{"id":9,"date":"2017-01-13T21:25:44","date_gmt":"2017-01-13T21:25:44","guid":{"rendered":"http:\/\/courses.suzannechurchill.com\/eng394-f17\/?page_id=9"},"modified":"2017-11-17T16:25:04","modified_gmt":"2017-11-17T16:25:04","slug":"calendar","status":"publish","type":"page","link":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/calendar\/","title":{"rendered":"Calendar"},"content":{"rendered":"<h3><strong>CALENDAR<br \/>\n<\/strong><\/h3>\n<ul>\n<li>Questions? Email the class: ENG3940_201701@davidson.edu, or come to my office hours: Mon &amp; Thu 1:30-3 pm, or by appt (CH 3288)<\/li>\n<li><span style=\"color: #008000;\"><em>Items in green\u00a0are recommended but optional.<\/em><\/span><\/li>\n<\/ul>\n<hr \/>\n<h6>WEEK 1<\/h6>\n<h5>Tue, Aug 22<\/h5>\n<h4>Introduction: The Avant-Garde Challenge<\/h4>\n<ul>\n<li><a href=\"http:\/\/armory.nyhistory.org\/opening\/\">The Armory Show<\/a> (1913)<\/li>\n<li>The Exhibition of the Society of Independent Artists (1917)<\/li>\n<\/ul>\n<hr \/>\n<h5>Thu, Aug 24<\/h5>\n<h4>Marcel Duchamp &amp; the Historical Avant-Garde<\/h4>\n<p><strong>Reading:<\/strong><\/p>\n<ul>\n<li><em><a href=\"http:\/\/sdrc.lib.uiowa.edu\/dada\/blindman\/2\/\">The Blind Man 2<\/a><\/em>\n<ul>\n<li>\u201cThe Richard Mutt Case\u201d (5)<\/li>\n<li>Louise Norton, \u201cBuddha of the Bathroom\u201d (5-6)<\/li>\n<li>Charles Demuth \u201cFor Richard Mutt\u201d (6)<\/li>\n<\/ul>\n<\/li>\n<li>Martin Gayford, \u201c<a href=\"http:\/\/www.telegraph.co.uk\/culture\/art\/3671180\/Duchamps-Fountain-The-practical-joke-that-launched-an-artistic-revolution.html\">Duchamp\u2019s Fountain: the practical joke that launched an artistic revolution<\/a>\u201d<\/li>\n<li>\u201c<a href=\"https:\/\/en.wikipedia.org\/wiki\/Avant-garde\">Avant-Garde<\/a>,\u201d Wikipedia entry<\/li>\n<li>\u201cAvant-Garde: Overview and Militancy,\u201d Encyclopedia of the History of Ideas (<a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/readings\/\" target=\"_blank\" rel=\"noopener\">PDF<\/a>)<\/li>\n<li>Recommended: Rosalind Krauss, &#8220;The Originality of the Avant-Garde&#8221; (<a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/readings\/\" target=\"_blank\" rel=\"noopener\">pdf<\/a>; assigned during theory unit, but it&#8217;s a really interesting argument and you may want to get a head start on it now)<\/li>\n<\/ul>\n<p><strong>Assignment: <\/strong><\/p>\n<ul>\n<li>Bring your own \u201c<strong>found object<\/strong>\u201d or \u201c<strong>ready-made<\/strong>\u201d to class for The Society of Independent Artists 2017, to be held in Wall 320 (provide title &amp; author)<\/li>\n<\/ul>\n<hr \/>\n<h6>WEEK 2<\/h6>\n<h5>Sun, Aug 27<\/h5>\n<p><strong><a href=\"https:\/\/davidsonedu.co1.qualtrics.com\/jfe\/form\/SV_da5poeNy4qCRcgd\" target=\"_blank\" rel=\"noopener\">Scavenger Hunt &amp; Survey<\/a> responses due<\/strong> by midnight.<\/p>\n<h5>Tue, Aug 29<\/h5>\n<ul>\n<li><span style=\"color: #008000;\"><strong>Common Hour<\/strong>: Domains set up &amp; WordPress training (Carolina Inn parlor)<\/span><\/li>\n<\/ul>\n<h4>Avant-Garde Precursors<\/h4>\n<p><strong>Reading:<\/strong><\/p>\n<ul>\n<li>St\u00e9phane Mallarm\u00e9, <em>A Roll of the Dice Will Never Abolish Chance<\/em><\/li>\n<li><a href=\"https:\/\/lareviewofbooks.org\/article\/un-coup-didees-a-new-translation-of-mallarmes-a-roll-of-the-dice\/#!\" target=\"_blank\" rel=\"noopener\">Jeremy Glazier\u2019s review<\/a> (<em>Los Angeles Review of Books<\/em>)<\/li>\n<\/ul>\n<p><strong>Assignment: <\/strong><\/p>\n<ul>\n<li><strong>Prep pages\u00a0<\/strong>\n<ul>\n<li>Part A: your notes; Part B: How does the form of the book and the format of the page affect how you read the poem? <a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/how-to-read\/\" target=\"_blank\" rel=\"noopener\">Close read<\/a> the book.