日本語 English
| 開講年度/ Academic YearAcademic Year |
20242024 |
| 科目設置学部/ CollegeCollege |
文学部/College of ArtsCollege of Arts |
| 科目コード等/ Course CodeCourse Code |
AM056/AM056AM056 |
| テーマ・サブタイトル等/ Theme・SubtitleTheme・Subtitle |
Brautigan II: Brautigan & the Surrealists |
| 授業形態/ Class FormatClass Format |
対面（全回対面）/Face to face (all classes are face-to-face)Face to face (all classes are face-to-face) |
| 授業形態（補足事項）/ Class Format (Supplementary Items)Class Format (Supplementary Items) |
|
| 授業形式/ Class StyleCampus |
演習・ゼミ/SeminarSeminar |
| 校地/ CampusCampus |
池袋/IkebukuroIkebukuro |
| 学期/ SemesterSemester |
秋学期/Fall semesterFall semester |
| 曜日時限・教室/ DayPeriod・RoomDayPeriod・Room |
火3/Tue.3 Tue.3 ログインして教室を表示する（Log in to view the classrooms.） |
| 単位/ CreditsCredits |
22 |
| 科目ナンバリング/ Course NumberCourse Number |
EAL2411 |
| 使用言語/ LanguageLanguage |
英語/EnglishEnglish |
| 履修登録方法/ Class Registration MethodClass Registration Method |
自動登録/Automatic RegistrationAutomatic Registration |
| 配当年次/ Assigned YearAssigned Year |
配当年次は開講学部のR Guideに掲載している科目表で確認してください。配当年次は開講学部のR Guideに掲載している科目表で確認してください。 |
| 先修規定/ Prerequisite RegulationsPrerequisite Regulations |
|
| 他学部履修可否/ Acceptance of Other CollegesAcceptance of Other Colleges |
履修登録システムの『他学部・他研究科履修不許可科目一覧』で確認してください。 |
| 履修中止可否/ Course CancellationCourse Cancellation |
×（履修中止不可/ Not eligible for cancellation） |
| オンライン授業60単位制限対象科目/ Online Classes Subject to 60-Credit Upper LimitOnline Classes Subject to 60-Credit Upper Limit |
|
| 学位授与方針との関連/ Relationship with Degree PolicyRelationship with Degree Policy |
各授業科目は、学部・研究科の定める学位授与方針（DP）や教育課程編成の方針（CP）に基づき、カリキュラム上に配置されています。詳細はカリキュラム・マップで確認することができます。 |
| 備考/ NotesNotes |
This English literature course aims to help students develop their English abilities in the four core skills of listening, reading, speaking, and writing through a combination of various texts, media and in-class activities. Students enrolled in this course will have the opportunity to enhance their abilities to analyze a text of literature through close reading of the original text, the provision of supplementary notes, videos or audio materials to aid students in their reading and interpretation of the source text from various perspectives. This will facilitate their overall understanding of the fields of Dadaist (1st Semester) and later Surrealist (2nd Semester) literature, both in terms of its origins in France, followed then by a focus upon its adoption and use by 20th Century American writers.
To provide students with a better contextual background, some supplementary materials and information on contemporary Dadaist and Surrealist writers and poets will also be provided to help students better understand some of the influences on Richard Brautigan’s writing. In each semester, three additional Dadaist or Surrealist writers will be introduced (for a period of three weeks each) as a means of comparison against the writings of Richard Brautigan himself, to help students deepen their understanding of this literary artform.
In terms of skills related to English ability and proficiency, students will have the opportunity to improve their English listening skills through the interpretations of the text provided by their teacher in class, and listening to recordings of Richard Brautigan reading his own texts as well as an audiobook version available online (on YouTube) which students can listen to, as a way either to review content or obtain a better understanding of the text. This will be used not only as a listening-comprehension exercise but as a way to better appreciate the feel and sounds of poetry and literature as a whole.
