Session 4 I'll lecture for some of this week's class. If I lecture I'll probably repeat what I've been thinking and publishing on the subject. To give you a sense of my current thinking on these issues, I append a recent essay (by me) on Ezra Pound and how modernism uses translation. You might as well read it as to have me repeat it to you-we can use the time more efficiently in this way and can open more comfortably into conversation. See the study materials section for the referenced essay.
Session 7
I'll lecture for some of this week's class. If I lecture I'll probably repeat what I've been thinking and publishing on the subject. To give you a sense of my current thinking on these issues, I append a recent essay (by me) on Charlie Chaplin and how modernism poetry uses image-techniques derived from film. The point is not only that the poems allude to Chaplin, but that they often derive their own sense of literary aesthetics, paradoxically, from film aesthetics. You might as well read the argument as to have me repeat it to you. I should mention that this essay is a bit self-reflexive-it deals with the dynamic of teaching MIT students-and that it's strictly a draft. I'll be interested to hear if its account of MIT classroom dynamics reflects your own sense of those dynamics. See the study materials section for the referenced essay.
| 1 | Introductions
  Origins of Modernism I
  Symbolist Textuality, Aestheticism, Relation to Image the Flaneur and the City |  | 2 | Origins of Modernism II
  The End of Victorianism
  Ethics and Aesthetics
  Oratory and the Performative
  Darwin and Social Change |  | 3 | Origins of Modernism: III
  World War I
  The End of the Discourse of Rationalism
  The Empire Break Down |  | 4 | Modernism and Orientalism
  The Ideogram
  Gender and Translation ('Feminizing' Asia)
  The War at Home
   F.S. Flint |  | 5 | The Modern Image and Sculpture
  Early Wittgenstein and the Status of the Image |  | 6 | Montage and Film-history
  Radio Aesthetics
  The Photographic Image and the Liteary Image
  The Image as Repository of Desire |  | 7 | Chaplin as Everyman, Chaplin as Subversive
  Modern Irony and Chaplin's Sentimentalilty
  'Machine' Aesthetics  |  | 8 | The Psychology of Self-revelation
  Time, Change, and the Image in 'Prufrock'
  The Image as Repoistory of Meaning |  | 9 | The "Mythic Method" and History
  The Working Papers to "The Waste Land", and Ezra Pound's Editing
  Anthropology, Distance, and Irony: "The Golden Bough" |  | 10 | The Status of Allusion
  Speech, Speechlessness, and the Buddha |  | 11 | Williams: "Waste Land" as the "Great Catastrophe"
  Free Verse and the American Idiom
  "'Medical' Aesthetics: Why a 'Contagious Hospital'?" |  | 12 | Words as Things
  Constructionism and Objectivism
  The Gendered 'Gaze'
  Class Distinctions in High Modernism |  | 13-14 | Harlem Renaissance
  Jazz, Race, and Gender |  | 15 | Woolf
  Mr. Ramsay and the Limits of Reason: Lines
  Mrs. Ramsay and the Expansion of Consciousness: Circles |  | 16 | Woolf (cont.)
  Lily's Androgynous Vision |  | 17 | Yeats
   Pound
   Stevens
   Doolittle
   Auden
   Conquest
   Ashbery
  Art, Disillusionment, and Modernist Form
  Aestheticism as Ritual, as Religion |  | 18 | Yeats (cont.)
  "Sailing to Byzantium": What's the Problem? [Stanzas 1 and 2] |  | 19 | Yeats (cont.)
  "Sailing to Byzantium": Where to Look for a Resolution? [Stanzas 3 and 4] |  | 20 | Yeats (cont.)
   Stevens
  Stevens, Repetition, and Language: Emerson meets Heidegger |  | 21 | Stevens (cont.)
  Displaced Spirituality and Modernrist Compensaion ["Sunday Morning" - Stanzas 1 and 2] |  | 22 | Stevens (cont.)
  Versions of "Sunday Morning"
  Transcendenence and the Image
  Keats and Stevens: The Last Stanza of "Sunday Morning" |  | 23-25 | Student Presentations |  
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