<\/li>\n<li>Print copies due at the beginning of class<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<hr \/>\n<h5>Thu, Aug 31<\/h5>\n<ul>\n<li><span style=\"color: #008000;\"><strong>Common Hour<\/strong>: Domains set up &amp; WordPress training (Carolina Inn parlor)<\/span><\/li>\n<\/ul>\n<h4>Davidson Domains &amp; the Digital Avant-Garde<\/h4>\n<p><strong>Reading:<\/strong><\/p>\n<ul>\n<li>Virginia Woolf, from <em>A Room of One\u2019s Own<\/em> (pdf)<\/li>\n<li>Audrey Watters, \u201c<a href=\"http:\/\/hackeducation.com\/2017\/04\/04\/domains\">Why \u2018A Domain of One\u2019s Own\u2019 Matters (For the Future of Knowledge<\/a>)\u201d<\/li>\n<li>Andrew Rikard (Davidson \u201916), \u201c<a href=\"https:\/\/www.edsurge.com\/news\/2015-08-10-do-i-own-my-domain-if-you-grade-it\">Do I Own My Domain If You Grade It?<\/a>\u201d<\/li>\n<li><em>Mina Loy: Navigating the Avant-Garde<\/em> project proposal (pdf)<\/li>\n<li><a href=\"http:\/\/mina-loy.com\/manifesto\/\">Manifesto<\/a> for <em>Mina Loy: Navigating the Avant-Garde<\/em><\/li>\n<\/ul>\n<p><strong>Assignments:<\/strong><\/p>\n<ul>\n<li><strong>Prep pages<\/strong>\n<ul>\n<li>A: your notes; B: What does Davidson Domains mean to you?<\/li>\n<li>Print copies due at the beginning of class<\/li>\n<\/ul>\n<\/li>\n<li><strong>Blog posts<\/strong>\n<ul>\n<li><strong><a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/assignments\/about-me-post\/\">About Me<\/a><\/strong> post (150 words + 1 image, category = About Me)<\/li>\n<li>2017 Independents\u2019 Exhibition post (image of found object, title, author, short description, category = Independents)<\/li>\n<li>due at the beginning of class, posted to class website or electronically accessible via email, thumbnail drive, or Dropbox, etc&#8230;<\/li>\n<li>Bring a laptop to class.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p><strong>Long-range assignments:<\/strong><\/p>\n<ul>\n<li><a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/assignments\/biography-project\/\" target=\"_blank\" rel=\"noopener\">Biography Project<\/a><\/li>\n<li><a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/assignments\/avant-garde-writer-project\/\" target=\"_blank\" rel=\"noopener\">Avant-Garde Writer Project<\/a><\/li>\n<\/ul>\n<hr \/>\n<h6>WEEK 3<\/h6>\n<h5>Tue, Sep 5<\/h5>\n<h4>Mina Loy &amp; Futurism<\/h4>\n<p><strong>Reading:<\/strong><\/p>\n<ul>\n<li>Mina Loy, <em>The Lost Lunar Baedeker<\/em>\n<ul>\n<li>Roger Conover, Introduction (xi-xx)<\/li>\n<li>Futurism X Feminism (3-50)<\/li>\n<li>\u201cAphorisms on Futurism\u201d (149-152)<\/li>\n<\/ul>\n<\/li>\n<li>T. Marinetti, \u201cThe Founding and Manifesto of Futurism\u201d (pdf)<\/li>\n<li>Lucia Re, &#8220;Mina Loy and the Quest for the Futurist Feminist Woman&#8221; (pdf)<\/li>\n<\/ul>\n<p><strong>Asignments:<\/strong><\/p>\n<ul>\n<li><strong>Prep Pages<\/strong>\n<ul>\n<li>A: your notes; B: Choose a poem by Loy and <a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/how-to-read\/\" target=\"_blank\" rel=\"noopener\">close read<\/a> it; then choose the most salient feature(s) and make an argument about not only <em>what<\/em> the poem means but also <em>how<\/em> it means.<\/li>\n<li>Print copies due at beginning of class<\/li>\n<\/ul>\n<\/li>\n<li><a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/how-to-read\/\" target=\"_blank\" rel=\"noopener\"><strong>Secondary Source Report<\/strong><\/a>\u00a0(SSR) on Re article<\/li>\n<\/ul>\n<hr \/>\n<h5>Wed, Sep 6<\/h5>\n<ul>\n<li>Comments on &#8220;About Me&#8221; posts due by midnight (minimum 4, spread the love)<\/li>\n<\/ul>\n<hr \/>\n<h5>Thu, Sep 7<\/h5>\n<h4>Mina Loy &amp; Feminism<\/h4>\n<p><strong>Reading:<\/strong><\/p>\n<ul>\n<li>Mina Loy, <em>The Lost Lunar Baedeker<\/em>\n<ul>\n<li><a href=\"https:\/\/oncomouse.github.io\/loy\/songs.html\"><em>Songs to Joannes<\/em><\/a> (53-68)<\/li>\n<li><a href=\"https:\/\/oncomouse.github.io\/loy\/feminist.html\">\u201cFeminist