Group discussions will be held in regular classes on questions directly related to the text and given to students beforehand to prepare. Students will also have the opportunity to make a presentation in class (towards the end of the course) to help students improve their written proficiency (in preparing for the presentation) and their spoken English proficiency when they give the presentation in class. In Semester 2, students will give a presentation on one Surrealist poet mentioned throughout the course such as André Breton, Philip Lamantia, or Jack Spicer (one of Brautigan’s close friends). Three written homework assignments will be assigned on supplementary materials provided in class. Assignment #1 will be about Brautigan’s collection of poems, All Watched Over by Machines of Loving Grace; Assignment #2 will be about Brautigan’s second last collection of poems Loading Mercury with a Pitchfork; and Assignment #3 will be about Brautigan’s final collection of poems June 30th, June 30th. Assignment #4 will be held over two weeks towards the end of term, during which students will give a 3-minute presentation. Supplementary materials will be provided either in class or by email to help students complete ALL assignments. Some guidelines on how to complete these assignments will also be provided by the teacher, to help students improve their abilities in English written composition and expression.
Successful completion of this course should indicate an understanding of…
1. the historical background and contexts of the Dadaist and Surrealist movements in France and later their adoption by American writers;
2. the style, structure, aesthetics, aims and various complexities of Richard Brautigan’s writings, with a particular focus on his major works of prose plus early volumes of poetry;
3. several ways of analyzing a text, through supplementary readings and slides provided in class. NOTE: Lew Welch’s essay on In Watermelon Sugar taken from the volume, How I Work as a Poet & Other Essays will be used as well.
4. a better background knowledge of Brautigan’s life and times (based on a very thorough biography on Brautigan by William Hjortsberg called Jubilee Hitchhiker: The Life & Times of Richard Brautigan.
This course also involves the development of the following skills…
1. the ability to interpret and discuss a text, based on its historical and cultural context and milieu;
2. the ability to inform an original text through the use of secondary sources;
3. the ability to interpret and understand the literary analysis of other critics and writers;
4. the ability to present an argument or summary of one’s opinion on a literary work both in writing and orally.
This course, predominantly conducted in English, will offer enrolled students the opportunity to read and discuss Richard Brautigan’s other major prose masterpiece which bears many of the hallmarks of Surrealism, In Watermelon Sugar and how the text has been received by the public since its publication. This year marks the 40th anniversary of Brautigan’s death and therefore an appropriate time to take a look at his oeuvre once again. We will also talk about some of the Dadaist and Surrealist writers (both French and American) who share something in common with Richard Brautigan’s style of writing.
Most supplementary notes have been drawn from three very helpful texts: the incredibly detailed and exhaustive biography on Brautigan by William Hjortsberg called Jubilee Hitchhiker: The Life and Times of Richard Brautigan, Lew Welch’s essay on In Watermelon Sugar and Mary Ann Caws’ great scholarly work, The Poetry of Dada and Surrealism. Finally, where possible, the teacher will use any audio files and video by or on the writer. The aim of sharing these materials is twofold; to enrich students’ knowledge of Richard Brautigan, his writing and his perceptions of the world, and to help them enjoy studying poetry and prose through audio-visual materials, not just the written page. Recently a complete audiobook version of In Watermelon Sugar has been made available on YouTube, which students will be encouraged to listen to, as another way to enjoy this text.
