PředmětyPředměty(verze: 861)
Předmět, akademický rok 2019/2020
  
Introduction to Modern Poetry - ABO700308
Anglický název: Introduction to Modern Poetry
Zajišťuje: Ústav české literatury a komparatistiky (21-UCLK)
Fakulta: Filozofická fakulta
Platnost: od 2019
Semestr: letní
Body: 0
E-Kredity: 5
Způsob provedení zkoušky: letní s.:
Rozsah, examinace: letní s.:2/0 Zk [hodiny/týden]
Počet míst: 40 / neurčen (neurčen)
Minimální obsazenost: neomezen
Stav předmětu: vyučován
Jazyk výuky: angličtina
Způsob výuky: prezenční
Úroveň:  
Poznámka: předmět je možno zapsat mimo plán
povolen pro zápis po webu
Garant: doc. Mgr. Josef Hrdlička, Ph.D.
Vyučující: doc. Mgr. Josef Hrdlička, Ph.D.
Třída: A – Mezioborová nabídka VP: Literatura
Exchange - 09.2 General and Comparative Literature
Rozvrh   Nástěnka   
Anotace - angličtina
Poslední úprava: doc. Mgr. Josef Hrdlička, Ph.D. (20.01.2020)
The course is dedicated to modern poetry. Scholars from different departments will present several topics concerning modern poetry generally from the end of 19th century to the present. The aim of lectures is to explore fundamental aspects of the modern lyric from a comparative point of view.

The lecture will be accompanied by a brief discussion of 1-2 poems.
Podmínky zakončení předmětu - angličtina
Poslední úprava: doc. Mgr. Josef Hrdlička, Ph.D. (10.02.2020)

Credit Requirements

For all: active participation in discussion

Examination (Erasmus students if required): Attendance + an additional short essay (about 1500 words) 

Credit (zápočet): Attendance (max. 2 absences) - possible only for non-Erasmus students (in this case write, please, to josef.hrdlicka@gmail.com)

Literatura - angličtina
Poslední úprava: doc. Mgr. Josef Hrdlička, Ph.D. (20.01.2020)

Introductions, General

BLASING, Mutlu Konuk. Lyric poetry: the pain and the pleasure of words [online]. Princeton, N.J.: Princeton University Press, ©2007 (accessible via ebrary).

CULLER, Jonathan D. Theory of the lyric. Cambridge, Massachusetts: Harvard University Press, 2015.

GREENE, Roland et. al. (eds.). The Princeton encyclopedia of poetry and poetics. 4th ed. Princeton: Princeton University Press, 2012 (accessible via ebrary)

HAMBURGER, Michael. The Truth of Poetry: tensions in modernist poetry from Baudelaire to the 1960s. New York: Helen and Kurt Wolff Book, 1970 (several editions).

JACKSON, Virginia Walker, PRINS, Yopie (eds.). The lyric theory reader: a critical anthology. Baltimore: Johns Hopkins University Press, 2014.

 

Further reading:

ADORNO, Theodor W., Rede über Lyrik und Gesselschaft, in: T. W. A., Noten zur Literatur (popř. anglický překlad).

ALTIERI, Charles, Taking Lyrics Literally: Teaching Poetry in a Prose Culture, New Literary History vol. 32, 2001, č. 2, s. 259-281.

BENJAMIN, Walter, O některých motivech u Baudelaira, in: W. B., Dílo a jeho zdroj. Praha: Odeon, 1979.

BERGMAN, David. The poetry of disturbance: the discomforts of Post-War American poetry. New York, NY: Cambridge University Press, 2015. 

CURTIUS, Ernst Robert. European literature and the Latin Middle Ages. Princeton: Princeton University Press, 1990.

FISCHEROVÁ, Sylva; STARÝ, Jiří., eds. Původ poezie. Praha : Argo, 2006.

FRIEDRICH, Hugo. Die Struktur der modernen Lyrik: von der Mitte des neunzehnten bis zur Mitte des zwanzigsten Jahrhunderts. Erw. Neuausg. Reinbek bei Hamburg: Rowohlt, 1992.

GASPAROV, Michail Leonovič. A history of European versification. Oxford: Clarendon Press, c1996.

GENETTE, Gérard, Introduction à l’architexte, in: G. Genette ad., Théorie des genres. Paris: Seuil, 1984.

GRIMM, Reinhold (ed.). Zur Lyrik-Diskussion. Darmstadt: Wissenschaftl. Buchgesellschaft, 1974.

HAVELOCK, Eric A. Preface to Plato. Cambridge, London: Belknap Press of Harvard University Press, 1982.