Manifesto\u201d<\/a><\/li>\n<\/ul>\n<\/li>\n<li>Leah Mell (Davidson \u201919), <a href=\"http:\/\/eng373.leahmell.com\/digital-exploration\/\">digital remediation of <em>Songs to Joannes<\/em><\/a><\/li>\n<li>Meredith Foulke (Davidson \u201918), \u201c<a href=\"http:\/\/mina-loy.com\/new-frequencies\/\">Manifesto for Reading Whiteness in Mina Loy\u2019s \u2018Songs to Joannes\u2019 &amp; Beyond<\/a>\u201d<\/li>\n<li>Carolyn Burke, &#8220;The New Poetry and the New Woman&#8221; (pdf)<\/li>\n<\/ul>\n<p><strong>Assignments:<\/strong><\/p>\n<ul>\n<li>Bring to class your list of top 3 avant-garde figures for Biography Project<\/li>\n<li>Mark up poem and manifesto in the margins and bring annotated copy to class.<\/li>\n<li>SSR on Burke article<\/li>\n<\/ul>\n<p><strong>Hypothes.is Training with Sundi Richard<\/strong><\/p>\n<ul>\n<li>Bring laptop to class<\/li>\n<\/ul>\n<hr \/>\n<h6>WEEK 4<\/h6>\n<h5>Tue, Sep 12<\/h5>\n<h4>Mina Loy &amp; Cubism<\/h4>\n<p><strong>Reading:<\/strong><\/p>\n<ul>\n<li>Mina Loy, <em>The Lost Lunar Baedeker<\/em>\n<ul>\n<li>Corpses and Geniuses (71-105)<\/li>\n<li>\u201cModern Poetry\u201d (157-161)<\/li>\n<\/ul>\n<\/li>\n<li>Gertrude Stein, <a href=\"http:\/\/www.bartleby.com\/140\/1.html\">\u201cObjects,\u201d from <em>Tender Buttons<\/em><\/a><\/li>\n<li>Ashley Lazevnic, \u201cImpossible Descriptions in Mina Loy and Constantin Brancusi\u2019s Golden Bird,\u201d <em>Word &amp; Image<\/em> 29: 2 (April-June 2013): 192-202. (pdf) [NOTE: if you have read this article in a previous class, consult me for an alternative]<\/li>\n<li>Recommended reading\n<ul>\n<li><a href=\"https:\/\/jacket2.org\/article\/making-tender-buttons\">Joshua Schuster, \u201cThe Making of \u2018Tender Buttons\u2019\u201d<\/a><\/li>\n<li>Loy also investigates the notion of genius in a series of strange, experimental plays: &#8220;Collision,&#8221; Citabapini,&#8221; &#8220;Sacred Prostitute,&#8221; and &#8220;The Pamperers.&#8221; I try to make sense of in my online essay, \u00a0\u201c<a href=\"http:\/\/mina-loy.com\/essays-2\/\" target=\"_blank\" rel=\"noopener\">Courting an Audience\u201d<\/a>. This essay\/website links you to the plays, including facsimiles of how they first appeared in little magazines of the period. You don&#8217;t have to read what I say about them, but I do recommend the plays, which are fascinating. I&#8217;d love to hear your thoughts about them.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p><strong>Assignments:<\/strong><\/p>\n<ul>\n<li>Use Hypothes.is to group annotate Stein\u2019s \u201cObjects\u201d<\/li>\n<li>SSR on Lazevnic article<\/li>\n<\/ul>\n<hr \/>\n<h5>Thu, Sep 14<\/h5>\n<h4>Mina Loy &amp; Dada<\/h4>\n<p><strong>Readings:<\/strong><\/p>\n<ul>\n<li><em><a href=\"http:\/\/sdrc.lib.uiowa.edu\/dada\/blindman\/2\/\">The Blind Man 2 <\/a><\/em>(read around, as if you picked up the magazine after going to the 1917 Exhibition of Independent Artists)<\/li>\n<li>Tristan Tzara, \u201c<a href=\"http:\/\/391.org\/manifestos\/1918-dada-manifesto-tristan-tzara.html#.WZWdc3eGMW0\">Dada Manifesto<\/a>\u201d (1918)<\/li>\n<li>Francis M. Naumann, \u201cNew York Dada: Style With a Smile\u201d (pdf)<\/li>\n<li>Steven Watson, \u201cMidnight at the Arensbergs&#8217;: A Readymade Conversation\u201d (pdf)<\/li>\n<li>Recommended reading &amp; exploring:\n<ul>\n<li>Loy,\u00a0<em><a href=\"http:\/\/mina-loy.com\/wp-content\/uploads\/2016\/07\/Loy.Pamperers.Dial1920.rdc_.pdf\" target=\"_blank\" rel=\"noopener\">The Pamperers<\/a>\u00a0<\/em>&amp; Churchill &#8220;<a href=\"http:\/\/mina-loy.com\/essays-2\/\" target=\"_blank\" rel=\"noopener\">Courting an Audience&#8221;<\/a><\/li>\n<li><a href=\"http:\/\/sdrc.lib.uiowa.edu\/dada\/index.html\">The International Dada Archive<\/a><\/li>\n<li>Francis Naumann, \u201c<a href=\"http:\/\/www.francisnaumann.com\/daughters%20of%20dada\/index.html\">Daughters