| 1 | Lesson 1 – An Introduction to Dada, Surrealism & Richard Brautigan In our first class for the course, we will begin by discussing the historical contexts and backgrounds of Dada and Surrealism and talk about the most well-known (and some relatively unknown) writers from this literary group, such as Tristan Tzara, Marcel Duchamp, Claude Pélieu, Sinclair Beiles (Dadaists) as well as André Breton, Philip Lamantia, Jack Spicer and Bob Kaufman (Surrealists). If a large number of students who took the first part of this course in the Spring Semester are present in the Fall Semester class, less time will be spent on the overview part of this lesson. The second half of the class will focus on a brief overview of Richard Brautigan’s life and career and introduce students to his major works of prose and poetry, which we will read over the course of the year. Each of the 4 assignments will also be concisely explained as well as the methods of evaluation for each respective one. Lew Welch’s essay on In Watermelon Sugar will be a good starting point as it compares and contrast this work with Trout Fishing in America. |
| 2 | Lesson 2 – In Watermelon Sugar – Lighting the Bridges In Lesson 2, we will focus on the opening chapters of, In Watermelon Sugar, which was originally written in 1964 but not published until 1968, one year after the publication of Trout Fishing in America at the height of flower-power and the time of the Hippies and Haight-Ashbury. We will discuss Brautigan’s relationship to the Beats (including his friends Michael McClure and Joanne Kyger, two of 3 people to whom this book is dedicated), the San Francisco Renaissance (poets such as Jack Spicer and Lew Welch) and his relationship to the Hippies and the Diggers (Emmett Grogan and others). Brautigan has often been categorized as a writer between the Beats and the Hippies (as well as a member of the Diggers) and therefore a basic understanding of both of these groups will be important for students’ understanding of Brautigan’s aesthetics and identity. Assignment #1 (about Brautigan’s collection of poems called All Watched Over by Machines of Loving Grace) will also be distributed in this class or sent out by email. Students will also be informed of the deadline for Assignment #1 in this class. Finally, we will discuss the first of the ‘guest writer’ Surrealists for this course, one of its originators, André Breton. |
| 3 | Lesson 3 – iDEATH – A Love, A Wind In Lesson 3, we will begin by quickly reviewing content from the previous lesson before continuing on with the next few chapters of In Watermelon Sugar. We hopefully will also have the time to listen to a recording of the “iDEATH” chapter which Brautigan recorded in the 1960s. Students will discuss how listening to Brautigan reading this chapter changes their perceptions of the content. Where possible, supplementary notes taken from Hjortsberg’s biography on Brautigan as well as Abbott’s and Mills’ books on Brautigan will be provided as well. We will continue discussing the first of the ‘guest writer’ Surrealists for this course, André Breton, carrying on from the previous week and comparing how some of the language in Brautigan’s book might be similar to the Surrealists writings of Breton. |
| 4 | Lesson 4 – The Tigers Again – The Schoolteacher In Lesson 4, we will focus on the next few chapters of In Watermelon Sguar and focus on the topic of the tigers, which according to McClure are the same tygers of wrath mentioned in William Blake’s work. Therefore, we will briefly discuss William Blake’s work in this lesson. This will be our final week to discuss the writings and possible influence of André Breton on Brautigan’s work. |
| 5 | Lesson 5 – Under the Plank Press – A Nap In Lesson 5, we will review briefly what we have read so far. A reminder will be given that Assignment #1 is due at the end of this week. Penalties for late submissions after the deadline will also be repeated and emphasized. If ready, Assignment #2 on Brautigan’s second last collection of poems, Loading Mercury with a Pitchfork, will also be distributed and briefly explained. In this class, we will look at another writer, an American Beat and Surrealist writer, Philip Lamantia. Some poems by Lamantia will be provided and compared against Brautigan’s own writing. |
| 6 | Lesson 6 – Whiskey – Something is Going to Happen In Lesson 6, we will take a look at Lamantia’s most famous book of poems called Touch of the Marvelous as well as Brautigan’s own Loading Mercury with a Pitchfork (the focus for Assignment #2). We will also continue reading the next few chapters of In Watermelon Sugar and continue discussing some of Lamantia’s poems in this lesson as well as Brautigan’s struggles with alcoholism, which are related to the theme of ‘whiskey’ this week. |
| 7 | Lesson 7 – Rumors – An Exchange In Lesson 7, we have reached the halfway point of the novel and the course. We will also discuss audio recordings and readings of sections of the first half of the novel. This will also be the final week when Lamantia’s work will be discussed and examined, alongside Brautigan’s. We will also watch some videos in which other scholars analyze Brautigan’s poetry. |
