So remember last Friday when we were talking about truth in texts and somehow got on the subject of Georgia O'Keefe? Well one of the other blogs I follow had this post for Mother's day.
Enjoy!
Bleeding Heart Cake
Thursday, May 7, 2009
For Credit: Final Blog Post from KW
Two questions:
1) What do you honestly think you will retain from this course in five years?
2) What do you hope that you retain from this course in five years (even if it strikes you as unlikely)?
You must answer both.
Deadline: Friday (May 8), noon.
Wednesday, May 6, 2009
Poems for the Final
Over there in the sidebar are the poems you'll need for the final (in addition to the course reading). The first three poems listed there (Rowe, Jones, and Taylor) are for Part III (you choose one of those to edit, annotate, and interpret).
The Hands poems is for Part IV. (It's one of the four poems you must write about; the first three you've encountered already in this course.)
Good luck! E-mail me if you have questions.
The Hands poems is for Part IV. (It's one of the four poems you must write about; the first three you've encountered already in this course.)
Good luck! E-mail me if you have questions.
Sunday, May 3, 2009
For Credit: The Alpha and the Omega
The first poem you read in this course was Mary Jones's "Holt Water." The last was Anne Finch's "The Spleen." What continuities do you perceive (or not!) between these two poems? Taken together, how do these poems illustrate some of the continuities and themes of the subject matter of this course?
Deadline: Wednesday (5/4), noon.
Deadline: Wednesday (5/4), noon.
For Credit: Post an Exam Question Here!
Don't worry--you won't be committing you or your classmates to anything. But think for a moment all that you've encountered and thought about this semester in 300. Survey in your mind the depth and breadth of reading you've covered. And then consider: what sort of question would best allow you to demonstrate your learning in this class?
Propose an essay question for the 300 take-home final here. It should either (a) encourage close reading of poems from the course, (b) allow you to display interpretive and analytical skills that you have gained in your study of C18 women's poetry, (c) draw on the knowledge you have acquired in the course of the semester, or ideally, (d) some combination of (a), (b), and (c).
Deadline: Monday (5/4), noon.
Propose an essay question for the 300 take-home final here. It should either (a) encourage close reading of poems from the course, (b) allow you to display interpretive and analytical skills that you have gained in your study of C18 women's poetry, (c) draw on the knowledge you have acquired in the course of the semester, or ideally, (d) some combination of (a), (b), and (c).
Deadline: Monday (5/4), noon.
Wednesday, April 29, 2009
New Course Offering! Tell your Friends!
It's not in the system yet, but it will be in a day or two. Meets Group I requirements.
Before Victoria Had a Secret: Sex and Sentiment in Early Modern England (late-breaking English 300 offering)
MWF 1pm
In this course, you will explore the literary depiction of desire before the Victorian era. Instead of the repressive decorum that often gets associated with the sexuality of earlier times, you will encounter a fluid and changing world, where sexuality is celebrated, feared, debated, encouraged, scorned and expressed, by men and women alike. Through close reading of a broad swathe of primary texts, you will learn to interpret the language of early modern desire, to investigate the relationships between genre and expression, to register the significance of race and class to issues of gender, and to engage productively in critical disagreement. Readings will take you from the frank eroticism of Restoration coterie poetry, to the libidinal peregrinations of James Boswell and Fanny Hill, from the containment of female desire in Frances Burney’s Evelina, to the polymorphous perversity of Matthew Lewis’s The Monk.
Before Victoria Had a Secret: Sex and Sentiment in Early Modern England (late-breaking English 300 offering)
MWF 1pm
In this course, you will explore the literary depiction of desire before the Victorian era. Instead of the repressive decorum that often gets associated with the sexuality of earlier times, you will encounter a fluid and changing world, where sexuality is celebrated, feared, debated, encouraged, scorned and expressed, by men and women alike. Through close reading of a broad swathe of primary texts, you will learn to interpret the language of early modern desire, to investigate the relationships between genre and expression, to register the significance of race and class to issues of gender, and to engage productively in critical disagreement. Readings will take you from the frank eroticism of Restoration coterie poetry, to the libidinal peregrinations of James Boswell and Fanny Hill, from the containment of female desire in Frances Burney’s Evelina, to the polymorphous perversity of Matthew Lewis’s The Monk.
Friday, April 24, 2009
For Credit: The Object of Leapor's Critique?
Changing "Edgecote Hall" to "Crumble-Hall" for her poem suggests that Leapor has some larger game in mind than simply describing a house.
Class discussion today brought forward a number of elements in the poem that might suggest what that larger purpose is:
Which of these elements of the poem strike you as most significant? Alternatively, how might these elements be working together? Just how satirical/critical is Leapor's tone? What is her atttude toward the country house and its owners? Does "Man the Monarch" display any continuities with Leapor's passages of natural description in "Crumble-Hall"?
Choose whatever dimension of this poem interests you most and continue the discussion here.
Deadline: Monday (4/27), noon.
Class discussion today brought forward a number of elements in the poem that might suggest what that larger purpose is:
- unlike most writers of country-house poems she includes people (Biron in the study and "the menial Train")
- she contrasts past, present, and future
- she invokes a muse AND an implied reader/tour participant
- she contrasts interior and exterior, house and garden, man-made and natural
- she frames the poem with two meals
Which of these elements of the poem strike you as most significant? Alternatively, how might these elements be working together? Just how satirical/critical is Leapor's tone? What is her atttude toward the country house and its owners? Does "Man the Monarch" display any continuities with Leapor's passages of natural description in "Crumble-Hall"?
Choose whatever dimension of this poem interests you most and continue the discussion here.
Deadline: Monday (4/27), noon.
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