30 credits at level HE7
MA Poetry 3a is the second of two modules specialising in poetry and is a CORE module for those taking this special concentration. Normally the student takes modules 2a and 3a in sequence. The aims are:
1. To enable the student to produce 12 – 16 poems as a result of the learning processes in the module as a whole;
2. To examine and make use of the concept of diction and the student’s understanding of the relationships between everyday and ‘poetic’ languages;
3. To enable the student to understand and make use of (as relevant) issues in writing extended and narrative poems and poem sequences;
4. To enable the student to understand and make use of (as relevant) dramatic and performance poetry;
5. To enable the students to reflect on and make use of their understanding in depth of other contemporary writing in relation to their own work;
6. To enable students to reflect on and make use of their own relationship as poets with the wider world including the growing variety of contexts, readings, media and publication.
This module will concentrate on further developments in technique, on writing for performance and/or the business of reading in public. Through workshops the students will ask what it means to choose from the various 'poetries' in being a poet in Britain today. It will be acknowledged that 'public' reading may include being prepared to read in classrooms and in community groups as well as in pubs, 'slams' and more formal poetry readings. The module will continue the practice of workshopping students’ poems and studying work by published writers.
Attention will be paid to diction and the tensions between everyday language and more ‘heightened’ poetic voice(s). Does society expect a certain sort of concentrated language, rich in figurative devices? How far is imagary and overt rhythmic/metric quality inevitable in successful poety? There will also be sessions on the problems facing writers who want to write an extended poem. There will be reading and consideration of sequences and extended narratives. Writing for performance will be explored through examination of dramatic monologue and the work of performance poets. There will be consideration of the concept of ‘performance poetry’.
Students will be expected to continue to follow current work published in journals and to become familiar with some of the organisations that support poetry e.g. The Poetry Society, the Arts Council. They will be expected to make continued use of the readings provided by the University and elsewhere. They will make use of recordings and broadcasts of poets reading including e.g. material included in the British Library CDs, the new Poetry Archive initiated by the Poet Laureate and individual poets' recordings, videos of poets reading or poem-films of the sort produced by Tony Harrison (e.g. V) and Simon Armitage.
Students will chose at least one contemporary published writer whose work is dissimilar to the poet chosen for study in the previous semester e.g. personal rather than impersonal; formal rather than informal; male rather than female etc. Students will have read a substantial amount of the chosen poets' work by the end of the semester and be in a position to write about both poets’ relationship to the world we live in. What voices(s) do they use? How does their work relate to the public reading and/or performance? What struggles preoccupy them? What choices do they make and why? How do they deal with language? Finally, how do they connect with the body of work that the student is currently building up? These issues will form the basis of the critical commentary to be submitted at the end of the semester.
During the semester students will be develop a small collection of poems (16 – 20). However, there will be some flexibility and students who might wish to submit fewer but longer works will discuss the proposal with the tutor. Students will be encouraged to develop this collection of poems in the context of their growing awareness of their chosen voice(s) and their sense of place in the world of poetry. Students will be expected to think about where their work will receive a readership or audience or publication. Will they be looking for communication wthin local or community groups or publication by small or national presses? Students will be mde aware of some of the main sources of information and eduction about poetry (Arvon, The Poetry School, The Poetry Buiness, Commonword), main publishing houses and some of the electronic sources of information and electronic publishing. Whilst this module does not expect the submission of a log students will be encouraged to maintain their own files of relevant up-to-date material and to make reference in their reflective commentaries to the work of their chosen writers for comparison and stimulus. Whilst the module is not assessed on the breadth and depth of knowledge of the wider world of poetry as such (e.g. publishing and electronic sources) the selective and creative use of such source material as a stimulus to the student's own writing and self-reflective
commentaries may be rewarded.
