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 |
PB321/PB321PB321 |
| テーマ・サブタイトル等/ Theme・SubtitleTheme・Subtitle |
アメリカにおける詩人の領分 |
| 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 |
春学期/Spring SemesterSpring 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 |
EAL7313 |
| 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 |
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. At the end of the course, students are expected to write a research paper at a high level that can be submitted to an academic journal.
In this course, we will focus on “mid-length” poems—substantial works that, in recent years, have seldom been granted the opportunity for close reading. For the spring semester, we will take on the challenge of “New Hampshire” (1923) by Robert Frost, a poet synonymous with “regional modernism.” Setting aside his verse dramas, this poem stands as Frost’s longest work. In contrast to Frost, who sought to retreat into the interiority of New Hampshire, we will also read Allen Ginsberg’s “Howl,” which sought to amplify the chaos of the city.
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. At the end of the course, students are expected to write a research paper at a high level that can be submitted to an academic journal.
Robert Frost’s “New Hampshire” embodies the quintessential characteristics of his craft: while it possesses the fluent, prose-like quality of casual conversation, it is, in fact, meticulously constructed as formal verse. Furthermore, the poem presents themes that, at first glance, appear deceptively mischievous or elusive. These profound attributes are far from straightforward; therefore, we will consult Walter Jost’s essay, “Rhetorical Investigations of Robert Frost,” as a critical guide. Similarly, we will conduct a close reading of Allen Ginsberg’s “Howl,” utilizing Robert Pinsky’s “The Discursive Aspect of Poetry” to navigate its unconventional and iconoclastic style.
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 | 英語詩入門 |
| 2 | Robert Frostとその時代 |
| 3 | Robert Frost, “New Hampshire,” lines 1–60 |
| 4 | Robert Frost, “New Hampshire,” lines 61–107 |
| 5 | Robert Frost, “New Hampshire,” lines 108–158 |
| 6 | Robert Frost, “New Hampshire,” lines 159–209 |
| 7 | Robert Frost, “New Hampshire,” lines 210–261 |
| 8 | Robert Frost, “New Hampshire,” lines 262–306 |
| 9 | Robert Frost, “New Hampshire,” lines 307–357 |
| 10 | Robert Frost, “New Hampshire,” lines 358–413 |
| 11 | Walter Jost, “Rhetorical Investigations of Robert Frost” |
| 12 | Allen Ginsberg, “Howl,” part I |
| 13 | Allen Ginsberg, “Howl,” parts II–III |
| 14 | Robert Pinsky, “The Discursive Aspect of Poetry” |
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 | Allen Ginsberg | Collected Poems 1847–1997 | Harper | 2007 | 9780061139758 |
| 2 | Richard Gray | A History of American Poetry | Wiley Blackwell | 2015 | 9781118795354 |
| 3 | Edward Connery Lathem, ed. | The Poetry of Robert Frost | Henry Holt | 2002 | 9780805069860 |
授業の目標およびすべての評価方法において、前期課程よりも高度な達成水準を要求する。
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、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。春学期は、いわば「リージョナル・モダニズム」を代表する詩人Robert Frostの作品“New Hampshire” (1923)にチャレンジします。この詩は、詩劇を除けばFrostの作品の中でもっとも長い詩です。さらにニューハンプシャーの内側に籠もろうとしたFrostとは対照的に、都市のカオスを拡大しようとしたAllen Ginsbergの“Howl”も併せて読む予定。
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ります。最終的には、学術雑誌へ投稿可能な高いレベルのレポート執筆を目指す。
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. At the end of the course, students are expected to write a research paper at a high level that can be submitted to an academic journal.
In this course, we will focus on “mid-length” poems—substantial works that, in recent years, have seldom been granted the opportunity for close reading. For the spring semester, we will take on the challenge of “New Hampshire” (1923) by Robert Frost, a poet synonymous with “regional modernism.” Setting aside his verse dramas, this poem stands as Frost’s longest work. In contrast to Frost, who sought to retreat into the interiority of New Hampshire, we will also read Allen Ginsberg’s “Howl,” which sought to amplify the chaos of the city.
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. At the end of the course, students are expected to write a research paper at a high level that can be submitted to an academic journal.
Frostの“New Hampshire”は、気軽な会話を含んだ流暢な散文のようでありながら実はきちんとした定型詩となっていること、さらには一見すると人を食ったように見えるテーマが示されていること、というFrostの大きな特徴を備えています。いずれも奥が深い特徴であって一筋縄にはいきません。そこでWalter Jostの論文 “Rhetorical Investigations of Robert Frost”をガイドにする予定です。同様にGinsbergの“Howl”についても、その破天荒なスタイルを論じたRobert Pinskyの論文“The Discursive Aspect of Poetry”を手がかりとしながら精読していきます。
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。
Robert Frost’s “New Hampshire” embodies the quintessential characteristics of his craft: while it possesses the fluent, prose-like quality of casual conversation, it is, in fact, meticulously constructed as formal verse. Furthermore, the poem presents themes that, at first glance, appear deceptively mischievous or elusive. These profound attributes are far from straightforward; therefore, we will consult Walter Jost’s essay, “Rhetorical Investigations of Robert Frost,” as a critical guide. Similarly, we will conduct a close reading of Allen Ginsberg’s “Howl,” utilizing Robert Pinsky’s “The Discursive Aspect of Poetry” to navigate its unconventional and iconoclastic style.
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 | 英語詩入門 |
| 2 | Robert Frostとその時代 |
| 3 | Robert Frost, “New Hampshire,” lines 1–60 |
| 4 | Robert Frost, “New Hampshire,” lines 61–107 |
| 5 | Robert Frost, “New Hampshire,” lines 108–158 |
| 6 | Robert Frost, “New Hampshire,” lines 159–209 |
| 7 | Robert Frost, “New Hampshire,” lines 210–261 |
| 8 | Robert Frost, “New Hampshire,” lines 262–306 |
| 9 | Robert Frost, “New Hampshire,” lines 307–357 |
| 10 | Robert Frost, “New Hampshire,” lines 358–413 |
| 11 | Walter Jost, “Rhetorical Investigations of Robert Frost” |
| 12 | Allen Ginsberg, “Howl,” part I |
| 13 | Allen Ginsberg, “Howl,” parts II–III |
| 14 | Robert Pinsky, “The Discursive Aspect of Poetry” |
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 | Allen Ginsberg | Collected Poems 1847–1997 | Harper | 2007 | 9780061139758 |
| 2 | Richard Gray | A History of American Poetry | Wiley Blackwell | 2015 | 9781118795354 |
| 3 | Edward Connery Lathem, ed. | The Poetry of Robert Frost | Henry Holt | 2002 | 9780805069860 |
授業の目標およびすべての評価方法において、前期課程よりも高度な達成水準を要求する。