| 8 | Lesson 8 – The Trout Hatchery – Shack Fever In Lesson 8, we will push on and read the next few chapters of the novel. We will also look at the third and final example of Surrealist writing, by looking at excerpts from Jack Spicer’s first book, After Lorca. Spicer was both a close friend of Brautigan’s and a strong advocate of Brautigan’s Trout Fishing in America novel. Students are expected to submit their answers for Assignment #2 by the deadline, which comes up in this week. Students will be reminded of penalties for late submissions once again. |
| 9 | Lesson 9 – Job – Necklace In Lesson 9, we will continue reading In Watermelon Sugar and discussing excerpts from Spicer’s After Lorca in this class. The third and final assignment for this class (apart from the presentation), on Brautigan’s final collection of poems, June 30th, June 30th, will be distributed and explained in this week. |
| 10 | Lesson 10 – Couch – Their Instruments Playing In Lesson 10, we will push on and read the final chapters of In Watermelon Sugar and this will also be the last class where we will discuss Jack Spicer’s work, After Lorca and some of his other work. As presentations are fast approaching (in Lesson 12 and 13), students will be given a reminder to start preparing their scripts and slides if they have not done so already. Students will have the chance to consult their teacher about a possible topic as well. |
| 11 | Lesson 11 – Presentations I In Lessons 12 and 13 students will have a chance to present on ONE of the Surrealist writers we have discussed over the course of the semester. It may be one of the Surrealist writers we discussed in detail in class (Breton, Lamantia, Spicer) or it may be another writer we discussed in passing (such as Sinclair Beiles or Bob Kaufman). Students are asked to prepare a 3-minute presentation (PPT presentations are recommended) and students will be asked a couple of questions at the end of the presentation either by the audience or by the teacher. |
| 12 | Lesson 12 – Presentations II In Lessons 12 and 13 students will have a chance to present on ONE of the Surrealist writers we have discussed over the course of the semester. It may be one of the Surrealist writers we discussed in detail in class (Breton, Lamantia, Spicer) or it may be another writer we discussed in passing (such as Sinclair Beiles or Bob Kaufman). Students are asked to prepare a 3-minute presentation (PPT presentations are recommended) and students will be asked a couple of questions at the end of the presentation either by the audience or by the teacher. |
| 13 | Lesson 13 – Comprehensive Review In our penultimate class together, we will do a comprehensive review of the main content and themes of In Watermelon Sugar as well as discuss some of the defining features of Surrealist writing and poetry, including the Surrealist poets we covered in class along with Brautigan, such as Breton, Lamantia, Spicer, Beiles, Kaufman and others. |
| 14 | Lesson 14 – Final Examination In Lesson 14, students will take their final examination. All parts of the textbook will be covered in the final exam, including some of the supplementary materials used in Assignments 1-3. There will be three sections to the final examination: 1) in the first section students will answer multiple-choice questions (10 pts.); in the second section students will write short-answer questions (10 pts.); 3) in the third section, students will write one essay on topics relating to Brautigan’s In Watermelon Sugar or the general topic of Dadaist or Surrealist writing. |
板書 /Writing on the Board
スライド（パワーポイント等）の使用 /Slides (PowerPoint, etc.)
上記以外の視聴覚教材の使用 /Audiovisual Materials Other than Those Listed Above
個人発表 /Individual Presentations
グループ発表 /Group Presentations
ディスカッション・ディベート /Discussion/Debate
実技・実習・実験 /Practicum/Experiments/Practical Training
学内の教室外施設の利用 /Use of On-Campus Facilities Outside the Classroom
校外実習・フィールドワーク /Field Work
上記いずれも用いない予定 /None of the above
| 補足事項 (Supplementary Items) |
|---|
| Illustrations may also be used to help explain certain visual aspects of the course. |
In addition to the weekly reading assignments from the textbook, students will also be encouraged to read and explore other supplementary sources of information. Some of the supplementary reading materials will be provided by the teacher (either photocopies handed out in class or sent by email) and extra 'recommending reading' sections will be suggested by the teachers to help them enrich their understanding of the poems, the writer and the course overall. Many of the extra articles on Richard Brautigan will be taken from Beat Scene magazine (although Beat Scene magazine focuses mostly on the Beat Generation writers, it occasionally publishes articles on Richard Brautigan as well). Some materials taken from Mary Anne Caws’ work on Dada and Surrealism, called The Poetry of Dada and Surrealism, will also be shared with students in class.
