M 07-Dec Due: Final Project — “Resonance Assemblage” (checkpoint)
- Workshop / “Studio” class
“Stage 1″ Checkpoint instructions here.
W 09-Dec (no class)
- Due: Final Project — (9pm finalized / online)
“Truth depends on an encounter with something
that forces us to think and to seek the truth.” (14)
“if the resonance has both objective and subjective conditions,
what it produces is of an altogether different nature:
the Essence, the spiritual Equivalent….that breaks with the subjective chain.” (154)
— Deleuze, Proust and Signs (1972)
M 30-Nov Foer: Extremely Loud & Incredibly Close (through p. 173)
(Laura Hampson & Tahara Franklin)
W 02-Dec Extremely Loud & Incredibly Close (pp. 174-259)
(Krystal Sardinas & Paige Miller)
- Due: Project Proposal Update (revised/finalized; 7pm, on blog)
(counts as blog entry; add Foer to your “poetics inventory”)
→ Notes from class discussion (plus reminders and clarifications)
F 04-Dec Extremely Loud & Incredibly Close (pp. 267-326) (Sarah Zimmerman)
- plus: (required): “Mystory” excerpts by Ulmer (PDF)
M 07-Dec Due: Final Project — “Resonance Assemblage” (checkpoint / partial)
“The project is to learn to write with patterns that function
more like music than like concepts.” (91)— Ulmer, Heuretics
“For what one lacks access to from experience one will have no ear. ”
— Nietzsche, Ecce Homo
Final Project: “Resonance Assemblage”
Informal Proposal — due Friday 27-Nov
— (contact me if you need to post on Saturday, as I am replying in queue)
suggested reading: “Mystory” excerpts by Ulmer (PDF)
Review Experiment, especially CATTt
(and notes from 09 & 23 Nov classes;
have you updated your “Analogy” category inventory?)
Note: The following prompt is in addition to updating your “inventory” (required) with specific lessons and techniques from the novels, which is part of the project proposal; we’ll update one last time next week with Foer’s poetics.
For this week’s blog entry (due Friday),
exercise practicing a generative method and mode of thinking crucial for the final project,
following Monday’s creative writing entry: intuitive, inventive, and reflexive (personal).
“We should not be satisfied with either biography or bibliography;
we must reach a secret point where the anecdote of life and the aphorism of thought
amount to one and the same thing” (The Logic of Sense 128).— Deleuze (via Ulmer; citing Nietzsche’s method for invention).
two prompts and examples below…
-
A) “Emblem” (examples)
B) “Signature Theory” (example)
M 23-Nov Due: Response 6 — Part I (1:55pm) Creative Prompt
- — Part II: Analysis of Classmate’s Entry (due 11:59pm). Prompt
- Extra Credit (optional) Analytic Response — Prompt
“The next story I wrote was The Crying of Lot 49,
which was marketed as a ‘novel,’ and in which I seem
to have forgotten most of what I thought I’d learned up until then.”
– Thomas Pynchon, Slow Learner, 1984.
| M 16-Nov Pynchon: The Crying of Lot 49 (through Chapter 3) Pynchon Wiki: Annotations (Laura Navia & Audrey Bannon) |
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W 18-Nov Crying of Lot 49 (Chp. 4-5) (Anna Bernstein) |
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F 20-Nov Crying of Lot 49 (Chapter 6) plus Lot 49 Short Film (Maria Tamayo) |
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M 23-Nov Due: Response 6
Read the rest of this entry »
M 09-Nov read:
Gregory Ulmer, “The Learning Screen.” 4 pages. Networked. 2009.
and Franz Kafka’s parable, “Before the Law”
Orson Welles’ version: Watch/Listen (2:50)
W 11-Nov No classes—Veterans Day
Due: Response 5 — Prompt (deadline 11:59pm)
F 13-Nov EGO Conference: see schedule below.
Due: Blog Entry, “Inventory” about lessons thus far; see more below.
“Spinoza’s ethics has nothing to do with a morality; he conceives it as an ethology, that is, as a composition of fast and slow speeds, of capacities for affecting and being affected on this plane of [Nature]” (125).
–”you do not know beforehand what good or bad you are capable of…what a body or a mind can do, in a given encounter, a given arrangement, a given combination (125).
–Deleuze, Spinoza: Practical Philosophy
M 02-Nov Ceremony (through p.186 ) (Jessica Brousseau & Phil Cafaro)
W 04-Nov Ceremony (through end) (Eric Roe & Jake Jacob)
F 06-Nov No class (away at conference)
Due: Blog entry (Friday this week)
Read the rest of this entry »
I am interested in the intersection between poetry and history. How does history make its path in a poetic work?
We rarely see history in a literary text since it is so hard to deal with. Perhaps poetry does not know how to say or utter history. …History simply smothers and squashes.
Yet some books show that one can remain poetic in the very midst of history. (110)–Hélène Cixous, “Poetry, Passion, and History” (1985)
M 26-Oct Jazz (Chp. 6-10, pp.137-229) (Tahara Franklin)
W 28-Oct Silko: Ceremony (Intro + through p.37) (Laura Hampson)
F 30-Oct Ceremony (pp.38-85) (Maria Tamayo)
Due: Response 4 (deadline: 11:59pm)
M 19-Oct Experiment–Part II
- from 07-Oct ( Greek etymologies)
- “catastrophe” = katastrephein
{kata “to overturn” + strephein “turn”; or strophe “a turning”}
- = “reversal of what is expected” (originally in drama)
Q. in what does a “turn” occur? (hint: EXP)
W 21-Oct Morrison: Jazz (through Chp 3, pp.4-87) (Erin Gallagher)
F 23-Oct Jazz (Chp. 4-5, pp.89-135) (Hillary Silvestri)