of Dada<\/a>\u201d<\/li>\n<li>Churchill, \u201c<a href=\"http:\/\/mina-loy.com\/essays-2\/\">Pas de Deux: Mina Loy &amp; Alfred Stieglitz Dance Dada<\/a>\u201d<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p><strong>Assignment:<\/strong><\/p>\n<ul>\n<li>Following Bochner\u2019s example, create a fictional conversation among any or all of the artists involved in the making of the Blind Man. Use the conversation to help answer a question that perplexes you about the little magazine. Post your conversation before class (category=conversation)<\/li>\n<\/ul>\n<hr \/>\n<h5>Fri, Sep 15<\/h5>\n<p><strong>Biography Project: annotated bibliography due<\/strong><\/p>\n<hr \/>\n<h6>WEEK 5<\/h6>\n<h6><span style=\"color: #ff6600;\">Warning: HEAVY READING in week 6 &#8211; start now<\/span><\/h6>\n<h5>Tue, Sep 19<\/h5>\n<h4>Metadata Workshop<\/h4>\n<p><strong>Biography Project: drafts of Biographies and Bio Templates due before class<\/strong><\/p>\n<ul>\n<li>Link to <a href=\"https:\/\/docs.google.com\/spreadsheets\/d\/1miuLQUVqt-9wMujKff6QmvFome7Oza8ktIJ_HvaOvLE\/edit?usp=sharing\" target=\"_blank\" rel=\"noopener\">Mina Loy biography project spreadsheet<\/a><\/li>\n<\/ul>\n<hr \/>\n<h5>Thu, Sep 21<\/h5>\n<h4>Palladium workshop<\/h4>\n<p><strong>Biography Project: comments on biography drafts due before class<\/strong><\/p>\n<hr \/>\n<h5>Fri, Sep 22<\/h5>\n<p><strong>Top 3-5 list of avant-garde writers due (category = wish list)<\/strong><\/p>\n<hr \/>\n<h6>WEEK 6<\/h6>\n<h6><span style=\"color: #ff6600;\">Warning: HEAVY READING (pace yourself)<\/span><\/h6>\n<h5>Tue, Sep 26<\/h5>\n<h4>Theory of the Avant-Garde<\/h4>\n<p><strong>Reading:<\/strong><\/p>\n<ul>\n<li>\u201c<a href=\"https:\/\/en.wikipedia.org\/wiki\/Avant-garde\">Avant-Garde<\/a>,\u201d Wikipedia entry<\/li>\n<li>\u201cAvant-Garde: Overview and Militancy,\u201d Encyclopedia of the History of Ideas (pdf)<\/li>\n<li>Clement Greenberg, \u201cAvant-Garde and Kitsch\u201d (pdf)<\/li>\n<li>Peter B\u00fcrger, \u201cThe Avant-Gardiste Work of Art,&#8221; from\u00a0<em>Theory of the Avant-Garde<\/em> (pdf)<\/li>\n<\/ul>\n<p><strong>Assignment:<\/strong><\/p>\n<ul>\n<li>Prep Pages\n<ul>\n<li>A: your notes<\/li>\n<li>B: Revisiting the definitions of the avant-garde you read at the beginning of the semester and reading new theories of the avant-garde, how well do these definitions and theories account for the avant-garde work you&#8217;ve encountered this semester?\u00a0How does Greenburg&#8217;s definition of the avant-garde compare to B\u00fcrger&#8217;s?<\/li>\n<li>C: (Bonus Question) \u00a0<a style=\"font-size: 1.1em;\" href=\"https:\/\/en.wikipedia.org\/wiki\/Louis_Eilshemius\">Louis M. Eilshemius<\/a><span style=\"font-size: 1.1em;\">, the artist celebrated in <\/span><em style=\"font-size: 1.1em;\">Blind Man 2, <\/em><span style=\"font-size: 1.1em;\">might be considered the epitome of kitsch: does the attitude toward his work expressed in that magazine match what Greenberg has to say about the relationship between avant-garde and kitsch?<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p><strong>Meet in Rare Books Room<\/strong><\/p>\n<ul>\n<li>Test and apply theories of the avant-garde to works in our Special Collections.<\/li>\n<\/ul>\n<hr \/>\n<h5>Thu, Sep 28<\/h5>\n<h4>Avant-Garde Originality &amp; Reproduction<\/h4>\n<p><strong>Reading:<\/strong><\/p>\n<ul>\n<li>Walter Benjamin, &#8220;<a href=\"https:\/\/www.marxists.org\/reference\/subject\/philosophy\/works\/ge\/benjamin.htm\" target=\"_blank\" rel=\"noopener\">The Work of Art in an Age of Mechanical Reproduction<\/a>&#8220;<\/li>\n<li>Roslyn Krauss, &#8220;The Originality of the Avant-Garde&#8221; (pdf)<\/li>\n<\/ul>\n<p><strong>Assignment:<\/strong><\/p>\n<ul>\n<li>Prep Pages: a) your notes; b) How does Krauss&#8217;s understanding of originality compare to Benjamin&#8217;s? How do they define authenticity? Do they believe originality is still possible?