HAVELOCK, Eric A. The muse learns to write: reflections on orality and literacy from antiquity to the present. New Haven, London: Yale University Press, 1986.

HAVERKAMP, Anselm, "Saving the Subject". Randbemerkungen zur Veränderung der Lyrik, Poetica 14, 1982, s. 70-91.

HENRIKSEN, John, Poem as Song: The Role of the Lyric Audience, Alif: Journal of Comparative Poetics, č. 21, (2001), s. 77-100.

HOLMES, Olivia. Assembling the lyric self: authorship from troubadour song to Italian poetry book. Mineapolis: U Minnesota P, 2000.

LINDLEY, David, Lyric, London-New York: Methuen, 1985.

DE MAN, Paul, Blindness and Insight. Essays in the Rhetoric of Contemporary Criticism. Minneapolis:  University of Minnesota Press, 1983. (vybrané kapitoly)

MILLER, Paul Allen. Lyric texts and lyric consciousness : the birth of a genre from archaic Greece to Augustan Rome. London, New York: Routledge, 1994.

MÜLLER-ZETTELMANN, Eva, RUBIK, Margarete. Theory into poetry: new approaches to the lyric. Amsterdam-New York: Rodopi, 2005.

MULLER, Wolfgang G. Das lyrische Ich: Erscheinungsformen gattungseigentümlicher Autor-Subjektivität in der englischen Lyrik. Heidelberg: Winter, 1979.

NAGY, Gregory. Poetry as Performance: Homer and Beyond. Cambridge: Cambridge University Press, 1996.

ONG, Walter J. Orality and literacy: the technologizing of the word. London: Methuen, 1982. 

PERKINS, David. A history of modern poetry: from the 1890s to the high modernist mode. Cambridge: Belknap Press of Harvard University Press, c1976.

PERKINS, David. A history of modern poetry: modernism and after. Cambridge: Belknap Press of Harvard University Press, 1987.

PERKINS, David, Romantic lyric voice: What shall we call the `I'?, Southern Review, Spring93, Vol. 29, Issue 2, p. 225n.

RABATÉ, Dominique, ed. Figures du sujet lyrique. Paris: Presses universitaires de France, 1996.

RIFFATERRE, Michael, Semiotics of Poetry (1978). London: Methuen, 1980.

STEFFEN, Hans. (ed.), Die deutsche Romantik: Poetik,Formen und Motive. Göttingen: Wandenhoeck, 1967.

STAROBINSKI, Jean. Les Mots sous les mots. Les Anagrammes de Ferdinand de Saussure. Paris: Gallimard, 1971.

STEINER, George. The poetry of thought: from Hellenism to Celan. New York: New Directions, 2011.

STIERLE, Karlheinz, Die Identität des Gedichts - Hölderlin als Paradigma, in: MARQUARD, O., STIERLE, K., (eds.), Identität, Poetik und Hermeneutik Bd. 8, München 1979, S. 505-552 (francouzský překlad. in: Poétique 32/1977).

WELLEK, René, Genre Theory, the Lyric, and Erlebnis, in: R. W., Discriminations: Further Concepts of Criticism, New Haven-London: Yale UP, 1970, s. 225-252.

ZUMTHOR, Paul. Introduction à la poésie orale: Paris: Seuil, 1983.

Sylabus - angličtina
Poslední úprava: doc. Mgr. Josef Hrdlička, Ph.D. (10.02.2020)

Wednesday, from 14,10 (Main Building, room no 300) 

 

19. 2. Josef Hrdlička: Introduction: What is Modern Poetry?

Introductory lecture dealing with basic questions: How to define and delimit modern poetry historically, thematically, structurally. Fundamental characteristics of modern poetry and some principal poets. Examples of poems. 

Suggested readings:

Culler, Jonathan D. Theory of the lyric. Cambridge, Massachusetts: Harvard University Press, 2015.

Greene, Roland et. al. (eds.). The Princeton Encyclopedia of poetry and poetics. 4th ed. Princeton: Princeton University Press, 2012 (accessible via ebrary).

Hamburger, Michael. The Truth of Poetry: tensions in modernist poetry from Baudelaire to the 1960s. New York: Helen and Kurt Wolff Book, 1970 (several editions). 

Read, please,  before this lecture:

Charles Baudelaire: Correspondances / Correspondences (French - http://www.baudelaire.cz/works.html?aID=100&artID=6 / English - http://www.baudelaire.cz/works.html?aID=200&artID=6)

J. A. Rimbaud: Voyelles / Vowels (http://www.doctorhugo.org/synaesthesia/rimbaud.html)

Ivan Blatný: Stará bydliště / Old Addresses; Slavnost / Festivity - in attached file.