| 種類 (Kind) | 割合 (%) | 基準 (Criteria) |
|---|---|---|
| 平常点 (In-class Points) | 100 |
Assignment #1(10%) Assignment #2(10%) Assignment #3(10%) Assignment #4 (Presentation)(10%) In-class participation(30%) 最終テスト(Final Test)(30%) |
| 備考 (Notes) | ||
| No | 著者名 (Author/Editor) | 書籍名 (Title) | 出版社 (Publisher) | 出版年 (Date) | ISBN/ISSN |
|---|---|---|---|---|---|
| 1 | Brautigan, Richard | Trout Fishing in America, The Pill Versus the Springhill Mine Disaster, In Watermelon Sugar | Mariner Books | 1989 | 9780395500767 |
| No | 著者名 (Author/Editor) | 書籍名 (Title) | 出版社 (Publisher) | 出版年 (Date) | ISBN/ISSN |
|---|---|---|---|---|---|
| 1 | Hjortsberg, William | The Jubilee Hitchhiker: The Life and Times of Richard Brautigan | Counterpoint | 2012 | 9781582437903 |
| 2 | Caws, Ann Mary | The Poetry of Dada & Surrealism | Princeton University Press | 1970 | 9780691061641 |
| 3 | Welch, Lew | How I Work as a Poet & Other Essays | Grey Fox Press | 1973 |
Students should come to the first class having already purchased the textbook. Also, students should be prepared to participate in group discussions in English every week and should keep in mind that class participation accounts for 30% of their final grade.
Students are required to purchase a copy of the textbook, as students will need to refer to the book to answer some questions on the final examination (essay questions & short-answer questions).
This English literature course aims to help students develop their English abilities in the four core skills of listening, reading, speaking, and writing through a combination of various texts, media and in-class activities. Students enrolled in this course will have the opportunity to enhance their abilities to analyze a text of literature through close reading of the original text, the provision of supplementary notes, videos or audio materials to aid students in their reading and interpretation of the source text from various perspectives. This will facilitate their overall understanding of the fields of Dadaist (1st Semester) and later Surrealist (2nd Semester) literature, both in terms of its origins in France, followed then by a focus upon its adoption and use by 20th Century American writers.
To provide students with a better contextual background, some supplementary materials and information on contemporary Dadaist and Surrealist writers and poets will also be provided to help students better understand some of the influences on Richard Brautigan’s writing. In each semester, three additional Dadaist or Surrealist writers will be introduced (for a period of three weeks each) as a means of comparison against the writings of Richard Brautigan himself, to help students deepen their understanding of this literary artform.
In terms of skills related to English ability and proficiency, students will have the opportunity to improve their English listening skills through the interpretations of the text provided by their teacher in class, and listening to recordings of Richard Brautigan reading his own texts as well as an audiobook version available online (on YouTube) which students can listen to, as a way either to review content or obtain a better understanding of the text. This will be used not only as a listening-comprehension exercise but as a way to better appreciate the feel and sounds of poetry and literature as a whole.
Group discussions will be held in regular classes on questions directly related to the text and given to students beforehand to prepare. Students will also have the opportunity to make a presentation in class (towards the end of the course) to help students improve their written proficiency (in preparing for the presentation) and their spoken English proficiency when they give the presentation in class. In Semester 2, students will give a presentation on one Surrealist poet mentioned throughout the course such as André Breton, Philip Lamantia, or Jack Spicer (one of Brautigan’s close friends). Three written homework assignments will be assigned on supplementary materials provided in class. Assignment #1 will be about Brautigan’s collection of poems, All Watched Over by Machines of Loving Grace; Assignment #2 will be about Brautigan’s second last collection of poems Loading Mercury with a Pitchfork; and Assignment #3 will be about Brautigan’s final collection of poems June 30th, June 30th. Assignment #4 will be held over two weeks towards the end of term, during which students will give a 3-minute presentation. Supplementary materials will be provided either in class or by email to help students complete ALL assignments. Some guidelines on how to complete these assignments will also be provided by the teacher, to help students improve their abilities in English written composition and expression.
Successful completion of this course should indicate an understanding of…
1. the historical background and contexts of the Dadaist and Surrealist movements in France and later their adoption by American writers;
2. the style, structure, aesthetics, aims and various complexities of Richard Brautigan’s writings, with a particular focus on his major works of prose plus early volumes of poetry;
3. several ways of analyzing a text, through supplementary readings and slides provided in class. NOTE: Lew Welch’s essay on In Watermelon Sugar taken from the volume, How I Work as a Poet & Other Essays will be used as well.