<\/li>\n<\/ul>\n<p><strong>Meet in Rare Books Room<\/strong><\/p>\n<ul>\n<li>Test and apply theories of the avant-garde to works in our Special Collections.<\/li>\n<\/ul>\n<hr \/>\n<h5>Fri, Sep 29<\/h5>\n<p>Revised biography draft due, including metadata (category = bio-draft2)<\/p>\n<ul>\n<li><strong>note:<\/strong> you may be exchanging comments with UGA &amp; Duquesne students before or after this draft<\/li>\n<\/ul>\n<hr \/>\n<h6>WEEK 7<\/h6>\n<h5>Tue, Oct 3<\/h5>\n<h4>Theory of the Avant-Garde &amp; its Exclusions<\/h4>\n<p><strong>Reading:<\/strong><\/p>\n<ul>\n<li>Griselda Pollock, \u201cMoments &amp; Temporalities of the Avant-Garde \u2018in, of, and from the feminine\u2019\u201d (PDF)<\/li>\n<li>Cathy Park Hong, \u201c<a href=\"http:\/\/www.lanaturnerjournal.com\/7\/delusions-of-whiteness-in-the-avant-garde\">Delusions of Whiteness in the Avant-Garde<\/a>\u201d<\/li>\n<li>Selected poems of the Harlem\/New Negro Renaissance (use our ENG394 group to annotate in Hypothes.is)\n<ul>\n<li>Angelina Weld Grimke, &#8220;<a href=\"https:\/\/www.poets.org\/poetsorg\/poet\/angelina-weld-grimk%C3%A9\" target=\"_blank\" rel=\"noopener\">El Beso<\/a>&#8221; (1909)<\/li>\n<li>Georgia Douglas Johnson, &#8220;<a href=\"https:\/\/www.poetryfoundation.org\/poets\/georgia-douglas-johnson\" target=\"_blank\" rel=\"noopener\">The Heart of a Woman<\/a>&#8221; (1918)<\/li>\n<li>Langston Hughes,\u201c<a href=\"https:\/\/www.poets.org\/poetsorg\/poem\/negro-speaks-rivers\" target=\"_blank\" rel=\"noopener\">The Negro Speaks of Rivers<\/a>&#8221; (1921), \u201c<a href=\"https:\/\/www.poets.org\/poetsorg\/poem\/weary-blues\" target=\"_blank\" rel=\"noopener\">The Weary Blues<\/a>\u201d (1925)<\/li>\n<li>Gwendolyn Bennett, &#8220;<a href=\"https:\/\/www.poets.org\/poetsorg\/poet\/gwendolyn-bennett\" target=\"_blank\" rel=\"noopener\">Quatrains,&#8221; &#8220;Fantasy&#8221;<\/a> (1927)<\/li>\n<li>Sterling Brown, \u201c<a href=\"http:\/\/www.afropoets.net\/sterlingbrown8.html\" target=\"_blank\" rel=\"noopener\">Ma Rainey&#8221; <\/a>(1932),\u00a0\u201c<a href=\"https:\/\/www.poemhunter.com\/poem\/southern-cop\/\" target=\"_blank\" rel=\"noopener\">Southern Cop<\/a>\u201d (1936)\n<ul>\n<li>Note: you can listen to Hughes and Brown read their poetry on this <a href=\"https:\/\/folkways.si.edu\/every-tone-a-testimony\/african-american-spoken-history-poetry-prose\/album\/smithsonian\" target=\"_blank\" rel=\"noopener\">Smithsonian Folkways<\/a> audio collection.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p><strong>Assignment:<\/strong><\/p>\n<ul>\n<li>Prep Pages: a) your notes; b) On what grounds do Pollock and Hong challenge established formations of the avant-garde? Do their challenges make room for Harlem Renaissance poets?<\/li>\n<\/ul>\n<p><strong>Meet in Rare Books Room<\/strong><\/p>\n<ul>\n<li>Test and apply theories of the avant-garde to works in our Special Collections.<\/li>\n<\/ul>\n<hr \/>\n<h5>Thu, Oct 5<\/h5>\n<h4>Avant-Garde Writer Project<\/h4>\n<p><strong>Avant-Garde Writer Nominations Due<\/strong><\/p>\n<p><strong>Vote for Semi-Finalists<\/strong><\/p>\n<p><strong>Group Building Activities with Annie Sadler<\/strong><\/p>\n<hr \/>\n<h6>FALL BREAK<\/h6>\n<h5>FRIDAY, Oct 6 (4:30 P.M.) &#8211; WEDNESDAY, Oct 11 (8:30 A.M.)<\/h5>\n<hr \/>\n<h6>WEEK 8<\/h6>\n<h5>Thu, Oct 12<\/h5>\n<h4>Avant-Garde Writer Project<\/h4>\n<p><strong>Select Avant-Garde Writers and assign teams<\/strong><\/p>\n<p><strong>Group Building Activities<\/strong>: full value contract &amp; group norms<\/p>\n<hr \/>\n<h6>WEEK 9<\/h6>\n<h5>Mon, Oct 16<\/h5>\n<h4>Preliminary Reading Assignment due<\/h4>\n<p>Create a new post (category = reading list) listing the reading(s) you want to assign for the class you will co-teach. What primary source best represent your avant-garde figure(s)? Do you want to assign any secondary source(s), in full or excerpted? Consider what is a reasonable expectation for your classmates&#8217; to read and prepare for class. As you select your readings, think about what discussion questions or activities you want to pair with them.