| AMERICAN CULTURE AND LITERATURE | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
| ACL2002 | Introduction to Poetry | Spring | 3 | 0 | 3 | 6 |
| Language of instruction: | English |
| Type of course: | Must Course |
| Course Level: | Bachelor’s Degree (First Cycle) |
| Mode of Delivery: | Face to face |
| Course Coordinator : | |
| Course Lecturer(s): |
Instructor ÇERAĞ ŞAHİN Assist. Prof. HATİCE ÖVGÜ TÜZÜN |
| Recommended Optional Program Components: | none |
| Course Objectives: | This course will introduce students to a variety of poetic topics, subjects, terms and movements with specific emphasis on the analysis of the form and content of sample poems from various ages of poetry form around the world written in English, the majority being from American and English poetry. |
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The students who have succeeded in this course; 1. The students will do an extensive reading of sample poems from the masters of poetry and learn how to analyze them. 2. They will develop an insight about the form and content, the structure, language, style and discourse of poetry. 3. They will develop an insight about the significance of verse and its various forms and techniques. 4. They will learn about the major themes, symbols, literary movements of the poetry genre. 5. They will learn about the basic ideas and intents of the writers that shape their creative mind towards the making of a poem. 6. They will develop the ability to analyze and discuss major intellectual issues via poetry. 7. They will get ready to the study of major works of American poetry in their later years and to the discussion and argumentation of their ideas orally in class and in the exams. |
| Selections from world poetry are analysed with specific emphasis on the intention of the poet, diction, reading the poem, syntax, tone, literal and figurative meanings, and figures of speech like metaphors, usage of images and symbols, allegories, in addition to the forms of poetry. |
| Week | Subject | Related Preparation |
| 1) | Introduction to Reading Poetry Responsively, What is poetry? Approaching a Poem? Reading Poetry. Writing about poetry | Carol Ann Duffy, “Valentine”, Billy Collins, “Introduction to Poetry”; Gerard Manley Hopkins, “Spring&Fall: To a Young Child”, Elizabeth Bishop, “Manners”, |
| 2) | Word Choice, Word Order and Tone; Denotation, Connotation | Marge Piercy, “The Secretary’s Chant”; Robert Hayden, “Those Winter Sundays”; John Updike, “Dog’s Death”; Robert Francis, “Catch”; Randall Jarrell, “The Death of the Ball Turret Gunner”; John Keats, “Ode on a Grecian Urn”; Andrew Marvell, “To His Coy Mistress”, Gwendolyn Brooks, “We Real Cool”; |
| 3) | Imagery (Types: Tactile, Audio, Visual, tied image, free image, literal image, figurative image) | e.e. cummings, “l(a”; Alice Walker, “a woman is not a potted plant”; William Carlos Williams, “Poem”; Theodore Roethke, “Root Cellar”; Seamus Heaney, “The Pitchfork”; Hilda Doolittle, “Heat”; |
| 4) | Imagery & , image clusters (Types: Tactile, Audio, Visual, tied image, free image, literal image, figurative image) | William Blake, “London”; Wilfred Owen, “Dulce et Decorum Est”; Carolyn Kizer, “Food for Love”; Ezra Pound, “In a Station of the Metro”; |
| 5) | Figures of Speech: simile, metaphor, pun, hyperbole, conceit, allusion, paradox | Margaret Atwood, “you fit into me”; Emily Dickinson, “Presentiment”; Edmund Conti, “Pragmatist”; Sylvia Plath, “Metaphors”, “Mirror”; Can Yücel, “Zamparadox” |
| 6) | Figures of Speech: personification, apostrophe, synecdoche, metonymy, alliteration, assonance, consonance, oxymoron | Dylan Thomas, “The Hand That Signed the Paper”; Walt Whitman, “A Noiseless Patient Spider”, “The Soul, reaching, throwing out for love”; John Donne, “A Valediction: Forbidding Mourning”; |
| 7) | Irony (verbal, situational, dramatic, irony of fate, sarcasm, cynicism, innuendo, insinuation, satire) | William Blake, “The Sick Rose”, William Heyen, “Pterodactyl Rose”; Edwin Arlington Robinson, “Richard Cory”; Kenneth Fearing, “AD”; e.e. cummings, “next to of course god america i”; Stephen Crane, “A Man Said to the Universe”; Thomas Hardy, “The Man He Killed” |
| 8) | Review | |
| 9) | Symbol and allegory | Edgar Allan Poe, “The Haunted Palace”; Robert Frost, “Acquainted with the Night”; William Blake, “The Chimney Sweeper”; “John Masefield, “Cargoes”; |
| 10) | Listening to Poetry; Sounds (repetition, rhyme, implied image and allusion via sound/ eg. Alliteration, Assonance, Consonance, Sibilance and onomatopoeia ) | Anonymous, “Scarborough Fair”; Emily Dickinson, “A Bird Came Down the Walk”; Sylvia Plath, “Mushrooms”; William Heyen, “The Trains”; Maxine Hong Kingston, “Restaurant”; Paul Humphrey, “Blow”; Robert Francis, “The Pitcher”; Helen Chasin, “The Word Plum”; |
