Any late submissions will result in the deduction of a grade given to that particular assignment for each calendar day. If you experience difficulties in meeting deadlines, talk to me asap. 5. Format of Written Assignments: Unless otherwise specified, type all take-home written assignments and follow MLA formatting and documentation styles. MLA formatting: 12-point Times New Roman, doubled-spaced, one-inch margin on all sides. Put your last name and page number on the right side of the header. MLA documentation: see Blackboard. All written assignments should at least reach the minimum word limit. Failing to do so will lead to grade deduction. 6. Services for Disabilities: This course provides accommodation for students with disabilities who are registered with the Office of Disability Services and have received an accommodation letter from the Office. Information about UTSA Disability Services is available at 2

3 Course Assignments for Grades 1. Class Participation (Preparation, Discussion, & Quizzes) 15% 2. Oral Presentation 10% 3. Response Papers & Annotated Bibliographies 15% 4. Mid-term Exam 15% 5. Final Exam 20% 6. Research Paper 25% Total 100% 1. Class Participation (Preparation, Discussion, & Quizzes) (15%): In every class, I expect you to contribute to constructive discussion while respecting other people s views. Always read the texts to be discussed and come prepared, and participate actively in all class activities. 2. Oral Presentation (10%): Students will work in pairs and give a 15- to 20-minute presentation on an article to be chosen from a list (see Blackboard). At the presentation, give a brief summary of the article, discuss the author s position/argument and key concepts, and apply the key concepts to some of the texts we read. You are encouraged to use multimodal components, such as Powerpoint and handouts. Missed presentations cannot be made up for unless due to emergencies. 3. Response Papers (RP) & Annotated Bibliographies (AB) (15%): An RP is a 1- to 2-page informal but thoughtful response to the readings to be covered in that week. An AB is a 200- to 300-word bibliographic entry including a summary of the article/chapter assigned. See further instructions on AB and an example on Blackboard. Be prepared to share your writings in class. 4. Mid-term Exam (15%): A 70-minute exam in short essay format covering up to the class before Mid-Term. 5. Final Exam (20%): A 2.5-hour exam in essay format covering all of the texts and concepts discussed in this course. 6. Research Paper (25%): A 15- to 20-page research-based paper supported by well-selected sources. You may develop your own topic or follow one of the set prompts. Full documentation in MLA style is required. More details will be provided in the instructions and guidelines on Blackboard. Final Grade Distribution UTSA New GPA System Letter Grade Final Grade Equivalent for A % 4.00 A 90-95% 3.67 A % 3.33 B % 3.00 B 80-83% 2.67 B % 2.33 C % 2.00 C 70-73% 1.67 C % 1.33 D % 1.00 D 62-63% 0.67 D % 0.00 F 59-0% 3

4 Course Outline (subject to changes) Week Date Topic Assignments Due Week 1 8/25 Introduction Week 2 8/30 Early Visual Poetry RP1 9/1 Semiotics: Models of the Sign Week 3 9/6 Guillaume Apollinaire AB1 9/8 Michel Foucault on the Calligram 9/13 Week 4 Early 20 th AB2 -C Avant-garde Poetry 9/15 Semiotics: Signs and Things 9/20 AB3 Week 5 9/22 e.e. cummings 9/27 Ferdinand de Saussure s Sign System AB4 Week 6 9/29 Stéphane Mallarmé 10/4 Week 7 10/6 Mid-Term Exam Week 8 10/11 RP2 Concrete Poetry & Poetics I 10/13 Week 9 10/18 AB5 Concrete Poetry & Poetics II 10/20 Week 10 10/25 AB6 Brazilian Concrete Poetry 10/27 Week 11 11/1 Chinese Concrete Poetry AB7 11/3 Ernest Fenollosa s Poetics Week 12 11/8 bpnichol AB8 11/10 W.J.T. Mitchell on Nature and Convention Week 13 11/15 AB9 Susan Howe 11/17 Research Paper Draft Jacques Derrida s Deconstruction (optional) Week 14 11/22 Radical Concrete Poetry & Poetics RP3 11/24 Thanksgiving Holiday Week 15 11/29 RP4 Digital Poetry 12/1 Week 16 12/6 Rounding up Research Paper FINAL EXAM December 15 (Thursday), 10:30-1:00 p.m. 4

5 Reading List Readings for Annotated Bibliographies are preceded by an asterisk (*). ABs are due on the days as marked. Date Readings (to be read before class) 8/ /30 Early visual packet. Klonsky, Milton. Introduction. Speaking Pictures: A Gallery of Pictorial Poetry from the Sixteenth Century to the Present. Ed. Milton Klonsky. New York: Harmony, Print. 9/1 Early visual packet. Chandler, Daniel. Models of the Sign. Semiotics: The Basics. London & New York: Routledge, Print. 9/6 Apollinaire packet. *Foucault, Michel. This Is Not a Pipe. Trans. and ed. James Harkness. Berkeley: U of California P, [1-31. (from Translator s Introduction to The Unraveled Calligram ).] Print. 9/8 Apollinaire packet. Apollinaire, Guillaume. The New Spirit and the Poets. Selected Writings of Guillaume Apollinaire. Trans. Roger Shattuck. New York: New Directions, Print. Childs, Peter. Words, Words, Words: Modern, Modernism, Modernity. Modernism. London & New York: Routledge, [12-26.] EBL. Web. 9/13 Avant-garde packet. *Drucker, Johanna. Experimental, Visual, and Concrete Poetry: A Note on Historical Context and Basic Concepts. Experimental, Visual, Concrete: Avant-garde Poetry since the 1960s. Eds. K David Jackson, Eric Vos, and Johanna Drucker. Amsterdam & Atlanta: Rodopi, Print. 9/15 Avant-garde packet. Childs, Peter. Art Movements. Modernism. London & New York: Routledge, [ ] EBL. Web. 9/20 Avant-garde packet. *Chandler, Daniel. Signs and Things. Semiotics: The Basics. London & New York: Routledge, Print. 9/22 e.e. cummings text Introduction xv-xvii The Poetry of the Eye Nanny, Max. Iconic Features in e.e. cummings Poetry. The Idea and The Thing in Modernist American Poetry. Ed. Cristina Giorcelli. Palermo: ILA Palma, Print. 5