<\/p>\n<h5>Tue, Oct 17<\/h5>\n<h4>Library Workshop<\/h4>\n<p class=\"p1\"><span class=\"s1\"><strong>Meet in the Library Fishbowl<\/strong><br \/>\nFacilitator: James Sponsel<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">To prepare for this hands-on session, install Zotero on your laptop BEFORE class, following the set up instructions on this guide to<a href=\"http:\/\/davidson.libguides.com\/zotero\"><span class=\"s2\">\u00a0Zotero<\/span><\/a>. If you want guidance on the Zotero install process, you may set up an appointment with a librarian using the online <a href=\"http:\/\/davidson.libguides.com\/consultation\"><span class=\"s2\">consultation form<\/span><\/a><span class=\"s2\">, or seek <a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/help\/\" target=\"_blank\" rel=\"noopener\">help<\/a><\/span>\u00a0from media consultants, Sun. &#8211; Thu., 8-11 pm, in Studio D.<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\">The workshop will NOT include instructions on setting up Zotero, so you must create an account and install the app on your laptop before class.<\/span><\/p>\n<hr \/>\n<h5>Thu, Oct 19<\/h5>\n<h4>Digital Tools &amp; Platforms Flea Market<\/h4>\n<p><strong>Revised Reading assignment due before class<br \/>\n<\/strong><span style=\"font-size: 1.1em;\">Revise your post based on the research you did during and after the Library Workshop. Include any instructions for prep-pages or other required preparation, such as Hypothes.is annotations. I will cut and paste your list of reading(s) and assignment(s) into this calendar.<\/span><\/p>\n<p><em>Meet in our regular classroom<\/em><br \/>\nFacilitator: Sundi Richard<\/p>\n<hr \/>\n<h5>Fri, Oct 20<\/h5>\n<p><strong>Biography Project: Revised biographies due<\/strong><\/p>\n<hr \/>\n<h6>WEEK 10<\/h6>\n<h5>Tue, Oct 24<\/h5>\n<h4>Frances Simpson Stevens<\/h4>\n<p>Guest Teachers: Sarah, Maura<\/p>\n<p><strong>Primary Source Readings:<\/strong><\/p>\n<ul>\n<li>Take a look at (and read the description of)\u00a0<strong>Stevens\u2019s last remaining painting,\u00a0<\/strong><i><strong>Dynamic Velocity of Interborough Rapid Transit Power Station<\/strong>,<\/i>\u00a0at the Philadelphia Museum of Art website:\u00a0<a href=\"http:\/\/philamuseum.org\/collections\/permanent\/51430.html?mulR=612018957\">http:\/\/philamuseum.org\/collections\/permanent\/51430.html?mulR=612018957<\/a><\/li>\n<li>Read\u00a0<strong>Mina Loy\u2019s short story,\u00a0<\/strong><em><strong>Gloria<\/strong>.\u00a0<\/em>The characters in the story, Gloria and Sophia, are believed to represent Frances Simpson Stevens and Mina Loy as they lived together and maneuvered the male-dominated Italian Futurist Movement. On this database you can read Loy\u2019s typed version, and look at her original, hand-written notes for the story:\u00a0<a href=\"https:\/\/brbl-dl.library.yale.edu\/vufind\/Record\/3862715\">https:\/\/brbl-dl.library.yale.edu\/vufind\/Record\/3862715<\/a><\/li>\n<\/ul>\n<p><strong>Secondary Source Readings:<\/strong><\/p>\n<ul>\n<li><strong>Read Burke, Sawelson-Gorse, and Naumann (pdf posted to class site) in\u00a0<\/strong><em><strong>Art in America<\/strong>,<\/em>\u00a0paying close attention to the photographs of Stevens\u2019s lost paintings and line drawing.<\/li>\n<li>Burke, Carolyn and Naomi Sawelson-Gorse. \u201cIn Search of Frances Simpson Stevens.\u201d\u00a0<em>Art in\u00a0<\/em><em>America,<\/em>\u00a082.4 (1994): 106-115. Print.<\/li>\n<li>Naumann, Francis M. \u201cA Lost American Futurist.\u201d\u00a0<em>Art in America,<\/em>\u00a082.4 (1994): 104-113. Print.