Courses tagged with "KIx" (52)

This course considers some of the substantial early twentieth-century poetic voices in America. Authors vary, but may include Moore, Frost, Eliot, Stevens, and Pound.

We'll read the major poems by the most important poets in English in the 20th century, emphazinig especially the period between post-WWI disillusionment and early WW II internationalism (ca. 1918-1940). Our special focus this term will be how the concept of "the Image" evolved during this period. The War had undercut beliefs in master-narratives of nationalism and empire, and the language-systems that supported them (religious transcendence, rationalism and formalism). Retrieving energies from the Symbolist movements of the preceding century, early 20th century poets began to rethink how images carry information, and in what ways the visual, visionary, and verbal image can take the place of transcendent beliefs. New theories of linguistics and anthropology helped to advance this interest in the artistic/religious image. So did Freud. So did Charlie Chaplin films.

We'll read poems that pay attention both to this disillusionment and to the compensatory joyous attention to the image: to ideas of the poet-as-language-priest, aesthetic-experience-as-displaced-religious impulse, to poetry as faith, ritual, and form.

This course, the first installment of the multi-part Poetry in America series, covers American poetry in cultural context through the year 1700. The course begins with Puritan poets--some orthodox, some rebel spirits--who wrote and lived in early New England. Focusing on Anne Bradstreet, Edward Taylor, and Michael Wigglesworth, among others, we explore the interplay between mortal and immortal, Europe and wilderness, solitude and sociality in English North America.

Led by Harvard Professor Elisa New, Poetry in America surveys nearly 400 years of American poetry. Through video lectures, archival images and texts, expeditions to historic sites, interpretive seminars with large and small groups, interviews with poets and scholars, and conversations about poems with distinguished Americans, Poetry in America embarks on a journey through the literature of a nation. Distinguished guests, including President Bill Clinton, Elena Kagan, Henry Louis Gates, Eve Ensler, John McCain, Andrea Mitchell, Michael Pollan, Drew Faust, Tony Kushner, and Nas, among others, bring fresh perspectives to the study of American Poetry.

HarvardX pursues the science of learning. By registering as an online learner in an HX course, you will also participate in research about learning. Read our research statement to learn more.

This module, the third installment of the multi-part Poetry in America series, focuses on the poetry of Walt Whitman, a quintessentially American writer whose work continues to bear heavily upon the American poetic tradition. We will explore Whitman’s relationship to the City, the Self, and the Body through his life and poetry. Distinguished guests in this module include Tour de France champion Greg LeMond, Supreme Court Justice Elena Kagan, and Whitman scholar Karen Karbiener.

Led by Harvard Professor Elisa New, Poetry in America surveys nearly 400 years of American poetry. Through video lectures, archival images and texts, expeditions to historic sites, interpretive seminars with large and small groups, interviews with poets and scholars, and conversations about poems with distinguished Americans, Poetry in America embarks on a journey through the literature of a nation. Distinguished guests, including President Bill Clinton, Elena Kagan, Henry Louis Gates, Eve Ensler, John McCain, Andrea Mitchell, Michael Pollan, Drew Faust, Tony Kushner, and Nas, among others, bring fresh perspectives to the study of American Poetry.

HarvardX pursues the science of learning. By registering as an online learner in an HX course, you will also participate in research about learning. Read our research statement to learn more.

In this course, we will investigate popular culture and narrative by focusing on the relationship between literary texts and comics. Several questions shape the syllabus and provide a framework for approaching the course materials: How do familiar aspects of comics trace their origins to literary texts and broader cultural concerns? How have classic comics gone on to influence literary fiction? In what ways do contemporary graphic narratives bring a new kind of seriousness of purpose to comics, blurring what's left of the boundaries between the highbrow and the lowbrow? Readings and materials for the course range from the nineteenth century to the present, and include novels, short stories, essays, older and newer comics, and some older and newer films. Expectations include diligent reading, active participation, occasional discussion leading, and two papers.