6 9/27 e.e. cummings text Urban Glimpses Whispers of Mortality *Saussure, Ferdinand de. Course in General Linguistics. Trans. Wade Baskin. New York: McGraw-Hill, [7-17, 65-70, ] Print. 9/29 Mallarmé text Introduction. xi-xviii. Un coup de dés [A Throw of Dice] Commentary Mallarmé, Stéphane. The Evolution of Literature, The Book: A Spiritual Instrument. Mallarmé: Selected Prose Poems, Essays, and Letters. Trans. Bradford Cook. Baltimore: Johns Hopkins P, Print. 10/4 Mallarmé text Un coup de dés. (con t) The Afternoon of a Faun Commentary Mallarmé, Stéphane. Mystery in Literature, Crisis in Poetry, Music and Literature. Mallarmé: Selected Prose Poems, Essays, and Letters. Trans. Bradford Cook. Baltimore: Johns Hopkins P, Print. 10/6 Mid-Term Exam 10/11 Concrete poetry packet Solt, Mary Ellen. Introduction. Concrete Poetry: A World View. Bloomington: Indiana UP, Print. 10/13 Concrete poetry packet Solt, Mary Ellen. Introduction. Concrete Poetry: A World View. Bloomington: Indiana UP, Print. 10/18 Concrete poetry packet * Manifestoes and Statements on Concrete Poetry. Concrete Poetry: A World View. Ed. Mary Ellen Solt. Bloomington: Indiana UP, Print. 10/20 Concrete poetry packet Wallace, Ian. Literature Transparent and Opaque. Catalogue of International Concrete Poetry Exhibition. Cur. Alvin Balkind. Vancouver: U of British Colombia, N.p. Print. 10/25 Concrete poetry packet *Steiner, Wendy. Res Poetica: The Problematics of the Concrete Program. New Literary History 12.3 (1981): JSTOR. Web. 10/27 Concrete poetry packet Menezes, Philadelpho. Poetics and Visuality: A Trajectory of Contemporary Brazilian Poetry. Trans. Harry Polkinhorn. San Diego: San Diego State UP, [ Part I: Concretisms (selections) ] Print. 11/1 Chinese packet *Fenollosa, Ernest. The Chinese Written Character as a Medium for Poetry. Ed. Ezra Pound. San Francisco: City Lights, Print. 6

7 11/3 Chinese packet Chen, Li. Travelling Between Languages. Poetry (2010): EBSCOhost. Web. 11/8 bpnichol packet *Mitchell, W.J.T. Iconology: Image, Text, Ideology. Chicago & London: U of Chicago P, [ Nature and Convention: Gombrich s Illusions ] Print. 11/10 bpnichol packet Scobie, Stephen. bpnichol: What History Teaches. Vancouver: Talonbooks, [ Visual Poetry ] Print. 11/15 Howe text The Nonconformist Memorial 3-33 A Bibiogrpahy of the King s Book or, Eikon Basilike *Williams, James. Understanding Postructuralism. Chesham: Acumen, [ Understanding Derrida ] Print. 11/17 Howe text Melville s Marginalia Auartermain, Peter. And The Without: An Interpretive Essay on Susan Howe. Disjunctive Poetics: From Gertrude Stein and Louis Zukofsky to Susan Howe. Cambridge: Cambridge UP, , Print. 11/22 Radical concrete packet *Beaulieu, Derek. An Afterward after Words: Notes toward a Concrete Poetic. Fractal Economies. Vancouver: Talonbooks, Print. 11/24 Thanksgiving Holiday 11/29 Digital poetry (online) *Watten, Barrett. Poetics in the Expanded Field: Textual, Visual, Digital New Media Poetics: Contexts, Technotexts, and Theories. Eds. Adalaide Morris and Thomas Swiss. Cambridge, Mass.: MIT P, Print. 12/1 Digital poetry (online) tba 12/6 -- 7

MUS : SURVEY OF MUSIC LITERATURE Cultural Arts Building, 1023 TTR 5:00-6:15 p.m.

MUS : SURVEY OF MUSIC LITERATURE Cultural Arts Building, 1023 TTR 5:00-6:15 p.m. MUS 115 006: SURVEY OF MUSIC LITERATURE Cultural Arts Building, 1023 TTR 5:00-6:15 p.m. Instructor: Dr. Elizabeth Loparits Office: Cultural Arts Building 1018 Office hours: by appointment E-mail: loparitse@uncw.edu