2/22: Workshop Group Two (Ayesha, Brian K, Brandon, Diona, Lucy)
DUE TODAY: Group THREE 23 copies
Group THREE: Kate, Leon, Forrest, Calvin
Homework:
Read: Peer Work Group Three; Reread "The Ruined World"
Journal: The Collage Game
Write to hand in: (Typed) 200 words of commentary for group three poems. Bring a copy to give to the poet AND a copy to hand in to me.
Week 6
2/25: Workshop Group Three (Kate, Leon, Forrest, Calvin)
DUE TODAY: Group FOUR 23 copies from Cara, Jamie, Cassandra, Ethan
Homework:
Read: Peer Work Group Four
Journal: Hand in next class!
Write to hand in: (Typed) 200 words of commentary for group four poems. Bring a copy to give to the poet AND a copy to hand in to me.
Week 6
2/27: Workshop Group Four (Cara, Jamie, Cassandra, Ethan)
DUE TODAY: Group FIVE 23 copies from James, Rayanne, Kathleen and anyone who wants to have the class workshop a revision of a poem or anyone who missed their workshop.
Homework:
Read: Peer Work Group Five and revisions
Journal Hand in Day!!!
Write to hand in: (Typed) 200 words of commentary for group four poems. Bring a copy to give to the poet AND a copy to hand in to me.
2/29: Workshop Group Five (James, Rayanne, Kathleen, and Revisions)
Homework (for Monday):
Read: Burroway, “Story,” p163-172 and “Creative Non-Fiction,” p237-248; Handout
Journal: Write a list of ideas for a creative non-fiction piece. For each idea, come up with a potential title (ex. 7.2 p240); and p 242, ex 7.5.
To hand in: Poem you plan to memorize/ recite next class
Week 7
3/3: Due: Poetry Portfolio
Write and Recite your memorized poems for the class!!
Thursday, February 21, 2008
Monday, February 18, 2008
The Ear Game
The Ear Game
The human imagination is not just passive in perceiving the world: it is active; it engages with and shapes its experiences as well as being shaped by them. Language is a central element in the shaping imagination; with sounds, we speak and express, we label and state, we question and argue. Because language is so central to us (the French philosopher, Maurice Merleau-Ponty says that language is "the double of being"), we seize sounds with our imaginations and search them for significance, we
shape them to patterns of meaning. For writers—prose writers as well as poets–-the sounds are an essential part of the meaning. The purpose of this game is to focus your imagination on sounds and their harmonies and contrasts, and to let the sounds themselves lead you toward the meanings they suggest to your imaginations.
Instructions
The game has two parts; approach them in a spirit of play. And use your throat as well as your ear -sound the sounds as well as listening to them.
1. Write a two to four line poem, using words with the same sounds as the vowels in one of the following lists as key words. Be sure to go bai saund n nawt buy speallin.
a. bead, bed, mode, vine
b. bird (the /r/ is part of the vowel), bid, boon, cow
c. maid, mod, mock, boil
d. land, bull, free, bud
2. Write a two to four line poem, using words with one of the following sets of consonants in key, stressed positions, repeating the consonants (or words) as necessary. Again, bee shure to go by sound, not spelling.
a. bl, p, k, sl
b. x, sk, v, f, z
c. m, n, ng (as in sing), br, th (as in thin)
d. d, t, n, sw, z (as in pleasure), j
e. ch (as in chicken), kr, g (as in go), l, th (as in them)
Egzamplz / Examples / Eksampls
1. the old sheet tore
when we fled the fire's heat
that fine, cold night
(Set 1.a)
2. a nervous breeze, mingling
with thick, barren mimosa branches,
rubbed noisily through the night
(Set 2.c)
And There'z Rhythm, Too
Rhythm in English is mostly a matter of stressCthe relative loudness with which a syllable is pronounced. (Changes in pitch and pauses are other factors in rhythm). Spoken American English has four significant levels of stress, whereas the conventional system of metrics for poetry recognizes only two levels of stress.
The following stanza, which begins a well-known poem of e.e. cummings', illustrates a common metrical pattern, alternating weak and strong syllables (with a variation in the third line). I've marked the stressed syllables in each line.
my fáther móved through dóoms of lóve
through sámes of ám through háves of gíve,
sínging each mórning óut of each níght
my fáther móved through dépths of héight
Listen to these lines read aloud and see if you can hear more than two levels of stress; also listen for the changes in pitch and pauses. For instance, in the third line, which has more stress, the two each's or the last syllable of singing and of?
Now read your poems for the first part of the game aloud and mark the syllables for stress. What kind of rhythm do you find?
