A student project analyzing Barbara Guest's poem "20."
Works Cited for the Project
Bernstein, Charles. "Barbara Guest: The Art of Poetry." Jacket 2. N.p., n.d. Web. 26 Apr.
Caples, Garrett. The Barbara Guest Experience. n.p.: Gale, 2004. Literature Resource
Center. Web. 26 Apr. 2016.
Diggory, Terence. "Barbara Guest and The Mother Of Beauty." Women's Studies 30.1
(2001): 75. Academic Search Complete. Web. 26 Apr. 2016.
Guest, Barbara. The Collected Poems of Barbara Guest. Ed. Hadley Guest. Middletown,
CT: Wesleyan University Press, 2008. Print.
Wagner, Catherine. "Freedom, Confinement and Disguise: An Interview with Barbara
Guest." N.p., Nov. 1996. Web. 26 Apr. 2016.
"Before the semester started I could barely analyze a poem. Now I feel like I can analyze just about anything."
"So many of these great writers that I’ve never heard of have seemed to step out into the light and shake my hand. "
"I admired how different this class was compared to some other writing classes I’ve taken. The encouraged use of technology in this class really allowed the students to connect more with the class itself because that’s more of what we know. We have a greater grasp on technology and would rather create and blog posting than write out an essay. This class has a series of different genres from short stories to poems, that would somehow relate back to technology; whether it was a YouTube video of a famous person reading the piece that was assigned for homework or listening to a podcast . . . about a writer. Listening to these made it more interesting than having to read page after page of one topic."
"This course has opened up my world to more than just writing papers. Creating a script to analyze a writer allows you to connect more with that writer because it makes you get into the mind of the writer and try to figure out what they are thinking. . . . Professor Golden has created different ways to do research without it being tedious. It was definitely more fun and interesting."
After our discussion of an excerpt from Patti Smith's M Train (2015), William Carlos William's "The Great Figure" (1921), and Charles Demuth's "I Saw the Figure 5 in Gold" (1928), and the ways that transportation and technology shape images of the city, Dr. Golden went to check out Demuth's painting in the Metropolitan Museum of Art.
"More than this, there was her long connection with the New York Times. It had followed her wherever she went; its bound volumes brightened her simple rooms; it was a faithful record of everything that had happened to her. In the school dining room or in the drawing room after dinner, no matter what the discussion, someone was sure to turn respectfully to her and say, ‘What does the Times say on that, Miss Chilton?’ and she would graciously interpret the Times’s policy.” Dawn Powell, "Here Today, Gone Tomorrow," page 87.
Part I: Dawn Powell first mentions her story “Here Today, Gone Tomorrow” in a 1939 diary entry when she is considering including it in a collection of short stories. She also published the story in Mademoiselle magazine. Using the New York Times search engine from the NYIT Library, read issues leading up to 1939, with regard to the topics in the story.
What might Miss Chilton have encountered as she read? How does the newspaper represent women, education, and New York? What global and local events took place? What light does the newspaper shed on the protagonist's character and her intellectual life?
Select at least one quotation from "Here Today, Gone Tomorrow" to analyze alongside at least one quotation and image (of an article, quotation, or advertisement) from the New York Times. Save your findings using screenshots, pasting them into a Word or Google Doc and recording the citation information. We will discuss your findings.
Part II: In preparation for our Script and Podcast or Video projects, create a short video that presents an argument about your findings and "Here Today, Gone Tomorrow," including text and images, using VoiceThread or Moovly.
Cite and analyze at least one quotation from Powell's story and information from the New York Times. Due to copyright, do not share images from the New York Times online archive.
Last week, we watched Anne Hathaway’s performance of Dorothy Parker’s story, “The Garter.” Working in groups, prepare a dramatic reading of a section of Dawn Powell’s story, “Here Today, Gone Tomorrow.” Each group member must perform an equal portion of the reading. Practice your performance and then each group will perform its section for the class.
Group 1: 83-85
Group 3: 88-89
Group 4: 90-91
Group 5: 92-93
Group 6: 94-96
Dr. Golden's posting, "Navigating Modernism's Visual History," is available on the Teaching Women's Writing in English: A New MLA Options in Teaching Volume in Development site.
Here is the beginning:
My “Writing New York” course this term at the New York Institute of Technology invites students to develop greater facility with visual and digital tools as they construct arguments analyzing the role of New York in poetry, prose, and fiction from predominately the first half of the twentieth century.
The students began navigating modernism’s visual history early in the term. While reading Elizabeth Losh, et al.’s Understanding Rhetoric: A Graphic Guide to Writing, the students practiced constructing visual arguments while exploring the relationship between the design of a little magazine published in New York and its contents in our “Visual Literacy and the Modernist Journals Project” assignment. (The digital tasks described here took place during the second half of an eighty-minute class period.) When we read Edith Wharton’s “New Year’s Day” from Old New York (1924), the students interpreted the role of the city in the characters’ interactions in an assigned section of the reading, investigating the significance of their locations using Google Maps. In “Locating Old New York,” the students had unexpected observations, including the number of fires that the novella’s Fifth Avenue Hotel experienced in the late nineteenth and early twentieth centuries. This assignment also enabled the students to gain greater familiarity with “New Year’s Day” in preparation for their essays analyzing the role of humanity amidst the machinery of the city in E. B. White’s “Here is New York” (1949), Wharton’s story, or in both texts.
You can read the rest of the posting here.
Come to Wisser Library on April 26 to work on your end of term projects. The International Write-In is an event organized by Swarthmore College to motivate student writing in a sprit of solidarity with the students around the world finishing their work at the end of the term. Over 50 campuses will be participating. You can read more about it here.
Working in pairs, develop an argument analyzing the role of humanity in the machine of the city, focusing on the written, visual, and nonverbal content of the September 8, 1928 Issue of The New Yorker containing Dorothy Parker's “The Garter." Compose a written response in which you assert an argument analyzing at least two quotations from Parker and at least two screenshots from the magazine.
When you are finished, paste your response on our class’s Google Doc. Remember to include both of your names.
Some topics you might address include: wit, humor, humanity, social life, the city, gender, design, font, advertising, clothing, literature, and taste.
When you have finished, we will discuss the collective findings and the arguments they make.
Working in your project groups, create a meme transforming for the twenty-first century Dorothy Parker’s wit in one of the texts we read. You can use any software, image, or platform, including Microsoft Word.
When you have finished, email the meme to the instructor. We will assess the results together.