Friday, September 30, 2011

Weekend Homework All Classes

Because all of the work I did to prepare specific instructions for each class for Thursday doesn't seem to be in the syllabus installment section, I am going to make sure you all have a sense of your homework here: (I did announce in class what each class would be doing, but I would like those of you checking the blog to be able to confirm.)
Writing Poetry: You have yours still, for some reason, so you're good to go. The next poems we will be workshopping are your ekprhastics, formal and yes, the imitation.

Writing Fiction: You had that same gallery assignment with the museum visit, selection of a piece of art (write down title and artist) and then a list of 30 concrete words from the piece. (Example Van Gogh's Starry Night Indigo, Mustard, Star, Shaggy, Thick, Tree, Water, Night, etc.) Using as many words from the list as possible, write a scene. You can use an existing piece of fiction, write something new, you can choose to have your character be in the painting or an object or person that has some stake in the scene depicted in the painting. It's a wide open field on how you further tackle the assignment. These pieces will be due for small group workshops on

Tuesday 10/04 Workshop Group Three
Group Four Distributes Stories

Thursday 10/06 Workshop Four
Homework: Make sure that your ekphrasis scenes are typed-up and ready to discuss in small groups on Tuesday 10/11. Also, read this & these two Raymond Carver stories. 1 2

If the links don't work, please google and find the full text for Barry Hannah's Water Liars and Raymond Carver's Cathedral and A Small Good Thing. These stories are to be read by Thursday.

Tuesday 10/11 Small Group Discussion of Ekphrastic stories.

Thursday 10/13 Discussion of Carver and Hannah stories.
-------------------------------------------------

CONTEMPORARY LITERATURE

Thursday 09/27 Movie The Yellow Wallpaper
(A bust, I know. We'll make it up somehow--sorry for the dead vhs, I had not viewed it before and didn't know.)

HOMEWORK: Read T.S. Eliot's biographical information and The Love Song of J. Alfred Prufrock at Poets.org. (It is the site for the Academy of American Poets.) You can google it and it will be there.

Additionally, at the same site, read the biographical paragraphs and poems of Wallace Stevens and EACH POEM from Sunday Morning DOWN. In other words, go to Wallace Stevens on the Academy of American Poetry site, read the info about him and then there will be links to the poems on the right (just like with T.S. Eliot) and those, beginning with the poem called Sunday Morning until the final poem in the list should be read and ready for discussion. Looking forward to seeing you all Tuesday to dive into Modernism!

Wednesday, September 28, 2011

Hey Lovelies, One and All: Take Note

Think about trying to submit here. The guidelines ask for art and mixed media and well, read up and see if you'd like to prepare something for it. I would be more than happy to help.

Also, Fiction, DON'T forget Esquire.

Wednesday, September 21, 2011

Interesting Links on the Writing Process (All Classes Read) and a REMINDER

Lisa Olstein interview. Check out the impetus for her latest book. The moths and research.

And this adaptation. You guys could do something like this in a screenplay class and then build your own sets. It could be a school-wide collaboration. In any case, you might want to check it out. It is not so far away that going to see it would be impossible.


Jacqueline Osherow's book should be ordered soon. October will be upon us before long.

Thursday, September 15, 2011

Syllabus Installment 09/15/11-10/06/11

Writing Poetry
09/15 Thursday
Workshop continues
Homework: Read all of Elizabeth Bishop's selections and Trout by Kathryn Starbuck. As well as all of the Frank O'Hara selections here.

09/20 Tuesday
Workshop completion, discussion of readings.
Homework: Read Terrance Hayes (all) Richard Siken
and all of the poems in the various links for Ilya Kaminsky (there's lots of repetition, just skip around and graze)
and all of the poems here for Simone Muench. Consider how the New York School (O'Hara, Kenneth Koch, James Schuyler, John Ashbery, others) are working to influence the work of these contemporary poets. Consider which "moves" you would like to adopt for your next workshop poem (the imitation).



Thursday: 09/22
Discussion.
From the pieces that we've read, choose a poem to imitate. The imitation poem will be due on TUESDAY 10/04

09/27 Tues. Completion of workshop pieces. Discussion of some of the poets we've read.
Homework: Formal poetry readings: Elizabeth Bishop One Art and Sestina (the link is above and yes, I know you've read her but focus in on these two in particular for the formal poetry assignment.)
Dylan Thomas Do Not Go Gentle Into That Good Night.