4. a better background knowledge of Brautigan’s life and times (based on a very thorough biography on Brautigan by William Hjortsberg called Jubilee Hitchhiker: The Life & Times of Richard Brautigan.
This course also involves the development of the following skills…
1. the ability to interpret and discuss a text, based on its historical and cultural context and milieu;
2. the ability to inform an original text through the use of secondary sources;
3. the ability to interpret and understand the literary analysis of other critics and writers;
4. the ability to present an argument or summary of one’s opinion on a literary work both in writing and orally.
This course, predominantly conducted in English, will offer enrolled students the opportunity to read and discuss Richard Brautigan’s other major prose masterpiece which bears many of the hallmarks of Surrealism, In Watermelon Sugar and how the text has been received by the public since its publication. This year marks the 40th anniversary of Brautigan’s death and therefore an appropriate time to take a look at his oeuvre once again. We will also talk about some of the Dadaist and Surrealist writers (both French and American) who share something in common with Richard Brautigan’s style of writing.
Most supplementary notes have been drawn from three very helpful texts: the incredibly detailed and exhaustive biography on Brautigan by William Hjortsberg called Jubilee Hitchhiker: The Life and Times of Richard Brautigan, Lew Welch’s essay on In Watermelon Sugar and Mary Ann Caws’ great scholarly work, The Poetry of Dada and Surrealism. Finally, where possible, the teacher will use any audio files and video by or on the writer. The aim of sharing these materials is twofold; to enrich students’ knowledge of Richard Brautigan, his writing and his perceptions of the world, and to help them enjoy studying poetry and prose through audio-visual materials, not just the written page. Recently a complete audiobook version of In Watermelon Sugar has been made available on YouTube, which students will be encouraged to listen to, as another way to enjoy this text.
| 1 | Lesson 1 – An Introduction to Dada, Surrealism & Richard Brautigan In our first class for the course, we will begin by discussing the historical contexts and backgrounds of Dada and Surrealism and talk about the most well-known (and some relatively unknown) writers from this literary group, such as Tristan Tzara, Marcel Duchamp, Claude Pélieu, Sinclair Beiles (Dadaists) as well as André Breton, Philip Lamantia, Jack Spicer and Bob Kaufman (Surrealists). If a large number of students who took the first part of this course in the Spring Semester are present in the Fall Semester class, less time will be spent on the overview part of this lesson. The second half of the class will focus on a brief overview of Richard Brautigan’s life and career and introduce students to his major works of prose and poetry, which we will read over the course of the year. Each of the 4 assignments will also be concisely explained as well as the methods of evaluation for each respective one. Lew Welch’s essay on In Watermelon Sugar will be a good starting point as it compares and contrast this work with Trout Fishing in America. |
| 2 | Lesson 2 – In Watermelon Sugar – Lighting the Bridges In Lesson 2, we will focus on the opening chapters of, In Watermelon Sugar, which was originally written in 1964 but not published until 1968, one year after the publication of Trout Fishing in America at the height of flower-power and the time of the Hippies and Haight-Ashbury. We will discuss Brautigan’s relationship to the Beats (including his friends Michael McClure and Joanne Kyger, two of 3 people to whom this book is dedicated), the San Francisco Renaissance (poets such as Jack Spicer and Lew Welch) and his relationship to the Hippies and the Diggers (Emmett Grogan and others). Brautigan has often been categorized as a writer between the Beats and the Hippies (as well as a member of the Diggers) and therefore a basic understanding of both of these groups will be important for students’ understanding of Brautigan’s aesthetics and identity. Assignment #1 (about Brautigan’s collection of poems called All Watched Over by Machines of Loving Grace) will also be distributed in this class or sent out by email. Students will also be informed of the deadline for Assignment #1 in this class. Finally, we will discuss the first of the ‘guest writer’ Surrealists for this course, one of its originators, André Breton. |
