The course will begin by developing a basic conceptual vocabulary in poetics, under the headings of scheme (formal and rhetorical arrangements of language, including meter) and trope (metaphor and other varieties of figuration). From there, we will embark on a series of week-by-week encounters with neighbor arts. The usual pattern will be to introduce a new art on Wednesday, with some poems and some short, theoretical readings, and then to set an exercise over the weekend, due in class on Monday. The Monday meeting will begin with a short workshop of selected exercises, the balance of the class then being given over to our guest, a practitioner of whatever art we are considering. What we do together that day will be largely up to them, ranging from abstracted rumination to painting, building, singing, etc.<\/p>\n
*<\/p>\n
Week 1<\/strong><\/p>\n 1.24 Introduction Week 2<\/strong><\/p>\n 1.31 Trope Week 3<\/strong><\/p>\n 2.7 Music ( Dmitri Tymoczko) Week 4<\/strong><\/p>\n 2.14 Image (Accra Shepp) Week 5<\/strong><\/p>\n 2.21 Photography (Jeffrey Whetstone) Week 6<\/strong><\/p>\n 2.28 Criticism interlude [SPRING BREAK]<\/strong><\/p>\n Week 7<\/strong><\/p>\n 3.14 Criticism interlude \/ first essay due Week 8<\/strong><\/p>\n 3.21 Fiction (Kirstin Valdez Quade) Week 9<\/strong><\/p>\n 3.28 Dance (Aynsley Vandenbroucke) Week 10<\/strong><\/p>\n 4.4 Film (Lynne Sachs) Week 11<\/strong><\/p>\n 4.11 Sculpture Week 12<\/strong><\/p>\n 4.18 Criticism interlude Dean\u2019s Date<\/strong><\/p>\n 5.3 Second essay due<\/p>\n *<\/p>\n The fundamental requirement for the class is careful preparation of the weekly READINGS<\/strong><\/a>. They will be relatively short, usually five poems and ten to fifteen pages of prose. (The prose will mostly be brief excerpts from theoretical texts.) We are unlikely to get to everything assigned in any given class, since a good poem can easily commandeer an hour. It will nonetheless be important to read everything carefully, make some notes, and do some soulful brooding\u2014as our conversation ranges, we\u2019ll want to be able to reach for anything that we have read in common.<\/p>\n Also vital to the class are the weekly EXERCISES<\/strong><\/a>. These are designed in collaboration with our visitors, and will ask you to work at the intersection between poetry and one of its neighbors. Imagination and experiment are the vital ingredients. Each exercise should also be accompanied by a brief, 300-word essay, explaining what you have done and its relation to the questions raised by the class. Exercises are due by email to jdolven@princeton.edu by 5 PM Sunday night. <\/strong>This allows me to have a look and decide which we might workshop the next day. The timing may be adjusted according to the needs of our visitor. You are allowed two late submissions (by class time on Monday) for the semester; please inform me by the deadline if you plan to use one of these permissions.<\/p>\n There will also be two five-page ESSAYS<\/strong> assigned, for the week after midterm and for Dean\u2019s Date. We will carry our ethos of experiment into our prose, and consider a variety of possible structures and idioms for writing across media. A few sessions are reserved for considering the essay itself as a form.<\/p>\n Each member of the class will also be asked to provide two PROMPTS<\/strong><\/a> for discussion over the course of the semester\u2014not formal presentations, just a very brief observation or question that will take us into one of the poems assigned.<\/p>\n
\n1.26 Scheme<\/p>\n
\n2.2 Music<\/p>\n
\n2.9 Image<\/p>\n
\n2.16 Photography<\/p>\n
\n2.23 Drama<\/p>\n
\n3.2 Drama (Nathan Davis)<\/p>\n
\n3.16 Fiction<\/p>\n
\n3.23 Dance<\/p>\n
\n3.30 Film<\/p>\n
\n4.6 Architecture<\/p>\n
\n4.13 Architecture (Mitch McEwan)<\/p>\n
\n4.20 Gesamtkunstwerk<\/p>\n