09/29 Thurs. Gallery/Museum ekphrasis assignment. Meet in class, go on to any of the exhibits on campus (the museum is probably your best bet). Select a piece of art and list at least 30 concrete words from it, (be sure to take down the title and artist as well) and write a poem that in some way engages with the art. You can write from the perspective of a character or object in the piece or simply use the words to form a poem with some of the same descriptive terms. You can write to the artist or as the artist in the poem. This will be due, typed, for Tuesday October 4.

10/04 Tues. Discussion of formal verse
Gallery Poems Due. Bring enough copies for all of us.
Homework: Read and comment upon the Ekphrastic poems. Be ready to discuss the poems thoroughly and thoughtfully and to have many comments written upon them before workshop. (You can write more during, as well.)

10/06 Thurs. Workshop of Ekphrastic Poems.
Homework: Have formal poems ready for next week.

Writing Fiction
09/15 Thursday
Workshop Group One.

Tuesday 09/21
Discussion of Readings.
Group Two stories due for distribution.


Contemporary Lit.
09/15 Thursday
Video: Dickinson, Whitman: Bio plus poems the to right, particularly America, I Sing the Body Electric, When I Heard the Learned... and When Lilacs Last...

09/20 Tuesday:
Have all Dickinson and Whitman selections read and your letters ready to read in groups.
You will be turning them into me on Thursday (slight extension). In your groups, you will read each letter and write the author a note about where the letter works best, where it gets confusing or could be improved. Feel free to suggest wild and interesting edits or revisions. This is the author's chance to really spruce the piece up before it gets turned in officially.

09/22 Thursday
Letters to be turned in to me at the beginning of class: typed, proofread, etc.
Discussion of Dickinson and Whitman.
Homework: Read Charlotte Perkins Gilman: The Yellow Wallpaper
AND
A Mark on the Wall by Virginia Woolf. Be able to discuss the stream-of-consciousness in Woolf's piece and what effect it has.

Tuesday, September 13, 2011

To Start Our Week

Some senior citizen stripping action. Seriously, listen for the fun similes and use of poetic terms throughout.



Then, for interesting use of figurative language and really, just because she makes me smile:

Tuesday, September 6, 2011

This Week:

09/06/11 Tuesday Writing Poetry
In class discussion of the poetic terms assignment.
Homework: Write at least ten couplets and follow the instructions for part two of your homework for the specifics. Bring in typed on Thursday for discussion.

09/08/11 Thursday: We'll discuss your couplets in groups, as a class.
Homework: Write a poem that will be used for your first workshop piece. Bring it in, typed, with copies enough for the class. We'll workshop through next week. Consider the need for lots of concrete, specific detail and feel free to revise/rewrite/edit the couplets assignment into that final draft of a poem for the workshop. Make sure your poem has a title and is proofread carefully.



Writing Fiction
09/06/11 Tuesday: Discussion Lorrie Moore. In-class writing.
Homework: Write an opening that imitates one of the stories we have read. Bring in enough copies to distribute it to your groups. (4-5)

09/08/11 Thursday: Group work with your story openings.
Homework: Read this Amy Hempel story. Group One have your first stories (3-5 pages) ready to distribute to the class on Tuesday. Group Two you will distribute on Thursday.

09/13/11 Tuesday Discussion of Hempel story. Homework: Read Group One's stories carefully and comment on them profusely. Write a final note of 250 words minimum that summarizes your advice and suggested edits for the piece. Don't forget to include the things that are working for it and those which you admire.

09/15/11 Thursday Group One Workshop. Group Two distributes stories.


Contemporary Literature

Tuesday 09/06/11 Discussion of Hemingway and Fitzgerald
Homework: Read Langston Hughes, the biographical material and all of the poems on the links to the right.
Check out Zelda Fitzgerald's artwork and paperdolls.

Thursday 09/09/11 Discussion of Jazz Age/Harlem Renaissance continues. Voices and Visions Langston Hughes, likely.
Read: Emily Dickinson and Walt Whitman.


Tuesday 09/13/11 Discussion.
Thursday 09/15/11 Discussion.
Homework: Write a letter to one of the writers we've read. Discuss, in detail, some of the topics or a particular topic of their work. Feel free to agree, celebrate, disagree or question.

Jacqueline Osherow (textbook)

Attn: Contemporary Lit. & Writing Poetry

Please note that Jacqueline Osherow's book, Whitethorn is required and must be available and in class with you by no later than October 1.

