日本語 English
| 開講年度/ Academic YearAcademic Year |
20262026 |
| 科目設置学部/ CollegeCollege |
文学研究科/Graduate School of ArtsGraduate School of Arts |
| 科目コード等/ Course CodeCourse Code |
JB140/JB140JB140 |
| テーマ・サブタイトル等/ Theme・SubtitleTheme・Subtitle |
アメリカ詩人の垂直軸 |
| 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 |
月4/Mon.4 Mon.4 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 |
EAL6313 |
| 使用言語/ LanguageLanguage |
その他/OthersOthers |
| 履修登録方法/ Class Registration MethodClass Registration Method |
科目コード登録/Course Code RegistrationCourse Code 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 |
－（履修中止制度なし/ No system 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。 https://www.rikkyo.ac.jp/about/disclosure/educational_policy/arts.html |
| 備考/ NotesNotes |
後期課程用科目コード：PB322 |
Poetry is often characterized by its expansive scale. For instance, Herman Melville’s Clarel spans approximately 18,000 lines, while the collective volumes of Ezra Pound’s The Cantos and Charles Olson’s The Maximus Poems constitute immense literary undertakings. Such works are not easily approached on a whim. Nevertheless, they undeniably occupy a central position in the history of American literature.
Continuing from the spring semester, this course will focus on “mid-length” poems—substantial works that have seldom been granted the opportunity for close reading in recent years. For the autumn semester, we will take on the challenge of “The Man with the Blue Guitar” (1937) by Wallace Stevens, a preeminent figure of “Late American Modernism.” This poem can be understood as an attempt to transform a barren reality through the flight of imagination—mediated by the device of the guitar—to create a space where the soul can truly reside.
In contrast to the introspective and meditative Stevens, we will also read “The Descent” by William Carlos Williams, a poet often characterized by his objectivist and matter-of-fact style. His work seeks to discover a glimmer of light precisely by descending to the very depths of a desperate reality.
Our ultimate goal is to read these texts critically and illuminate their poetic craftsmanship. Through this process, students will cultivate the “ability to analyze and synthesize content” and the “skills for accurate and objective research” as outlined in the Curriculum Map, while ultimately learning to savor the intrinsic allure of the works for themselves.
In our study of Stevens’ “The Man with the Blue Guitar,” we will read alongside its? Hillis Miller’s essay, “Wallace Stevens’ Poetry of Being”—Miller being a prominent figure associated with the so-called Yale School of criticism. For Williams’ “The Descent,” we will refer to Eleanor Berry’s “William Carlos Williams’ Triadic-Line Verse: An Analysis of Its Prosody” as a specialized analysis of the work.
The seminar will proceed with designated presenters leading the discussion based on prepared handouts. However, those not presenting are also expected to engage proactively and appreciate the texts with a discerning eye.
| 1 | StevensとWilliamsの略伝・研究史略 |
| 2 | 「後期アメリカ・モダニズム」の文学と詩 |
| 3 | Wallace Stevens, “The Man with the Blue Guitar,” cantos 1–4 |
| 4 | Wallace Stevens, “The Man with the Blue Guitar,” cantos 5–8 |
| 5 | Wallace Stevens, “The Man with the Blue Guitar,” cantos 9–12 |
| 6 | Wallace Stevens, “The Man with the Blue Guitar,” cantos 13–16 |
| 7 | Wallace Stevens, “The Man with the Blue Guitar,” cantos 17–20 |
| 8 | Wallace Stevens, “The Man with the Blue Guitar,” cantos 21–24 |
| 9 | Wallace Stevens, “The Man with the Blue Guitar,” cantos 25–28 |
| 10 | Wallace Stevens, “The Man with the Blue Guitar,” cantos 29–33 |
| 11 | J. Hillis Miller, “Wallace Stevens’ Poetry of Being” |
| 12 | William Carlos Williams, “The Descent” |
| 13 | William Carlos Williams, “The Descent” |
| 14 | Eleanor Berry, “William Carlos Williams’ Triadic-Line Verse: An Analysis of Its Prosody” |
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
授業時間外の学修に関する指示は, 履修登録完了後に「Canvas LMS」上で履修者に対して行います。各回の予習・復習にはそれぞれ2時間程度を要します。
| 種類 (Kind) | 割合 (%) | 基準 (Criteria) |
|---|---|---|
| 平常点 (In-class Points) | 100 |
発表と応答（議論・貢献度など）(60%) 最終レポート(Final Report)(40%) |
| 備考 (Notes) | ||
| その他 (Others) | |||||
|---|---|---|---|---|---|
| プリントを配付します。 |
| No | 著者名 (Author/Editor) | 書籍名 (Title) | 出版社 (Publisher) | 出版年 (Date) | ISBN/ISSN |
|---|---|---|---|---|---|
| 1 | Richard Gray | A History of American Poetry | Wiley Blackwell | 2015 | 9781118795354 |
| 2 | Kermode & Richardson, eds. | Wallace Stevens: Collected Poetry & Prose | Library of America | 1997 | 9781883011451 |
| 3 | Christopher MacGowan, ed. | The Collected Poems of William Carlos Williams: Vol. 2, 1939-1962 | New Directions | 1988 | 9780811210638 |
詩はしばしば長編になります。たとえばHerman Melville のClarel は約18,000 行に及び、Ezra Pound のThe Cantos やCharles Olson のThe Maximus Poems も各篇を総計すれば極めて大部の詩作になります。いずれも軽々と手にとって読むことはできません。しかしながらアメリカ文学史上、重要な位置を占めた作品であることは確かです。
そこで本授業では春学期に続き、近年精読される機会が少ない、比較的長い、いわば「中編」詩を読んでみたい。秋学期は、いわば「後期アメリカ・モダニズム」を代表する詩人Wallace Stevensの作品“The Man with the Blue Guitar” (1937)にチャレンジします。この詩は、ギターという装置を通して想像力を飛翔させることによって不毛な現実を塗り替え、さらには魂の生きるべき場所を作りだそうとした作品といえます。加えて、内省的・思索的なStevensとは対照的に即物的な詩人といえるWilliam Carlos Williamsの詩“The Descent”も併せ読む予定。こちらは、絶望的な現実の底へ下降することによって何らかの光を見いだそうとする作品です。
最終的には、これらのテクストをクリティカルに読み、その詩的工夫に光を当てることによって、カリキュラム・マップに示された「内容を分析総合する能力」と「的確で客観的な調査を行う技能」を養いながら、作品の魅力をみずから翫味できるようになることを目指します。
Poetry is often characterized by its expansive scale. For instance, Herman Melville’s Clarel spans approximately 18,000 lines, while the collective volumes of Ezra Pound’s The Cantos and Charles Olson’s The Maximus Poems constitute immense literary undertakings. Such works are not easily approached on a whim. Nevertheless, they undeniably occupy a central position in the history of American literature.