| 3 | Lesson 3 – iDEATH – A Love, A Wind In Lesson 3, we will begin by quickly reviewing content from the previous lesson before continuing on with the next few chapters of In Watermelon Sugar. We hopefully will also have the time to listen to a recording of the “iDEATH” chapter which Brautigan recorded in the 1960s. Students will discuss how listening to Brautigan reading this chapter changes their perceptions of the content. Where possible, supplementary notes taken from Hjortsberg’s biography on Brautigan as well as Abbott’s and Mills’ books on Brautigan will be provided as well. We will continue discussing the first of the ‘guest writer’ Surrealists for this course, André Breton, carrying on from the previous week and comparing how some of the language in Brautigan’s book might be similar to the Surrealists writings of Breton. |
| 4 | Lesson 4 – The Tigers Again – The Schoolteacher In Lesson 4, we will focus on the next few chapters of In Watermelon Sguar and focus on the topic of the tigers, which according to McClure are the same tygers of wrath mentioned in William Blake’s work. Therefore, we will briefly discuss William Blake’s work in this lesson. This will be our final week to discuss the writings and possible influence of André Breton on Brautigan’s work. |
| 5 | Lesson 5 – Under the Plank Press – A Nap In Lesson 5, we will review briefly what we have read so far. A reminder will be given that Assignment #1 is due at the end of this week. Penalties for late submissions after the deadline will also be repeated and emphasized. If ready, Assignment #2 on Brautigan’s second last collection of poems, Loading Mercury with a Pitchfork, will also be distributed and briefly explained. In this class, we will look at another writer, an American Beat and Surrealist writer, Philip Lamantia. Some poems by Lamantia will be provided and compared against Brautigan’s own writing. |
| 6 | Lesson 6 – Whiskey – Something is Going to Happen In Lesson 6, we will take a look at Lamantia’s most famous book of poems called Touch of the Marvelous as well as Brautigan’s own Loading Mercury with a Pitchfork (the focus for Assignment #2). We will also continue reading the next few chapters of In Watermelon Sugar and continue discussing some of Lamantia’s poems in this lesson as well as Brautigan’s struggles with alcoholism, which are related to the theme of ‘whiskey’ this week. |
| 7 | Lesson 7 – Rumors – An Exchange In Lesson 7, we have reached the halfway point of the novel and the course. We will also discuss audio recordings and readings of sections of the first half of the novel. This will also be the final week when Lamantia’s work will be discussed and examined, alongside Brautigan’s. We will also watch some videos in which other scholars analyze Brautigan’s poetry. |
| 8 | Lesson 8 – The Trout Hatchery – Shack Fever In Lesson 8, we will push on and read the next few chapters of the novel. We will also look at the third and final example of Surrealist writing, by looking at excerpts from Jack Spicer’s first book, After Lorca. Spicer was both a close friend of Brautigan’s and a strong advocate of Brautigan’s Trout Fishing in America novel. Students are expected to submit their answers for Assignment #2 by the deadline, which comes up in this week. Students will be reminded of penalties for late submissions once again. |
| 9 | Lesson 9 – Job – Necklace In Lesson 9, we will continue reading In Watermelon Sugar and discussing excerpts from Spicer’s After Lorca in this class. The third and final assignment for this class (apart from the presentation), on Brautigan’s final collection of poems, June 30th, June 30th, will be distributed and explained in this week. |
| 10 | Lesson 10 – Couch – Their Instruments Playing In Lesson 10, we will push on and read the final chapters of In Watermelon Sugar and this will also be the last class where we will discuss Jack Spicer’s work, After Lorca and some of his other work. As presentations are fast approaching (in Lesson 12 and 13), students will be given a reminder to start preparing their scripts and slides if they have not done so already. Students will have the chance to consult their teacher about a possible topic as well. |
| 11 | Lesson 11 – Presentations I In Lessons 12 and 13 students will have a chance to present on ONE of the Surrealist writers we have discussed over the course of the semester. It may be one of the Surrealist writers we discussed in detail in class (Breton, Lamantia, Spicer) or it may be another writer we discussed in passing (such as Sinclair Beiles or Bob Kaufman). Students are asked to prepare a 3-minute presentation (PPT presentations are recommended) and students will be asked a couple of questions at the end of the presentation either by the audience or by the teacher. |