Writing Fiction: Osherow will be visiting our classes and her poetry is very narrative (story) in the best ways, while I am not requiring it for your classes, she will be here and willing to sign and discuss the poems. The reading on Monday October 24 is required but the book's purchase for your class is optional but recommended.
Catalog ID: LA496 Section: 01 Course Name: Contemporary Literature
Course Prerequisite: LA190 / Lecture or LA190 / e-Learning
Term: Autumn Meeting Day(s): Tuesday, Thursday Meeting Time(s): 2-3:20 p.m.
Class Location: KH208 Faculty Name: Sophia Kartsonis
Class Blog: www.zeldaville.blogspot.com
Department: Liberal Arts Division: English Email: Skartsonis@ccad.edu

Office Hours: T 9-11, H 10-11, Office Location: Kinney Hall
Course Description:
Involves the critical study of recent literature emphasizing characteristic forms and themes. Attention is given to the short story, novel, poetry, drama and experimental prose forms. The course will involve a combination of written assignments, discussions, traditional essays and quizzes, as well as creative responses to works of various contemporary poets and writers. Texts and emphases will vary with professor. 3 credits, meets for a total of 3 hours.
Course Goal: Learning to read, discuss and analyze contemporary works of literature.

Course Learning Outcomes: Students will examine literature from both a reader’s and writer’s perspective. Through a variety of presentations, group work, verbal and written responses, students will familiarize themselves with the themes that good writing illuminates, as well as learn how the ability to critique a piece of writing can hone critical thinking skills in the world outside the book.

CCAD Learning Goals:
Through the careful reading and analysis of poetry, drama, and varieties of prose, the course is designed to help students connect words and images into thoughtful responses and help them to master the art of reading texts and real-life situations with care.
Required Course Materials:
N/A
Required Text(s):
Jacqueline Osherow’s Whitethorn
http://www.amazon.com/Whitethorn-Poems-Press-Paperback-Original/dp/0807138355/ref=sr_1_1?s=dmusic&ie=UTF8&qid=1315098067&sr=1-1
All links and handouts provided in class or through the blog.

Recommended Text(s):
TBA throughout

Schedule of Classes (including key events including assignments, projects due dates/exam dates):
(See Attached)
Methods/weights of Evaluation (this is a list of items that will be used as the basis for calculating students’ grades in the course, i.e., presentations, quizzes, projects, assignments 70%,
attendance &class participation 30%):

Course Grading Policies (this is a list of policies regarding due dates, late submissions, standards and expectation regarding work, etc.):
Due dates are crucial, particularly for those assignments that involve class-wide presentation or discussion. Late work will not be welcome and if an assignment is not turned in for a student’s upcoming or workshop or a presentation is not ready, there is no way to make that up to the whole class. For this reason, those assignments must come in on time, students must be present for their own workshops and as they are given two free absences, it is expected that students save those for such occasions and to keep the instructor informed (at least eight hours before class is to begin, where possible) that there has been an issue or emergency. After three absences, the instructor reserves the right to request the student consider dropping the course. All work unless otherwise noted is to be typed, proofread and turned in as a final, to-be-graded, copy.
CCAD Academic Policies:
ACADEMIC DISHONESTY
(see the Student Handbook for complete policy information) Academic dishonesty may assume several forms. The most common are the use of unauthorized materials during exams, acquiring information from other students during an exam, and plagiarism. Plagiarism is defined by the following actions:
• Reproducing another person’s work and submitting it as one’s own
• Lifting material from other sources, including the Internet, to use in assignments without acknowledgment
• Using another person’s original ideas without providing appropriate credit
• Misrepresenting oneself as another individual to an instructor in the context of completing assignments or tests
• Participating in co-construction of assignments without the knowledge and approval of the instructor (not to be confused with legitimate and appropriate tutoring activities, which do not include actually completing another person’s work for him/her)
In all cases, if a student is unsure about a question of plagiarism or academic misconduct, the instructor should be consulted. Please consult the appropriate section under “Disciplinary Procedures” to learn about specific procedures involved in academic misconduct cases.
DISABILITY SUPPORT SERVICES
(see the Student Handbook for complete policy information) ADA STATEMENT If you have a documented cognitive, physical, or psychological disability, which includes learning disabilities (LD), attention deficit disorder (ADD), depression, anxiety, or mobility, as described by Section 504 and the Americans with Disabilities Act (ADA), it is recommended that you contact Disability Services at 614-222-3292. They will assist you in arranging appropriate accommodations with the instructor.
ATTENDANCE POLICY
(see the Student Handbook for complete policy information) Students are required to attend all classes on their schedule. Students may receive a failing grade if they have three or more absences in courses meeting once a week or four or more absences in courses meeting twice a week. For Summer Semester, the number of absences is computed on the basis of the total number of class hours missed (nine or more hours for studio courses and six or more hours for other courses). For May Minimester or summer sessions, missing 15% or more of a class constitutes an automatic failure. Students are reminded that they will receive a failing grade if they stop attending a course without properly dropping it. Dropping courses is the responsibility of the student.
REQUESTING AN INCOMPLETE
(see the Student Handbook for complete policy information) A grade of incomplete (I) is given only in cases involving serious illness or unforeseen emergencies. In case of illness, a written verification may be required from the attending physician. The student should see the director of advising to process the proper medical documentation.
STUDENT CODE OF CONDUCT
(see the Student Handbook for complete policy information) The college expects students to conduct themselves in a manner consistent with the high ideals and standards that CCAD has set for its community and its students. Students who violate college policies, cause harm to others, commit criminal acts, or engage in disruptive behavior on or off campus premises may be subject to disciplinary sanctions by the institution.