Great works of fiction often take us to far-off places; they sometimes conduct us on journeys toward a deeper understanding of what's right next door. We'll read, discuss, and interpret a range of short and short-ish works: The reading list will be chosen from among such texts as "Gilgamesh," Homer's Odyssey (excerpts), Bunyan's The Pilgrim's Progress (excerpts), Swift's Gulliver's Travels, Mary Shelley's Frankenstein, Conrad's Heart of Darkness, Saleh's Season of Migration to the North, Woolf's To the Lighthouse, John Cheever's "The Swimmer," Coetzee's The Life and Times of Michael K, Irving's "Rip Van Winkle," Toni Morrison's Jazz, H. G. Wells' The Time Machine, Twain's The Adventures of Huckleberry Finn, Beckett's How It Is, Calvino's Invisible Cities, Forster's A Passage to India. As a CI-H class, this subject will involve substantial practice in argumentative writing and oral communication.

"Reading Poetry" has several aims: primarily, to increase the ways you can become more engaged and curious readers of poetry; to increase your confidence as writers thinking about literary texts; and to provide you with the language for literary description. The course is not designed as a historical survey course but rather as an introductory approach to poetry from various directions – as public or private utterances; as arranged imaginative shapes; and as psychological worlds, for example. One perspective offered is that poetry offers intellectual, moral and linguistic pleasures as well as difficulties to our private lives as readers and to our public lives as writers. Expect to hear and read poems aloud and to memorize lines; the class format will be group discussion, occasional lecture.

Together with the Shakespeare Birthplace Trust, Professor Jonathan Bate explores Shakespeare, his works and the world he lived in.

Academics from the Shakespeare Institute introduce aspects of the most famous play ever written - its origins, texts, and history.

Shakespeare wrote for a popular audience and was immensely successful. Shakespeare is also rightly regarded as one of the greatest playwrights the world has known. This course will try to understand both Shakespeare’s popularity and his greatness by starting from a simple premise: that the fullest appreciation of Shakespeare can be achieved only when literary study is combined with analysis of the plays as theatre. Hence, as we delve into the dimensions that make Shakespeare’s plays so extraordinary--from the astonishing power of their language to their uncanny capacity to illuminate so much of human life--we will also explore them in performance from Shakespeare’s own theatre to the modern screen. At the same time, actors will occasionally join our effort and demonstrate ways of bringing the text alive as living theatre. Plays to be studied will include Romeo and Juliet, A Midsummer Night's Dream, Much Ado About Nothing, Othello, King Lear, and The Winter's Tale.

Image courtesy Castle Rock Entertainment/The Kobal Collection

Before your course starts, try the new edX Demo where you can explore the fun, interactive learning environment and virtual labs. Learn more.

Is there a required textbook?
The texts of all six plays will be required. Free, electronic versions can be found on numerous sites on the internet, including the following, which offers pdf downloads: http://www.folgerdigitaltexts.org/download.html. However, free, internet editions do not provide glosses or notes that explain difficult words and phrases. We strongly recommend that participants purchase texts (paper or electronic) that provide important aids to reading.

Poetry lives in any reader, not necessarily in performance by the poet or a trained actor. The pleasure of actually saying a poem, or even saying it in your imagination—your mind’s ear—is essential. That is a central idea of “The Art of Poetry,” well demonstrated by the videos at favoritepoem.org: the photographer saying Sylvia Plath’s “Nick and the Candlestick,” the high school student saying Langston Hughes’ “Minstrel Man.” Those readers base what they say about each poem upon their experience of saying it.

The course is demanding, and based on a certain kind of intense reading, requiring prolonged, thorough— in fact, repeated—attention to specific poems.

The focus will be on elements of the art such as poetry’s historical relation to courtship; techniques of sound in free verse; poetry and difficulty; kidding and tribute—with only incidental attention to “schools,” jargons, categories, and coteries.

Learners are encouraged to think truly, carefully and passionately about what the poem says, along with how the poem feels in one’s own, actual or imagined voice. As Robert Pinsky says, in the Preface to Singing School: “this anthology will succeed if it encourages the reader to emulate it by replacing it . . . create your own anthology.” In a comparable way, this course hopes to inspire a lifelong study of poetry.

This course focuses on the period between roughly 1550-1850. American ideas of race had taken on a certain shape by the middle of the nineteenth century, consolidated by legislation, economics, and the institution of chattel slavery. But both race and identity meant very different things three hundred years earlier, both in their dictionary definitions and in their social consequences. How did people constitute their identities in early America, and how did they speak about these identities? Texts will include travel writing, captivity narratives, orations, letters, and poems, by Native American, English, Anglo-American, African, and Afro-American writers.