Course: Modern American Poetry
Modules:
Welcome to Modern American Poetry!
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)
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)
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)
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"