 

 

26. 2. Záviš Šuman: Mallarmé's Un coup de dés

In my lecture I shall focus on some of the essential features of French Symbolist poetry such as musicality of the verse, autonomy of poetic image and its impersonality. A careful examination of two Mallarmé’s poems (Un Coup de dés jamais n’abolira le hazard / A Throw of the Dice Never Will Abolish Chance and Epilogue, later titled Las de l’amer repos / Tired of bitter rest) will help us to sketch why and by what shifts it has been so influential to later generations of poets. It would be helpful if you read these two poems before the lecture.

Texts on-line:

http://jimhanson.org/documents/Athrowofthedicetypographicallycorrect02-18-09.pdf

http://jimhanson.org/tiredofbitterrest.html 

Suggested readings:

Barbara Johnson: "The Dream of Stone". In D. Hollier (ed.), A New History of French Literature, Harvard University Press, 2001, p. 743-748. (A survey of Parnasse movement.)

Patrick McGuinness: "Symbolism". In W. Burgwinkle, N. Hammond, E. Wilson (ed.), The Cambridge History of French Literature, Cambridge University Press, 2011, p. 479-487. (A very good introduction to Symbolism in France where you will find solid recommendations how to read Symbolist poems.)  

 

 

4. 3. Záviš Šuman: Apollinaire's Alcools

In my lecture I will try to summarize Apollinaire’s impact on avant-garde poetry. I shall focus on Alcools (1913), and especially on the first poem of this collection, called Zone. By comparison of this poem with its first draft I will point out to the main characteristic features of Apollinaire’s poetry such as free association and the role of the poetic "I" in his poetry.

Readings: http://www.parisdigest.com/monument/eiffel_tower_poem_zone_guillaume_apollinaire.pdf  

 

 

11. 3. Stephan Delbos: The Opening of the Field: The Development of Projective Verse in Mid-20th Century American Poetry

One of the most interesting and influential developments in American poetry after World War II, Projective Verse exploded onto the literary scene with the publication of Charles Olson’s essay of the same name in 1950. This lecture traces the development of this seminal concept and style of writing to other cultural activities of the 1940s and ‘50s, including the poetry of William Carlos Williams and the breakthroughs of abstract expressionist painting in the 1940s. Outlining the main tenets of Projective Verse with examples from the poetry of Olson and other practitioners such as Robert Duncan, the lecture will illuminate the importance of this style as a poetic development and also provide a larger framework for its conception within general trends of post-war American poetry and culture. 

Suggested readings:

Duncan, Robert. The Collected Later Poems and Plays. Berkeley: University of California Press, 2014.

Olson, Charles. The Collected Poems of Charles Olson. Berkeley: University of California Press, 1997.

Olson, Charles. The Maximus Poems. Berkeley: University of California Press, 1985.

Rosenberg, Harold. “The American Action Painters.” Art News 51/8. December 1952: 22.

Williams, William Carlos. The Collected Poems of William Carlos Williams, Vol 2: 1939-1962. New York: New Directions, 1991. 

Before class, please read:

https://www.poetryfoundation.org/poems/47494/maximus-to-himself 

https://www.poetryfoundation.org/poems/46317/often-i-am-permitted-to-return-to-a-meadow

 

 

18. 3. Justin Quinn: W. B. Yeats and Form in Modern Poetry

Many critical narratives of early 20th century poetry have emphasized the formal experiments of modernism, often occluding the persistence of conventional form in the work of poets as various as Paul Valery, Rainer Maria Rilke, Bohuslav Reynek, Robert Frost among many others. This lecture will concentrate on the example of W. B. Yeats and explore what his formal choices can tell us about modern poetry, its traditions and its innovations.

Read, please, poem "The Tower" before this lecture: http://www.online-literature.com/yeats/782/.

Suggested readings:

Brown, Terence. The Life of W.B. Yeats. 1999.
Ellmann, Richard. The Identity of Yeats. 1964. 
----. Yeats: The Man and the Masks. 1979.
Foster, R.F. W.B. Yeats: A Life. 2 vols. 1997, 2003.
Kermode, Frank. Romantic Image. 1957. 

 

 

25. 3. Daniel Soukup

Playful Transience in the Poetry of Wallace Stevens and Vítězslav Nezval

The lecture will explore correspondences between Wallace Stevens first book of poetry (Harmonium, 1923), and "Poetism", a Czech literary movement which flourished in the interwar era. The lecture will offer a close reading of selected poems, as well as a more general comparison of two kinds of modernism, and an existential perspective on how creative playfulness finds both its limit and meaning in transience. 

