学部後期課程
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最終更新日：2026年10月16日
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最終更新日：2026年10月16日
授業計画や教室は変更となる可能性があるため、必ずUTASで最新の情報を確認して下さい。
UTASにアクセスできない方は、担当教員または部局教務へお問い合わせ下さい。
共通英語（５）
Close Reading Western Lyric Poetry
This course is meant to furnish students with an adequate general understanding of the development of Western lyric poetry from the Renaissance through the 21st century. Poems will be read closely in class to reveal meaning and technical features, giving students the critical experience and technical language necessary for future explorations of Western poetry.
Like an experimental aircraft testing the limits of flight, poetry tests the limits of language and what it can do. And, as a science in linguistic extremes, the study of poetry comes with its own technical language. What is a sonnet? A ballad? What are iambs, dactyls, pentameters, hendecasyllables, alexandrines? How does blank verse differ from free verse? And what of rhetorical techniques, like alliteration, enjambement, chiasmus, tmesis, allegory, ekphrasis, and anadiplosis (aka. coblas capfinidas)? Those wishing to better understand what makes a poem soar will master this metalanguage in class. Furthermore, we will constantly employ this language in our readings, which will be by definition close, analytical, and deeply critical.
In addition to reading, students will have several assignments outside of class. 1) As a way to get intimate with poetic form and the aesthetic concerns proper to poetry, students will write and workshop their own poems imitating the voice/style of specific authors. 2) As a way to see how the specifics of language come to bear on poetry, students will translate poems from one language into another. 3) As a way to become intimate with the cadences of poetic language, students will memorize and recite a poem of their choice for their final project.
Like an experimental aircraft testing the limits of flight, poetry tests the limits of language and what it can do. And, as a science in linguistic extremes, the study of poetry comes with its own technical language. What is a sonnet? A ballad? What are iambs, dactyls, pentameters, hendecasyllables, alexandrines? How does blank verse differ from free verse? And what of rhetorical techniques, like alliteration, enjambement, chiasmus, tmesis, allegory, ekphrasis, and anadiplosis (aka. coblas capfinidas)? Those wishing to better understand what makes a poem soar will master this metalanguage in class. Furthermore, we will constantly employ this language in our readings, which will be by definition close, analytical, and deeply critical.
In addition to reading, students will have several assignments outside of class. 1) As a way to get intimate with poetic form and the aesthetic concerns proper to poetry, students will write and workshop their own poems imitating the voice/style of specific authors. 2) As a way to see how the specifics of language come to bear on poetry, students will translate poems from one language into another. 3) As a way to become intimate with the cadences of poetic language, students will memorize and recite a poem of their choice for their final project.
時間割／共通科目コード
コース名
教員
学期
時限
08A0005
FAS-AA4A01S3
共通英語（５）
Zane Mackin
火曜3限
マイリストに追加
マイリストから削除
講義使用言語
日本語、英語
単位
2
実務経験のある教員による授業科目
NO
他学部履修
可
開講所属
教養学部
授業計画
The first and all following classes will be in person.
1. Introduction, Ballads
2. Elizabethan Sonnets: Edmund Spenser, Sir Philip Sidney, William Shakespeare
3. The Metaphysical Poets: John Donne, George Herbert
4. Robert Herrick, John Milton
5. Romantics I: William Wordsworth
6. Romantics II: Blake, Coleridge, Byron
7. Romantics III: Keats
8. Comic and serious poets of the 19th Century: Edward Lear, Lewis Carroll, Emily Dickinson, Gerard Manley Hopkins
9. Modernists I. Yeats
10. Modernists II. Ezra Pound and the Imagists
11. Modernists III. T.S. Eliot and the Relationship to Tradition
12. Postwar Modernism and the New York School. Elizabeth Bishop, Frank O’Hara, Kenneth Koch, Ted Berrigan
13. Closing notes, final recitations
授業の方法
Classes will generally consist of a short introductory lecture followed by group analysis of selected poems. There will be also frequent live readings, reading and discussion of students’ original work, and at least one formal poetry recitation.
成績評価方法
Attendance and participation 20%
Five imitative poems 50%
Poetry recitation 15%
Poetry translation 15%
履修上の注意
Students are expected to come to class having read the texts thoroughly, and prepared to criticize and question the texts under study.
Students are responsible for bringing the week’s reading to class in hardcopy (digital devices are not permitted). They will also occasionally be required to bring multiple copies of their original work to class.