Attention: Fiction Writers & Anyone Else Who Loves Lovely Writing about Writing

Read this.

Saturday, September 3, 2011

Course Policy: Writing Poetry

Catalog ID: LA490B
Section: 01
Course Name: Writing Poetry

Course Prerequisite: LA190 / Lecture or LA190 / e-Learning
Term: Autumn
Meeting Day(s): Tuesday, Thursday Meeting Time(s): 11-12:20 p.m.
Class Location: KH224
Faculty Name: Sophia Kartsonis
Class Blog: www.zeldaville.blogspot.com
Department: Liberal Arts
Division: English
Email: Skartsonis@ccad.edu
Office Hours: T 9-11, H 10-11,
Office Location: Kinney 224
Course Description: Introduces students to the art of writing of poetry, the most ancient yet current of arts. Students will study aspects of poetics, learning a variety of techniques while reading and responding to both contemporary and canonical poets. The course involves a variety of writing exercises, the drafting of poems, and peer critiques, culminating in a small collection of poems and an essay at the end of the semester.
Course Goal To acquaint student with the craft of producing poetry and to help give them the terms and tools in which to assess and help revise and edit poems.

Course Learning Outcomes Students can expect to know more about a poem’s composition, both as an active verb and as a noun indicating its contents. There will be lessons on rhyme, meter, poetic terminology, and a variety of exercises in formal poetry designed to increase competence and understanding of the various styles and forms of verse from blank to free.

CCAD Learning Goals (these are the CCAD goals that are supported by this course):
Through the writing and analysis of poems, and the workshop, the course is designed to help students connect words and images into cogent, vibrant writing. Also, through the workshop model itself, students connect with one another to create a body of work that is more powerful for their collective insight. As the workshop environment creates an opportunity for both risk and community, it provides a means in which to reflect upon poetry as act of language distillation. Additionally, through mastery in the art of reading as a writer and writing as an astute, sensitive reader, students are better able to create artful writing overall.
Required Course Materials:
N/A
Required Text(s):
Jacqueline Osherow’s Whitethorn
http://www.amazon.com/Whitethorn-Poems-Press-Paperback-Original/dp/0807138355/ref=sr_1_1?s=dmusic&ie=UTF8&qid=1315098067&sr=1-1
All links and handouts provided in class or through the blog.

Recommended Text(s):
TBA throughout

Schedule of Classes (including key events including assignments, projects due dates/exam dates):
(See Attached)
Methods/weights of Evaluation (this is a list of items that will be used as the basis for calculating students’ grades in the course: workshop participation, punctual, thorough, projects, assignments 70%,
attendance &class participation 30%):