The human imagination is not just passive in perceiving the world: it is active; it engages with and shapes its experiences as well as being shaped by them. Language is a central element in the shaping imagination; with sounds, we speak and express, we label and state, we question and argue. Because language is so central to us (the French philosopher, Maurice Merleau-Ponty says that language is "the double of being"), we seize sounds with our imaginations and search them for significance, we
shape them to patterns of meaning. For writers—prose writers as well as poets–-the sounds are an essential part of the meaning. The purpose of this game is to focus your imagination on sounds and their harmonies and contrasts, and to let the sounds themselves lead you toward the meanings they suggest to your imaginations.
Instructions
The game has two parts; approach them in a spirit of play. And use your throat as well as your ear -sound the sounds as well as listening to them.
1. Write a two to four line poem, using words with the same sounds as the vowels in one of the following lists as key words. Be sure to go bai saund n nawt buy speallin.
a. bead, bed, mode, vine
b. bird (the /r/ is part of the vowel), bid, boon, cow
c. maid, mod, mock, boil
d. land, bull, free, bud
2. Write a two to four line poem, using words with one of the following sets of consonants in key, stressed positions, repeating the consonants (or words) as necessary. Again, bee shure to go by sound, not spelling.
a. bl, p, k, sl
b. x, sk, v, f, z
c. m, n, ng (as in sing), br, th (as in thin)
d. d, t, n, sw, z (as in pleasure), j
e. ch (as in chicken), kr, g (as in go), l, th (as in them)
Egzamplz / Examples / Eksampls
1. the old sheet tore
when we fled the fire's heat
that fine, cold night
(Set 1.a)
2. a nervous breeze, mingling
with thick, barren mimosa branches,
rubbed noisily through the night
(Set 2.c)
And There'z Rhythm, Too
Rhythm in English is mostly a matter of stressCthe relative loudness with which a syllable is pronounced. (Changes in pitch and pauses are other factors in rhythm). Spoken American English has four significant levels of stress, whereas the conventional system of metrics for poetry recognizes only two levels of stress.
The following stanza, which begins a well-known poem of e.e. cummings', illustrates a common metrical pattern, alternating weak and strong syllables (with a variation in the third line). I've marked the stressed syllables in each line.
my fáther móved through dóoms of lóve
through sámes of ám through háves of gíve,
sínging each mórning óut of each níght
my fáther móved through dépths of héight
Listen to these lines read aloud and see if you can hear more than two levels of stress; also listen for the changes in pitch and pauses. For instance, in the third line, which has more stress, the two each's or the last syllable of singing and of?
Now read your poems for the first part of the game aloud and mark the syllables for stress. What kind of rhythm do you find?
Journal Checklist
English 396
Prof. Becky Bikowski
Section 001
Journal Checklist
Exercise 1.4 a programmed imagery poem
Memoir exercise 1.7
Exercise 1.1
Exercise 2.2
A short dramatic monologue in the voice of someone from your family.
Character Sketch
Character Exercise (any from Chapter)
Setting Exercise (any from Chapter)
Poetry exercise (any from Chapter)
Revision assignment and Strengths and weaknesses as a writer
Embarrassment Game
Ear Game
Narrative Poetry Questions
Portfolio Checklist:
Observation
Drafts and Revision of Persona Poem
Drafts and Revision of Poem for Workshop
Narrative Poem
Parody/ Imitation Poem
Collage Poem
Prof. Becky Bikowski
Section 001
Journal Checklist
Exercise 1.4 a programmed imagery poem
Memoir exercise 1.7
Exercise 1.1
Exercise 2.2
A short dramatic monologue in the voice of someone from your family.
Character Sketch
Character Exercise (any from Chapter)
Setting Exercise (any from Chapter)
Poetry exercise (any from Chapter)
Revision assignment and Strengths and weaknesses as a writer
Embarrassment Game
Ear Game
Narrative Poetry Questions
Portfolio Checklist:
Observation
Drafts and Revision of Persona Poem
Drafts and Revision of Poem for Workshop
Narrative Poem
Parody/ Imitation Poem
Collage Poem
Friday, February 15, 2008
Syllabus Part 2
English 396
Section 001
Professor Bikowski
2/6: Setting
Read out loud: Set Design
Examples of Poetry with Setting
Handout: Poetry Portfolio and memorization (Due 2/28)
Homework:
Read: Burroway, “Development and Revision,” p 217-230.
Journal: Do the exercise on p 230 (6.17), AND write a page or so discussing your revision of the Observation and the Persona Poem. What did you notice about your own writing? What do you think are your strengths and weaknesses as a writer (in relation to this assignment and in general, from pervious writing experiences)? What changes did you decide to make and why? What changes did you decide NOT to make and why? Be prepared to discuss this next class.
To Turn In: Revised copies of Observation and Persona Poem.
