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Modern American Poetry
Beginner
Online
3 Weeks
Free Quick Facts
| Medium Of Instructions | Mode Of Learning | Mode Of Delivery |
|---|---|---|
| English | Self Study | Video and Text Based |
Courses and Certificate Fees
| Fees Informations | Certificate Availability | Certificate Providing Authority |
|---|---|---|
| INR 2421 | yes | Coursera |
The Syllabus
Videos
- Welcome to Modern American Poetry!
Readings
- Syllabus
- How to Pass This Class
- About the Discussion Forums
- Social Media
- Getting to Know Your Classmates
Practice Exercise
- Orientation Quiz
Videos
- Modern American Poetry, 1899-1950 (Part 1)
- Modern American Poetry, 1899-1950 (Part 2)
- Modern American Poetry, 1899-1950 (Part 3)
- Modern American Poetry, 1899-1950 (Part 4)
- Modern American Poetry, 1899-1950 (Part 5)
- Modern American Poetry, 1899-1950 (Part 6)
- Modern American Poetry, 1899-1950 (Part 7)
- Modern American Poetry, 1899-1950 (Part 8)
- Modern American Poetry, 1899-1950 (Part 9)
- Modern American Poetry, 1899-1950 (Part 10)
- Modern American Poetry, 1899-1950 (Part 11)
- Walt Whitman and Emily Dickinson: 'A Strange, Uncoupled Couple' (Part 1)
- Walt Whitman and Emily Dickinson: 'A Strange, Uncoupled Couple' (Part 2)
- Walt Whitman and Emily Dickinson: 'A Strange, Uncoupled Couple' (Part 3)
- Walt Whitman and Emily Dickinson: 'A Strange, Uncoupled Couple' (Part 4)
- Native American Poetry from the 1890s to 1930 (Part 1)
- Native American Poetry from the 1890s to 1930 (Part 2)
- Hart Crane's The Bridge (Part 1)
- Hart Crane's The Bridge (Part 2)
- Hart Crane's The Bridge (Part 3)
- Hart Crane's The Bridge (Part 4)
- Hart Crane's The Bridge (Part 5)
Readings
- Module 1 Information
- 1.1 Recommended Reading
- 1.2 Recommended Reading
- 1.3 Recommended Reading
- 1.4 Recommended Reading
Practice Exercise
- 1.1 Modern American Poetry, 1899-1950
- 1.2 Walt Whitman and Emily Dickinson: 'A Strange, Uncoupled Couple'
- 1.3 Native American Poetry from the 1890s to 1930
- 1.4 Hart Crane's The Bridge
Videos
- Modernist Women's Poetry and the Sentimental Tradition (Part 1)
- Modernist Women's Poetry and the Sentimental Tradition (Part 2)
- Modernist Women's Poetry and the Sentimental Tradition (Part 3)
- Modernist Women's Poetry and the Sentimental Tradition (Part 4)
- Modernist Women's Poetry and the Sentimental Tradition (Part 5)
- Modernist Women's Poetry and the Sentimental Tradition (Part 6)
- Marianne Moore: Syllabics (Part 1)
- Marianne Moore: Syllabics (Part 2)
- Marianne Moore: Syllabics (Part 3)
- Marianne Moore: Syllabics (Part 4)
- Marianne Moore: Syllabics (Part 5)
- Women's Poetry, Modernism, and Classical Myth (Part 1)
- Women's Poetry, Modernism, and Classical Myth (Part 2)
- Women's Poetry, Modernism, and Classical Myth (Part 3)
- Women's Poetry, Modernism, and Classical Myth (Part 4)
- Women's Poetry, Modernism, and Classical Myth (Part 5)
- 'A Cessation of Resemblances': Stein / Picasso / Duchamp (Part 1)
- 'A Cessation of Resemblances': Stein / Picasso / Duchamp (Part 2)
- 'A Cessation of Resemblances': Stein / Picasso / Duchamp (Part 3)
Readings
- Module 2 Information
- 2.1 Recommended Reading
- 2.2 Recommended Reading
- 2.3 Recommended Reading
- 2.4 Recommended Reading
Practice Exercise
- 2.1 Modernist Women’s Poetry and the Sentimental Tradition
- 2.2 Marianne Moore: Syllabics
- 2.3 Women’s Poetry, Modernism, and Classical Myth
Videos
- Rethinking High Modernism (Part 1)
- Rethinking High Modernism (Part 2)
- Rethinking High Modernism (Part 3)
- Rethinking High Modernism (Part 4)
- Rethinking High Modernism (Part 5)
- "Tomorrow . . . who knows?": The Futures of Harlem Renaissance Poetry (Part 1)
- "Tomorrow . . . who knows?": The Futures of Harlem Renaissance Poetry (Part 2)
- "Tomorrow . . . who knows?": The Futures of Harlem Renaissance Poetry (Part 3)
- "Tomorrow . . . who knows?": The Futures of Harlem Renaissance Poetry (Part 4)
- The Political 1930s (Part 1)
- The Political 1930s (Part 2)
- The Political 1930s (Part 3)
- The Political 1930s (Part 4)
- The Political 1930s (Part 5)
- Tradition and the Folk in Sterling Brown's Poetry (Part 1)
- Tradition and the Folk in Sterling Brown's Poetry (Part 2)
Readings
- Module 3 Information
- 3.1 Recommended Reading
- 3.2 Recommended Reading
- 3.3 Recommended Reading
- 3.4 Recommended Reading
Practice Exercise
- 3.1 Rethinking High Modernism
- 3.2 “Tomorrow . . . who knows?”: The Futures of Harlem Renaissance Poetry
- 3.3 The Political 1930s
- 3.4 Tradition and the Folk in Sterling Brown's Poetry
Videos
- Developing the Cultural Epic: From Eliot’s Cultural Elegy to Rukeyser’s Documentary Testament (Part 1)
- Developing the Cultural Epic: Eliot and Crane: Expanding the Terrain of the Modernist Epic (Part 2)
- Developing the Cultural Epic: "The Tunnel": Contesting Eliot (Part 3)
- Developing the Cultural Epic: Muriel Rukeyser's Theory of Flight (Part 4)
- Developing the Cultural Epic: Muriel Rukeyser's Documentary Testament (Part 5)
- The Image of the City in Pre-war Poetry (Part 1)
- The Image of the City in Pre-war Poetry (Part 2)
- The Image of the City in Pre-war Poetry (Part 3)
- Little Magazines (Part 1)
- Little Magazines (Part 2)
- Little Magazines (Part 3)
- Introduction
- Emily Dickinson's "We Learned the Whole of Love"
- Wallace Stevens's "Large Red Man Reading"
- Harryette Mullen's "Sleeping with the Dictionary"
Readings
- Module 4 Information
- 4.1 Recommended Reading
- 4.2 Recommended Reading
- 4.3 Recommended Reading
- 4.4 Recommended Reading
- The Symposium Overview
- The Symposium: Additional Information for Video Submissions
Practice Exercise
- 4.1 Developing the Cultural Epic Quiz
- 4.2 The Image of the City in Pre-War Poetry
- 4.3 Little Magazines