Primary sources

Nezval, Vítězslav: Básně I, ed. Milan Blahynka, Brno: Host 2011.

Stevens, Wallace: Collected Poetry & Prose, New York: Library of America, 1997.

Suggested readings:

Cook, Eleanor: A Reader’s Guide to Wallace Stevens, Princeton: Princeton UP, 2007.

Teaching Wallace Stevens, ed. by John Serio and B. J. Leggett, Knoxville: University of Tennessee Press, 1994.

Vendler, Helen: Wallace Stevens: Words Chosen Out of Desire, Knoxville: University of Tennessee Press, 1984.

 

 

1. 4. Mariana Machová: Elegy as an Essential Lyric Genre

Elegy can be seen as one of the basic lyric genres, acquiring particular importance in the 20th century. The lecture will briefly touch on the history of elegy (its classic roots, its importance in Anglo-Saxon poetry), while the main focus will be on the role of elegy in modern lyric and the varied ways the genre has been handled by modern poets writing in English.

Suggested readings:

Weisman, Karen. The Oxford Handbook of the Elegy. Oxford: Oxford University Press, 2010.

Ramazani, Jahan. Poetry of Mourning: The Modern Elegy from Hardy to Heaney. Chicago: University of Chicago Press, 1994.

Fuss, Diana. Dying Modern: A Meditation on Elegy. Durham: Duke University Press, 2013.

Sacks, Peter M. The English Elegy: Studies in the Genre from Spenser to Yeats. Baltimore:Johns Hopkins University Press, 1985.

 

 

8. 4. Martin Pokorný: T. S. Eliot's Observations

T. S. Eliot’s poetry before the publication of The Waste Land has its own specific style, characterized by formal rigour and a unique emotive modulation. The concept of observation, used by Eliot himself in the title of his first collection, will be employed and developed in order to capture this group of texts. 

Suggested readings:

A. O. Matthiessen: The Achievement of T. S. Eliot, New York 1935.

Hugh Kenner: The Invisible Poet: T. S. Eliot, New York 1959.

Northrop Frye: T. S. Eliot: An Introduction, New York 1963.

 

 

15. 4. Mariana Machová Objects, Landscapes, People: Description in Modern Lyric

The lecture will discuss the ways modern lyric poets approach descriptions of landscapes, objects (including animals), and people, drawing attention to the fact that the very act of describing, of putting things into words is seen as potentially problematic, or even impossible.

Suggested readings:

Spiegelman, Willard. How Poets See the World: The Art of Description in Contemporary Poetry. Oxford: Oxford University Press, 2005.

Heffernan, James. Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery. Chicago: University of Chicago Press, 1993.

Hollander, John. The Gazer’s Spirit: Poems Speaking to Silent Works of Art. Chicago: University of Chicago Press, 1995.

Krieger, Murray: Ekphrasis: The Illusion of the Natural Sign. Baltimore: Johns Hopkins University Press, 1992.

Costello, Bonnie. Planets on Tables: Poetry, Still Life, and the Turning World. Ithaca: Cornell University Press, 2008

Costello, Bonnie. Shifting Ground: Reinventing Landscape in Modern American Poetry. Cambridge: Harvard University Press, 2003.

Peucker, Brigitte. “The Poem as Place: Three Modes of Scenic Rendering in the Lyric”. PMLA, Vol. 96, No. 5 (Oct., 1981), pp. 904-913.

 

 

22. 4. Sylva Fischerová

Raven in the Lead Mines of the World, or How to See Clouds Emerge (On Inspiration in Modern Poetry)

The lecture focuses on various ways of poetic inspiration, as documented by modern and contemporary poets themselves (Nezval, Seifert, Brecht, Thomas, Valéry, Ginsberg, Miłosz, Levertov et al.). 

Suggested readings:Fischerová, S. Havran v olověných dolech světa aneb jak viděti vystupovat obláčky, in: S. Fischerová - J. Starý (eds.). Původ poezie, Praha 2006, p. 235-261.

Kubín, V. (ed.), Ars poetica, Praha 1976.

Friebert, S., Walker, D., Young, D. (eds.) A Field Guide to Contemporary Poetry and Poetics, Oberlin 1997.

Zábrana, J. (ed.), Jak se dělá báseň, Praha 1970.

Turner A.T. (ed.), 45 Contemporary Poems. The Creative Process, New York and London 1985.

internet source poets on poetry: www.infoplease.com/spot/pmpoetry1.html

 

 

The titles of the three last lectured will be specified.

 

29. 4. Jonathan Culler, Cornell University

Theory of the Lyric

 

 

6. 5. William Waters, Boston University

 

 

13. 5. Henrieke Stahl, Universität Trier

 

 
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