| 11) | Patterns of Rhythm; Meter, prosody, stress patterns, accentuation, masculine ending, feminine ending, end-stopped line, run-on-line, enjambment | William Wordsworth, “My Heart Leaps Up”; Timothy Steele, “Waiting for the Storm”; William Butler Yeats, “That the Night Come”; A. E. Housman, “When I was one-and-twenty”; William Blake, “The Lamb”, “The Tyger”; Theodore Roethke “My Papa’s Waltz”; Alfred Lord Tennyson, “Break, Break, Break” |
| 12) | Poetic Forms (fixed form, free verse or open form, the Stanza, the couplet, terza rima, the Lyric, ballad, the villanelle, Prosaic poetry, the Sonnet, the sestina, limerick, epigram | A. E. Housman, “Loveliest of trees, the cherry now”; Robert Herrick, “Upon Julia’s Clothes”; William Shakespeare, “My mistress’ eyes are nothing like the sun”; Edna St. Vincent Millay, “I will put Chaos into fourteen lines”; P. B. Shelley, “Ozymandias”; John Donne, “Holy Sonnet”; Mark Jarman, “Unholy Sonnet”; Dylan Thomas, “Do not go gentle into that good night”; Julia Alvarez, “Woman’s Work”; Elizabeth Bishop, “Sestina”; Florence Cassen Mayers, “All American Sestina”; Samuel Taylor Coleridge, “What is an Epigram?”; “A. R. Ammons, “Coward”; Paul Laurence Dunbar, “Theology”; Laurence Perrine, “The limerick’s never averse”; Elizabeth Bishop, “One Art” |
| 13) | Poetic Forms & types (the Haiku, Elegy, Ode, Picture poems, concrete poems, parody) & the Open Form, decriptive poems, narrative poems, reflective poems, | Haikular: Matsuo Basho like “Under cherry trees”; Etheridge Knight, Oruç Aruoba, Yelda Karataş, Ayşe Lahur Kırtunç & Yusuf Eradam; Diğer Şiirler: Seamus Heaney, “Mid-term Break”; Andrew Hudgins, “Elegy for My Father, Who Is Not Dead”; Percy Bysshe Shelley, “Ode to the West Wind”; Michael McFee, “In Medias Res”; Peter De Vries, “To His Importunate Mistress”; Walt Whitman, from “I Sing the Body Electric”; W.C. Williams, “The Red Wheelbarrow”; Denise Levertov, “Gathered at the River”; Tato Laviera, “AmeRícan”; Marilyn Nelson Waniek, “Emily Dickinson’s Defunct”; Miroslav Holub, “Fairy Tale”, “The Door”. |
| 14) | Analysis of poems of students’ own choice | Poems from the Bedford anthology or from other sources |
| 15) | Final | |
| 16) | Final Exam |
| Course Notes / Textbooks: | Çeşitli seçkilerden okuma listeleri, özellikle: The Bedford Introduction to Literature (pages: 670-924) ve teksirler. The Heath Anthology of American Literature, Vol. I & II. Lexington, Massachusetts: D.C. Heath & Co., 1990. Babette Deutsch, Poetry Handbook: A Dictionary of Terms, New York: Funk & Wangalis, 1962. |
| References: | The Reading List from various anthologies, namely: The Bedford Introduction to Literature (pages: 670-924) and handouts. The Heath Anthology of American Literature, Vol. I & II. Lexington, Massachusetts: D.C. Heath & Co., 1990. Babette Deutsch, Poetry Handbook: A Dictionary of Terms, New York: Funk & Wangalis, 1962. |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 9 | % 10 |
| Quizzes | 4 | % 20 |
| Midterms | 1 | % 30 |
| Final | 1 | % 40 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 60 | |
| PERCENTAGE OF FINAL WORK | % 40 | |
| Total | % 100 | |
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 14 | 3 | 42 |
| Quizzes | 4 | 4 | 16 |
| Midterms | 1 | 30 | 30 |
| Final | 1 | 30 | 30 |
| Total Workload | 118 | ||
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Upon graduation, students will acquire key skills and attributes to conduct research to use research tools, to solve problems, to communicate effectively and to transfer skills to the workplace. | 5 |
| 2) | Upon graduation, students will have developed the ability to discuss key issues in fluent English. | 5 |
| 3) | Upon graduation, students will have developed the ability to compose written documents in English with a mature prose style. | 5 |
| 4) | Upon graduation, students will have gained broad knowledge of the American and English literary canons. | 4 |
| 5) | Upon graduation, students will have developed the ability to analyze, synthesize and criticize sophisticated works of American and English literature. | 5 |
| 6) | Upon graduation, students will have achieved in depth the understanding of contemporary American culture. | 4 |
| 7) | Upon graduation, students will have developed the ability to draw links among diverse literary texts and documents and establish critical connections and adopt an interdisciplinary attitude. | 5 |
| 8) | Upon graduation, students will be able to develop new projects individually or in teams. | 5 |
| 9) | Upon graduation, students will be able to apply their knowledge into their lives for interdisciplinary problem-solving and solutions. | 5 |