2/8: Revision
Due: Observation Revision and Persona Revision
Reading and Journal discussion
Handout: The Embarrassment Game
Homework:
Read: Burroway, “Poetry” (307-322); and read the handouts I gave you in class (by the poet Theodore Roethke).
Journal: Exercise 9.7 p323 and The Embarrassment Game
2/11: Introduction to Poetry
What is Poetry?
A Certain Lady
Line Breaks
Handout: “Night Highway 99,” Gary Snider; “Airport,” Merwin; “Corsons Inlet,“ Ammons; The Ear Game; Figures of Speech
Homework:
Read: Poetry Handouts (Read the poems at least two or three times each!);
Journal: The Ear Game
To Turn in: Figures of Speech Handout
DUE NEXT CLASS: Group ONE 23 copies of poem for workshop
2/13: Narrative Poetry
Handout: Narrative poetry; Poetry Terms; “Song,” Kelly; “Out, Out-” Frost
Homework:
Read: Poems I handed out in class
Journal: Narrative Poetry Handout
Write to hand in: (Typed) 200 words of commentary for group ONE poems. Bring a copy to give to the poet AND a copy to hand in to me.
DUE NEXT CLASS: Group TWO 23 copies of poem for workshop
2/15: No class.
Group one send out poems for workshop through email
Handout: Imitation and Parody
DUE TODAY: Group TWO 23 copies
Homework:
Read: Peer Work Group Two
Journal: Imitation or Parody Poem
Write to hand in: (Typed) 200 words of commentary for group TWO poems. Bring a copy to give to the poet AND a copy to hand in to me.
DUE NEXT CLASS: Group THREE 23 copies of poem for workshop
2/20: CHANGE: no class.
I am in a workshop with a Visiting Writer and they have altered the dates...
2/22: Workshop Group Two
DUE TODAY: Group THREE 23 copies
Homework:
Read: Peer Work Group Three; Reread "The Ruined World"
Journal: The Collage Game
Write to hand in: (Typed) 200 words of commentary for group three poems. Bring a copy to give to the poet AND a copy to hand in to me.
DUE NEXT CLASS: Group FOUR 23 copies of poem for workshop
2/25: Workshop Group Three
DUE TODAY: Group FOUR 23 copies
Homework:
Read: Peer Work Group Four
Journal: Hand in next class!
Write to hand in: (Typed) 200 words of commentary for group four poems. Bring a copy to give to the poet AND a copy to hand in to me.
DUE NEXT CLASS: Group FIVE 23 copies of poem for workshop; Also, anyone who wants to have the class workshop a revision of a poem that you have already had workshopped, turn in 23 copies by Monday
2/27: Workshop Group Four
DUE TODAY: Group FIVE 23 copies and anyone who wants to have the class workshop a revision of a poem.
Homework:
Read: Peer Work Group Five and revisions
Journal: Hand in today!
Write to hand in: (Typed) 200 words of commentary for group four poems. Bring a copy to give to the poet AND a copy to hand in to me.
2/29: Workshop Group Five
Homework (for Monday):
Read: Burroway, “Story,” p163-172 and “Creative Non-Fiction,” p237-248; Handout
Journal: Write a list of ideas for a creative non-fiction piece. For each idea, come up with a potential title (ex. 7.2 p240); and p 242, ex 7.5.
To hand in: Poetry Portfolio
3/3: Due: Poetry Portfolio
Write and Recite your memorized poems for the class!!
Section 001
Professor Bikowski
Syllabus Part 2
2/6: Setting
Read out loud: Set Design
Examples of Poetry with Setting
Handout: Poetry Portfolio and memorization (Due 2/28)
Homework:
Read: Burroway, “Development and Revision,” p 217-230.
Journal: Do the exercise on p 230 (6.17), AND write a page or so discussing your revision of the Observation and the Persona Poem. What did you notice about your own writing? What do you think are your strengths and weaknesses as a writer (in relation to this assignment and in general, from pervious writing experiences)? What changes did you decide to make and why? What changes did you decide NOT to make and why? Be prepared to discuss this next class.
To Turn In: Revised copies of Observation and Persona Poem.
2/8: Revision
Due: Observation Revision and Persona Revision
Reading and Journal discussion
Handout: The Embarrassment Game
Homework:
Read: Burroway, “Poetry” (307-322); and read the handouts I gave you in class (by the poet Theodore Roethke).
Journal: Exercise 9.7 p323 and The Embarrassment Game
Week 4
2/11: Introduction to Poetry
What is Poetry?