Course Grading Policies (this is a list of policies regarding due dates, late submissions, standards and expectation regarding work, etc.):
Due dates are crucial, particularly for those assignments that involve class-wide presentation or discussion. Late work will not be welcome and if an assignment is not turned in for a student’s upcoming or workshop or a presentation is not ready, there is no way to make that up to the whole class. For this reason, those assignments must come in on time, students must be present for their own workshops and as they are given two free absences, it is expected that students save those for such occasions and to keep the instructor informed (at least eight hours before class is to begin, where possible) that there has been an issue or emergency. After three absences, the instructor reserves the right to request the student consider dropping the course. All work unless otherwise noted is to be typed, proofread and turned in as a final, to-be-graded, copy.
CCAD Academic Policies:
ACADEMIC DISHONESTY
(see the Student Handbook for complete policy information) Academic dishonesty may assume several forms. The most common are the use of unauthorized materials during exams, acquiring information from other students during an exam, and plagiarism. Plagiarism is defined by the following actions:
• Reproducing another person’s work and submitting it as one’s own
• Lifting material from other sources, including the Internet, to use in assignments without acknowledgment
• Using another person’s original ideas without providing appropriate credit
• Misrepresenting oneself as another individual to an instructor in the context of completing assignments or tests
• Participating in co-construction of assignments without the knowledge and approval of the instructor (not to be confused with legitimate and appropriate tutoring activities, which do not include actually completing another person’s work for him/her)
In all cases, if a student is unsure about a question of plagiarism or academic misconduct, the instructor should be consulted. Please consult the appropriate section under “Disciplinary Procedures” to learn about specific procedures involved in academic misconduct cases.
DISABILITY SUPPORT SERVICES
(see the Student Handbook for complete policy information) ADA STATEMENT If you have a documented cognitive, physical, or psychological disability, which includes learning disabilities (LD), attention deficit disorder (ADD), depression, anxiety, or mobility, as described by Section 504 and the Americans with Disabilities Act (ADA), it is recommended that you contact Disability Services at 614-222-3292. They will assist you in arranging appropriate accommodations with the instructor.
ATTENDANCE POLICY
(see the Student Handbook for complete policy information) Students are required to attend all classes on their schedule. Students may receive a failing grade if they have three or more absences in courses meeting once a week or four or more absences in courses meeting twice a week. For Summer Semester, the number of absences is computed on the basis of the total number of class hours missed (nine or more hours for studio courses and six or more hours for other courses). For May Minimester or summer sessions, missing 15% or more of a class constitutes an automatic failure. Students are reminded that they will receive a failing grade if they stop attending a course without properly dropping it. Dropping courses is the responsibility of the student.
REQUESTING AN INCOMPLETE
(see the Student Handbook for complete policy information) A grade of incomplete (I) is given only in cases involving serious illness or unforeseen emergencies. In case of illness, a written verification may be required from the attending physician. The student should see the director of advising to process the proper medical documentation.
STUDENT CODE OF CONDUCT
(see the Student Handbook for complete policy information) The college expects students to conduct themselves in a manner consistent with the high ideals and standards that CCAD has set for its community and its students. Students who violate college policies, cause harm to others, commit criminal acts, or engage in disruptive behavior on or off campus premises may be subject to disciplinary sanctions by the institution.



Thursday, September 1, 2011

And not to forget Contemporary Lit!

Your homework (don't say I never gave you anything!)

Read: Hills Like White Elephants, Ernest Hemingway.

and Winter Dreams as well as A Diamond as Big as the Ritz
by F.Scott Fitzgerald

Read carefully,as if there could be a quiz on them.

Writing Fiction Reading Homework

You have the following by Lorrie Moore

Childcare (this has eight pages to it, make sure you are reading all of it.)

And How to Become a Writer

Come to class ready to discuss the similarities and differences in the author's voice. What is effective? What is less-so? Using the Glossary of Poetic Terms, identify some of the literary terms and devices that you see Moore employing.

Writing Poetry: Your Poetic Terms Assignment Here

Inside a Twilight


Inside a twilight garden bright with hydrangeas, fireflies.
Irene and I pried the weeds up, our fingertips wise

to their hold. Halfway between happiness and heartburn
Irene said, halfway between hope and the hard hit of her

last good kiss. This is not an aphrodisiac town, but a place
where fingers lace through other fingers and miss, by a sliver

really holding on. We’ve drawn the blinds, withdrawn our dearest
offers, played the cards we were dealt with a shuffle, an array,

a Chinese fan cascading out from our magic hands we draw shapes
in the air, then put the deck away.
-------------------------------------------------------------------------


GLOSSARY of Poetic Terms
-----------------

Considering some of the ideas we discussed in class and any additional things you pick up from the glossary, your assignment is two-part:

1. Identify all the types of rhymes and devices in the above poem. Consider the couplets as a unit and see how they interact, but also, see if you might spot moves or terms across the couplets and over the poem as a whole.
Bring in a copy of the poem with your margin notes regarding terms and devices.

2. Write your own set of couplets and employ at least one use of internal rhyme, slant rhyme, exact rhyme and at least two cases of enjambment. Plus, a minimum of one simile or metaphor, one example of alliteration, assonance and consonance. Remember to favor concrete, sensory detail over abstractions.