Workshops and seminars. Students may be asked to write during the workshops. Provision will be made to work on electronic sources and students may be expected to find time to follow up website material. Sessions will last approx. 2 hrs. Each session will be divided into seminars on techniques and theories (approx. 1 hr) and a workshop on the students’ own work (approx. 1hr). Individual tutorial time will be given by arrangement. Students will be expected to attend at least two of the poetry readings provided by the University or elsewhere and to make time to listen to recordings as appropriate. Time allocations approx. as follows: from 300 student learning hours: Seminars/workshops 28 hrs (approx. 10% of total learning time); tutorial time approx. 2 hours (approx. 0.6 of total learning time); poetry reading attendance time approx. 4 hrs. (approx. 1.3% total learning time).
when you have successfully completed this module you will:
to demonstrate that you have achieved the learning outcome you will:
to understand and make use of poetic ‘voice’ in the context of writing, public reading and/or performance;
to understand with special attnetion to 'voice' the work of a poet or poets chosen to contrast with that of the previous semester and to be able to compare and contrast choices and voices to the student’s own.
be assessed according to:
the range and understanding of voice in their own work and their ability to see it as potential performance;
range and depth of critical and practical use of the chosen published poets' work in relation to the student’s own.
to understand and make use of the concept of the relationship between self, voice and the wider world;
to understand the public context in which their own work will aim to function, develop and be valued.
be assessed according to::
the range of your understand and ability to use the concept of the relationship between self, voice and the wider world; you may be rewarded for the imaginative use of your growing awareness of the variety of contexts in which poetry functions;
the depth of understanding of your own place in the context in which your poetry will function; you may be rewarded for the imaginative use of your growing awareness of the contexts in which poetry functions.
|3.||be able to understand and make use of:
concepts and practice in your own creative work relating to voice, monologue, dialogue, dramatic and performance poetry;
effective public reading of your own work and that of others.
be assessed according to:
your understanding of the range and potential use / performability of the work produced, together with your self-reflective understanding of your own work and its readablity;
the depth and currency of your understanding of how an audience might receive your work and respond to the way(s) in which you read in public.
to be aware of aspects of language as a tool of communication;
to meet deadlines and present work to a professional standard including the presentation of your work in a public reading.
be assessed according to:
your breadth and depth of awareness of social, interpersonal and cultural uses of language in poetry;
your effectiveness of time-management and standards of presentation including public reading.
Your achievement of the learning outcomes for this module will be tested as follows:
|Description||16 – 20 poems preferably on related themes or presented as a sequence or narrative.||Reflective essay on a chosen poet(s) and the relation to the student's own sense of voice and performance.|
Before taking this module you must have successfully completed the following:
No restrictions apply.
Main reference texts:
Jeffrey Wainwright, Poetry: The Basics, Routledge 2004
G N Leech, A Linguistic Guide to English Poetry, Longman, 1969
C. B. McCully, The Poet's Voice and Craft, Carcanet 1994
Martin Montgomery, Alan Durant et. al. Ways of Reading, Routledge 2nd edn. 2000
British Library recordings
The Poetry Archive
Selected websites e.g. BBC, British Library, The Poetry Library (South Bank), The Poetry Society, Bloodaxe, Carcanet, Commonword, Emory University, Faber and Faber, Jacket, Lapidus, Tower Poetry, Stand, The Poetry Kit, Electronic Poetry Centre SUNY Buffalo, rattapalax
Loreto Todd, An Introduction to Linguistics, Longman 1987
J A Cuddon, Dictionary of Literary Terms and Literary Theory,
Jermey Hawthorn, A Glossary of Contemporary Literary Theory, Arnold 2000
Philip Rice & Patricia Waugh eds., Modern Literary Theory, Arnold 4th edn. 2001
Stephen Fredman, Poet's prose - the crisis in American verse, Cambridge 1990
Philip Hobsbaum, Metre, Rhythm and Verse Form, Routledge,
John Lennard, The Poetry Handbook, OUP 1996
Peter Sansom, Writing Poems, Bloodaxe, 1994
Susan Sellers, ed., Delighting The Heart, Women's Press, 1989
Susan Sellers, ed., Taking Reality By Surprise, Women's Press, 1991
Clive Wilmer, Poets Talking, Carcanet 1994
Ted Kooser, The Poetry Home Repair Manual, Nebraska 2005
Ruth Padel, 52 Ways of Looking at a Poem, Chatto & Windus 2002
Tony Curtis, How Poets Work, Seren 1996
|Host Subject Group:||Creative Studies|
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