<\/li>\n<li>Please also<strong>\u00a0review\u00a0<a href=\"https:\/\/drive.google.com\/file\/d\/0B5NF6j5OV9Vra01BSDMtNWJ2cU0\/view\">Krauss\u2019s\u00a0<em>Originality of the Avant-garde<\/em><\/a><\/strong>\u00a0and Sarah\u2019s bio draft of Frances Simpson Stevens for class. This will help you prepare for class discussion! Be thinking about the process of bringing (lost) art to life.<\/li>\n<\/ul>\n<p><strong>Assignments:<\/strong><\/p>\n<ul>\n<li><strong>PREP PAGES:<\/strong>\u00a0Illustrate Loy\u2019s story,\u00a0<em>Gloria<\/em>\u00a0(in any form\/ media that makes sense to you!) How does this change your understanding of the story and characters?<\/li>\n<li>WARNING: Maura and Sarah will be incorporating your prep pages in their digital project (meaning your work will be online)! You can decide to opt out or include your work anonymously (just let your teachers for the day know), but the more thought you put into this prep assignment, the better!<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<hr \/>\n<h5>Thu, Oct 26<\/h5>\n<h4>Gabrielle Buffet &amp; Francis Picabia<\/h4>\n<p>Guest Teachers: Leigha, Bean<\/p>\n<p><b>Reading:<\/b><\/p>\n<ul>\n<li>(If you need a refresher) Skim our biographies that we posted (latest drafts) for background on <a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/2017\/09\/29\/francis-picabia-second-draft\/\">Picabia<\/a> and <a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/2017\/09\/30\/gabrielle-buffet-picabia\/\">Buffet<\/a><\/li>\n<\/ul>\n<ul>\n<li>Gabrielle Buffet Picabia\u2019s \u201cSome memories of Pre-Dada: Picabia and Duchamp\u201d<\/li>\n<\/ul>\n<ul>\n<li>Chapter on Picabia from New York Dada 1915-23<\/li>\n<li>Take look at some of his work at this link:\u00a0<a href=\"https:\/\/www.artsy.net\/artist\/francis-picabia\">https:\/\/www.artsy.net\/artist\/francis-picabia\u00a0<\/a><\/li>\n<\/ul>\n<p><b>Assignments:<\/b><\/p>\n<ul>\n<li>After reading the chapter on Picabia and looking at the online \u201cart gallery\u201d \u00a0formulate two questions to potentially raise during class discussion. \u00a0After reading the passage by Buffet, develop a paraphrased thesis. Post this on the website under the category &#8220;interventions.&#8221;<\/li>\n<\/ul>\n<hr \/>\n<h5>Fri, Oct 27<\/h5>\n<p><strong>Avant-Garde Writer Project: Annotated Bibliography due<\/strong><\/p>\n<hr \/>\n<h6>WEEK 11<\/h6>\n<h5>Tue, Oct 31<\/h5>\n<h4>Frank O&#8217;Hara<\/h4>\n<p>Guest Teachers: Royce, Erin<\/p>\n<div id=\"divtagdefaultwrapper\">\n<div id=\"divtagdefaultwrapper\">\n<div id=\"divtagdefaultwrapper\">\n<p><strong><span id=\"divtagdefaultwrapper\">Readings:<\/span><\/strong><\/p>\n<p><span id=\"divtagdefaultwrapper\">from\u00a0<i>Lunch Poems<\/i>:<\/span><\/p>\n<\/div>\n<\/div>\n<ul>\n<li>\u201c<a href=\"https:\/\/www.poetryfoundation.org\/poems\/42662\/a-step-away-from-them\" target=\"_blank\" rel=\"noopener noreferrer\">A Step Away From Them<\/a>\u201d<\/li>\n<li>\u201c<a href=\"https:\/\/www.poetryfoundation.org\/poems\/42657\/the-day-lady-died\" target=\"_blank\" rel=\"noopener noreferrer\">The Day Lady Died<\/a>\u201c<\/li>\n<li>\u201c<a href=\"https:\/\/www.poetryfoundation.org\/poems\/57554\/personal-poem-56d23b2f03a79\" target=\"_blank\" rel=\"noopener noreferrer\">Personal Poem<\/a>\u201c<\/li>\n<li>\u201c<a href=\"https:\/\/www.poetryfoundation.org\/poems\/57556\/poem-lana-turner-has-collapsed\" target=\"_blank\" rel=\"noopener noreferrer\">Poem (Lana Turner has collapsed!)