A Certain Lady
Line Breaks
Handout: “Night Highway 99,” Gary Snider; “Airport,” Merwin; “Corsons Inlet,“ Ammons; The Ear Game; Figures of Speech
Homework:
Read: Poetry Handouts (Read the poems at least two or three times each!);
Journal: The Ear Game
To Turn in: Figures of Speech Handout
DUE NEXT CLASS: Group ONE 23 copies of poem for workshop
2/13: Narrative Poetry
Handout: Narrative poetry; Poetry Terms; “Song,” Kelly; “Out, Out-” Frost
Homework:
Read: Poems I handed out in class
Journal: Narrative Poetry Handout
Write to hand in: (Typed) 200 words of commentary for group ONE poems. Bring a copy to give to the poet AND a copy to hand in to me.
DUE NEXT CLASS: Group TWO 23 copies of poem for workshop
2/15: No class.
Group one send out poems for workshop through email
Week 5
2/18: Workshop Group OneHandout: Imitation and Parody
DUE TODAY: Group TWO 23 copies
Homework:
Read: Peer Work Group Two
Journal: Imitation or Parody Poem
Write to hand in: (Typed) 200 words of commentary for group TWO poems. Bring a copy to give to the poet AND a copy to hand in to me.
DUE NEXT CLASS: Group THREE 23 copies of poem for workshop
2/20: CHANGE: no class.
I am in a workshop with a Visiting Writer and they have altered the dates...
2/22: Workshop Group Two
DUE TODAY: Group THREE 23 copies
Homework:
Read: Peer Work Group Three; Reread "The Ruined World"
Journal: The Collage Game
Write to hand in: (Typed) 200 words of commentary for group three poems. Bring a copy to give to the poet AND a copy to hand in to me.
DUE NEXT CLASS: Group FOUR 23 copies of poem for workshop
Week 6
2/25: Workshop Group Three
DUE TODAY: Group FOUR 23 copies
Homework:
Read: Peer Work Group Four
Journal: Hand in next class!
Write to hand in: (Typed) 200 words of commentary for group four poems. Bring a copy to give to the poet AND a copy to hand in to me.
DUE NEXT CLASS: Group FIVE 23 copies of poem for workshop; Also, anyone who wants to have the class workshop a revision of a poem that you have already had workshopped, turn in 23 copies by Monday
Week 6
2/27: Workshop Group Four
DUE TODAY: Group FIVE 23 copies and anyone who wants to have the class workshop a revision of a poem.
Homework:
Read: Peer Work Group Five and revisions
Journal: Hand in today!
Write to hand in: (Typed) 200 words of commentary for group four poems. Bring a copy to give to the poet AND a copy to hand in to me.
2/29: Workshop Group Five
Homework (for Monday):
Read: Burroway, “Story,” p163-172 and “Creative Non-Fiction,” p237-248; Handout
Journal: Write a list of ideas for a creative non-fiction piece. For each idea, come up with a potential title (ex. 7.2 p240); and p 242, ex 7.5.
To hand in: Poetry Portfolio
Week 7
3/3: Due: Poetry Portfolio
Write and Recite your memorized poems for the class!!
Friday, February 8, 2008
Groups and Workshop Dates
(Not that the poems must be distributed to the class BEFORE the workshop date.)
2/15 One:
Ayesha, Brian N., Rosalyn, Ethan
2/18 Two:
Brian K, Brandon, Diona, Lucy
2/20 Three:
Kate, Leon, Forrest, Calvin
2/25 Four:
Cara, Austin, Jamie, Cassandra
2/27 Five:
Kathleen, Jeff, Jonathan, and whoever has a revision ready
2/15 One:
Ayesha, Brian N., Rosalyn, Ethan
2/18 Two:
Brian K, Brandon, Diona, Lucy
2/20 Three:
Kate, Leon, Forrest, Calvin
2/25 Four:
Cara, Austin, Jamie, Cassandra
2/27 Five:
Kathleen, Jeff, Jonathan, and whoever has a revision ready
Monday, January 28, 2008
Today
Students,
Part of your homework for today was to type up exercise p. 11 (1.3) in which you find a passage from a work of writing you like and spoil it with abstractions, cleché’s, generalizations, and judgments. We will exchange and alter the passages today in class. Remember to bring the original passage!
Part of your homework for today was to type up exercise p. 11 (1.3) in which you find a passage from a work of writing you like and spoil it with abstractions, cleché’s, generalizations, and judgments. We will exchange and alter the passages today in class. Remember to bring the original passage!
Thursday, January 24, 2008
Due Jan. 25
Homwork:
Read: Burroway, “Invitation to the Writer” (pp. xxi-xxviii)
Journal: Complete both the short poetry exercise on p. 14 (1.4 a programmed imagery poem) and the memoir exercise on p. 26 (1.7)
Find and bring to next class: an image (can be from anywhere, a magazine, the internet, a photograph) that sparks your imagination and compels you to think and make up a story or character from it.
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