Continuing from the spring semester, this course will focus on “mid-length” poems—substantial works that have seldom been granted the opportunity for close reading in recent years. For the autumn semester, we will take on the challenge of “The Man with the Blue Guitar” (1937) by Wallace Stevens, a preeminent figure of “Late American Modernism.” This poem can be understood as an attempt to transform a barren reality through the flight of imagination—mediated by the device of the guitar—to create a space where the soul can truly reside.
In contrast to the introspective and meditative Stevens, we will also read “The Descent” by William Carlos Williams, a poet often characterized by his objectivist and matter-of-fact style. His work seeks to discover a glimmer of light precisely by descending to the very depths of a desperate reality.
Our ultimate goal is to read these texts critically and illuminate their poetic craftsmanship. Through this process, students will cultivate the “ability to analyze and synthesize content” and the “skills for accurate and objective research” as outlined in the Curriculum Map, while ultimately learning to savor the intrinsic allure of the works for themselves.
Stevensの“The Man with the Blue Guitar”を読むに当たっては、いわゆるイエール学派としても知られるJ. Hillis Millerの論文“Wallace Stevens’ Poetry of Being”を併読します。Williamsの “The Descent”を読むさいは、specificな論文としてEleanor Berryの論文“William Carlos Williams’ Triadic-Line Verse: An Analysis of Its Prosody”を参照します。
本演習は、あらかじめ定められた担当者がハンドアウトに基づいて発表することによって進められます。担当でない参加者もみずからすすんで翫味しなければなりません。
In our study of Stevens’ “The Man with the Blue Guitar,” we will read alongside its? Hillis Miller’s essay, “Wallace Stevens’ Poetry of Being”—Miller being a prominent figure associated with the so-called Yale School of criticism. For Williams’ “The Descent,” we will refer to Eleanor Berry’s “William Carlos Williams’ Triadic-Line Verse: An Analysis of Its Prosody” as a specialized analysis of the work.
The seminar will proceed with designated presenters leading the discussion based on prepared handouts. However, those not presenting are also expected to engage proactively and appreciate the texts with a discerning eye.
| 1 | StevensとWilliamsの略伝・研究史略 |
| 2 | 「後期アメリカ・モダニズム」の文学と詩 |
| 3 | Wallace Stevens, “The Man with the Blue Guitar,” cantos 1–4 |
| 4 | Wallace Stevens, “The Man with the Blue Guitar,” cantos 5–8 |
| 5 | Wallace Stevens, “The Man with the Blue Guitar,” cantos 9–12 |
| 6 | Wallace Stevens, “The Man with the Blue Guitar,” cantos 13–16 |
| 7 | Wallace Stevens, “The Man with the Blue Guitar,” cantos 17–20 |
| 8 | Wallace Stevens, “The Man with the Blue Guitar,” cantos 21–24 |
| 9 | Wallace Stevens, “The Man with the Blue Guitar,” cantos 25–28 |
| 10 | Wallace Stevens, “The Man with the Blue Guitar,” cantos 29–33 |
| 11 | J. Hillis Miller, “Wallace Stevens’ Poetry of Being” |
| 12 | William Carlos Williams, “The Descent” |
| 13 | William Carlos Williams, “The Descent” |
| 14 | Eleanor Berry, “William Carlos Williams’ Triadic-Line Verse: An Analysis of Its Prosody” |
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
授業時間外の学修に関する指示は, 履修登録完了後に「Canvas LMS」上で履修者に対して行います。各回の予習・復習にはそれぞれ2時間程度を要します。
| 種類 (Kind) | 割合 (%) | 基準 (Criteria) |
|---|---|---|
| 平常点 (In-class Points) | 100 |
発表と応答（議論・貢献度など）(60%) 最終レポート(Final Report)(40%) |
| 備考 (Notes) | ||
| その他 (Others) | |||||
|---|---|---|---|---|---|
| プリントを配付します。 |
| No | 著者名 (Author/Editor) | 書籍名 (Title) | 出版社 (Publisher) | 出版年 (Date) | ISBN/ISSN |
|---|---|---|---|---|---|
| 1 | Richard Gray | A History of American Poetry | Wiley Blackwell | 2015 | 9781118795354 |
| 2 | Kermode & Richardson, eds. | Wallace Stevens: Collected Poetry & Prose | Library of America | 1997 | 9781883011451 |
| 3 | Christopher MacGowan, ed. | The Collected Poems of William Carlos Williams: Vol. 2, 1939-1962 | New Directions | 1988 | 9780811210638 |