| 12 | Lesson 12 – Presentations II In Lessons 12 and 13 students will have a chance to present on ONE of the Surrealist writers we have discussed over the course of the semester. It may be one of the Surrealist writers we discussed in detail in class (Breton, Lamantia, Spicer) or it may be another writer we discussed in passing (such as Sinclair Beiles or Bob Kaufman). Students are asked to prepare a 3-minute presentation (PPT presentations are recommended) and students will be asked a couple of questions at the end of the presentation either by the audience or by the teacher. |
| 13 | Lesson 13 – Comprehensive Review In our penultimate class together, we will do a comprehensive review of the main content and themes of In Watermelon Sugar as well as discuss some of the defining features of Surrealist writing and poetry, including the Surrealist poets we covered in class along with Brautigan, such as Breton, Lamantia, Spicer, Beiles, Kaufman and others. |
| 14 | Lesson 14 – Final Examination In Lesson 14, students will take their final examination. All parts of the textbook will be covered in the final exam, including some of the supplementary materials used in Assignments 1-3. There will be three sections to the final examination: 1) in the first section students will answer multiple-choice questions (10 pts.); in the second section students will write short-answer questions (10 pts.); 3) in the third section, students will write one essay on topics relating to Brautigan’s In Watermelon Sugar or the general topic of Dadaist or Surrealist writing. |
板書 /Writing on the Board
スライド（パワーポイント等）の使用 /Slides (PowerPoint, etc.)
上記以外の視聴覚教材の使用 /Audiovisual Materials Other than Those Listed Above
個人発表 /Individual Presentations
グループ発表 /Group Presentations
ディスカッション・ディベート /Discussion/Debate
実技・実習・実験 /Practicum/Experiments/Practical Training
学内の教室外施設の利用 /Use of On-Campus Facilities Outside the Classroom
校外実習・フィールドワーク /Field Work
上記いずれも用いない予定 /None of the above
| 補足事項 (Supplementary Items) |
|---|
| Illustrations may also be used to help explain certain visual aspects of the course. |
In addition to the weekly reading assignments from the textbook, students will also be encouraged to read and explore other supplementary sources of information. Some of the supplementary reading materials will be provided by the teacher (either photocopies handed out in class or sent by email) and extra 'recommending reading' sections will be suggested by the teachers to help them enrich their understanding of the poems, the writer and the course overall. Many of the extra articles on Richard Brautigan will be taken from Beat Scene magazine (although Beat Scene magazine focuses mostly on the Beat Generation writers, it occasionally publishes articles on Richard Brautigan as well). Some materials taken from Mary Anne Caws’ work on Dada and Surrealism, called The Poetry of Dada and Surrealism, will also be shared with students in class.
| 種類 (Kind) | 割合 (%) | 基準 (Criteria) |
|---|---|---|
| 平常点 (In-class Points) | 100 |
Assignment #1(10%) Assignment #2(10%) Assignment #3(10%) Assignment #4 (Presentation)(10%) In-class participation(30%) 最終テスト(Final Test)(30%) |
| 備考 (Notes) | ||
| No | 著者名 (Author/Editor) | 書籍名 (Title) | 出版社 (Publisher) | 出版年 (Date) | ISBN/ISSN |
|---|---|---|---|---|---|
| 1 | Brautigan, Richard | Trout Fishing in America, The Pill Versus the Springhill Mine Disaster, In Watermelon Sugar | Mariner Books | 1989 | 9780395500767 |
| No | 著者名 (Author/Editor) | 書籍名 (Title) | 出版社 (Publisher) | 出版年 (Date) | ISBN/ISSN |
|---|---|---|---|---|---|
| 1 | Hjortsberg, William | The Jubilee Hitchhiker: The Life and Times of Richard Brautigan | Counterpoint | 2012 | 9781582437903 |
| 2 | Caws, Ann Mary | The Poetry of Dada & Surrealism | Princeton University Press | 1970 | 9780691061641 |
| 3 | Welch, Lew | How I Work as a Poet & Other Essays | Grey Fox Press | 1973 |
Students should come to the first class having already purchased the textbook. Also, students should be prepared to participate in group discussions in English every week and should keep in mind that class participation accounts for 30% of their final grade.
Students are required to purchase a copy of the textbook, as students will need to refer to the book to answer some questions on the final examination (essay questions & short-answer questions).