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所在平台: Coursera |
课程主页: https://www.coursera.org/learn/poetry-workshop
课程评论：没有评论
课程名称：磨练视野：诗歌工作坊 课程概述：为什么仅仅写诗，而不写得更好呢？本课程的核心理念是，最激动人心的写作往往发生在初稿之后。它专为那些相信诗歌不仅仅是自我表达的人而设立，正如上网不仅仅是为了发邮件。诗歌可以改变你和你的读者对世界及其居民的看法；它能够为语言开辟新天地，将一张空白纸变成生动的声音和音乐的交响乐。 通过理解诗歌创作的多个工具，并勇于“误用”这些工具，我们可以获得更多的尝试方式，甚至有可能让自己感到惊喜。课程中，我们将通过学习现代和当代诗人的作品来掌握关键的诗歌术语和手法，并有机会从一系列特定的提示中尝试写下新的诗歌草稿。在课程过程中，您将有机会对自己的诗歌草稿进行讨论，并获得反馈，以逐步打磨出更为精练的诗作。 课程大纲： 1. **引言与诗行**：探讨诗行的重要性，进行行间断练习和重混现成诗，准备第一次测验和有趣的写作提示。 2. **抽象与意象**：区分意象和抽象，学习如何用新符号替代陈词滥调，并创造能营造关系、情绪和风格的意象。 3. **隐喻与差异的其他公式**：讨论对比的魅力，通过并列比较来产生诗意效果，创作包含有力对比的诗作，并进行首次诗歌工作坊。 4. **韵律**：研究韵律的使用及其引发的效果，探索诗歌之外的“韵”。 5. **节奏**：分析语言的节奏，讨论如何使用不同的节奏驱动诗歌。 6. **磨练诗歌：修订策略**：区分修订与编辑，学习批判性阅读自己的作品，提交并评估前五个模块中某一诗作的修订。 本课程鼓励创造性发挥，帮助学员提高诗歌写作技巧，是对热爱诗歌的作者和创作者的一次精彩旅程。
Name:Introduction and the Poetic Line
Description:Poetry orchestrates its music, arguments, tensions, and environment via arrangements of language into lines and stanzas. This week we’ll address the importance of the line break, perhaps the most conspicuous, signature tool in the poet’s toolkit. Do you break more for sound, for sense, visual effect, shape, a mix of several? We’ll participate in several line break exercises and remix found poems. Also: prepare for your first quiz and a fun first writing prompt.
Name:Abstraction and Image
Description:Abstraction doesn’t mean “deep,” and image doesn’t mean “picture.” Images are typically understood as anything you can literally touch/taste/see/hear/smell, and abstractions are those things for which we have symbols (a clock for “time,” a heart for “love”) but no image. Abstractions and images may fill our poems, but how can you tell what’s what, and how can you leverage them to compelling ends? This week we’ll work at finding new symbols to replace clichéd ones for abstractions and we’ll work at crafting images that do more than add furniture to a poem, but create systems of relationships, moods, and even style.
Name:Metaphor and Other Formulas of Difference
Description:Most of us think of simile and metaphor, personification and other similar figures of speech as being about similarities between objects, concepts, and entities. But the juice in these formulas comes from how different the two things being compared seem to be. This is why writing: “the shark moved like a fish” is, alone, a lot less interesting than saying “the shark moved like a squad car.” We’ll talk about how playing with difference via juxtaposition can create a range of poetic effects. Then you’ll write a poem built of one robustly developed or several contrasting juxtapositions. We'll end this module with yet another quiz, and our first poetry workshop -- facilitated through a peer assessed assignment.
Name:Rhyme
Description:This week we’ll explore how rhyme leverages patterns of sameness and how we can estrange similarity for compelling poetic effects. We’ll check out examples of “rhyme”—sonic, visual, conceptual—from outside of poetry too.
Name:Rhythm
Description:All spoken language has rhythm, the trick is working the rhythm in such a way that drives your poem toward the effects you’re after. Maybe you want a fluid, seductive, propulsive rhythm. Perhaps something that halts or stutters. We’ll use traditional western concepts of meter as a means to open the door to this discussion, but we may leave them at the door upon entry.
Name:Sharpened Poetry: Revision Strategies
Description:When you revise a poem, you are not trying to dull the emotional flash of your first draft. You must, instead, intensify it. In this, our final week, we’ll discuss the difference between revision and editing, the art of reading your own work critically, and the beauty of drafts. For your final peer review, you’ll turn in (and in turn, assess) a revision of one of the poems from the preceding 5 modules.
Why just write poems when you can write better ones? This course is built on the notion that the most exciting writing begins after the first draft. It is specifically for folks who believe that writing poems just to express oneself is like using the Internet just for email. After all, poetry can change the way you and your readers think of the world and its inhabitants; it can break new ground for language; turn a blank sheet of paper into a teeming concert of voices and music. Though any of us may have the potential to make that happen, having an understanding of how several tools of poetic composition can be used (and audaciously “mis-used”) gives you more ways to try (and if we do this right, we might surprise ourselves most of all). We'll cover key poetic terms and devices by studying poems by a handful of modern and contemporary poets and then get a chance to try our own hand at writing new poem drafts from a select number of prompts. Throughout the course you will have the opportunity to workshop your poem drafts and get feedback on your work, working towards a more polished poem.