<\/a>\u201c<\/li>\n<li>\u201c<a href=\"https:\/\/people.creighton.edu\/~mlm22940\/writings\/ohara\/steps.html\" target=\"_blank\" rel=\"noopener noreferrer\">Steps<\/a>\u201c<\/li>\n<li>\u201c<a href=\"http:\/\/poetrycloud.tumblr.com\/post\/72498736747\/frank-ohara-poem\" target=\"_blank\" rel=\"noopener noreferrer\">Poem (Instant coffee with slightly sour cream)<\/a>\u201c<\/li>\n<\/ul>\n<div>\n<div>\n<div id=\"divtagdefaultwrapper\"><span id=\"divtagdefaultwrapper\">Other Poems:<\/span><\/div>\n<div>\n<div>\n<ul>\n<li>\u201c<a href=\"https:\/\/www.poets.org\/poetsorg\/poem\/why-i-am-not-painter\" target=\"_blank\" rel=\"noopener noreferrer\">Why I am Not a Painter<\/a>\u201c<\/li>\n<li>\u201c<a href=\"https:\/\/newyorkschoolpoets.wordpress.com\/2016\/05\/30\/frank-ohara-memorial-day-1950\/\" target=\"_blank\" rel=\"noopener noreferrer\">Memorial Day 1950<\/a>\u201c<\/li>\n<li>\u201c<a href=\"https:\/\/newrepublic.com\/article\/114023\/poetry-frank-ohara\" target=\"_blank\" rel=\"noopener noreferrer\">A Pleasant Thought from Whitehead<\/a>\u201c<\/li>\n<li>\u201c<a href=\"https:\/\/www.poetryfoundation.org\/poetrymagazine\/poems\/26538\/meditations-in-an-emergency\" target=\"_blank\" rel=\"noopener noreferrer\">Meditations in an Emergency<\/a>\u201c<\/li>\n<\/ul>\n<ul>\n<li>\u201c<a href=\"http:\/\/opencourses.uoa.gr\/modules\/document\/file.php\/ENL9\/Instructional%20Package\/Texts\/\/Readings\/Week%203%3A%20Pop%20art%3A%20breaking%20down%20the%20boundaries%20between%20high%20and%20low\/Frank%20O%27Hara%20Personism-2.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Personism<\/a>,\u201d O\u2019Hara\u2019s manifesto<\/li>\n<\/ul>\n<\/div>\n<div>\n<hr \/>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p><strong>Assignments:<\/strong><\/p>\n<p><u>Choose one, two,\u00a0all, or none of these\u00a0prompts<\/u>, but please respond to O\u2019Hara and\u00a0post your response on our class page under the category \u201cInterventions.&#8221;\u00a0<span style=\"text-decoration: underline;\"><strong>Please complete this by Mon, 7:30 so we can incorporate your thoughts into our discussion.<\/strong><\/span><\/p>\n<ol>\n<li>Close read a poem\/poems: O\u2019Hara is not a formally experimental poet, but how does he experiment with meaning-making?<\/li>\n<li>Close read a poem\/poems:\u00a0Is O\u2019Hara a personal poet? Does he create intimacy with the reader? Respond to the self who writes the poems.<\/li>\n<li>Is O\u2019Hara kitsch? Is he avant-garde? Does he straddle the line between both?<\/li>\n<li>David Lehman, in\u00a0<em>The Last Avant-Garde: The Making of the New York School of Poets<\/em>, discusses those poets\u2019 use of \u201cblagues\u201d (which translates to \u201cjokes\u201d in French):<\/li>\n<\/ol>\n<\/div>\n<div>\n<div>\n<div>\n<div>The\u00a0<em>blague<\/em>\u00a0was the avant-garde gesture par excellence. It denoted a deadpan jest or prank with a thick layer of irony added: mockery mingled with self-mockery, doubt with defiance. The\u00a0<em>blague<\/em>, writes historian Noel Annan, was \u201cthe joke which threw doubt on everything, poisoned faith and murdered respect.\u201d It took the form of \u201cthe spoof, the lark, the snigger and the knowing smile, grotesque mirth and hilarious laughter,\u201d and its intent was to \u201csend up reality.\u201d (Lehman 294)<\/div>\n<div>Write about some \u201cblagues\u201d that you find in O\u2019Hara. Do you agree that the presence of blagues and the gestures they denote make him avant-garde?<\/div>\n<\/div>\n<\/div>\n<\/div>\n<hr \/>\n<h5>Thu, Nov 2<\/h5>\n<h4>Harryette Mullen<\/h4>\n<p>Guest Teachers: Meredith, Ellie<\/p>\n<p><strong>Readings:<\/strong><\/p>\n<p>from\u00a0<em>Sleeping With the Dictionary<\/em>:<\/p>\n<ul>\n<li><a href=\"https:\/\/www.poets.org\/poetsorg\/poem\/all-she-wrote\">All She Wrote<\/a><\/li>\n<li><a href=\"https:\/\/www.poetryfoundation.org\/poems\/51631\/any-lit\">Any Lit<\/a><\/li>\n<li><a href=\"https:\/\/www.poets.org\/poetsorg\/poem\/black-nikes\">Black Nikes<\/a><\/li>\n<li><a href=\"https:\/\/www.poetryfoundation.org\/poems\/51632\/elliptical\">Elliptical<\/a><\/li>\n<li>Coo\/Slur (not online; has been scanned and uploaded to course page as pdf)<\/li>\n<li><a href=\"https:\/\/www.poetryfoundation.org\/poems\/54879\/sleeping-with-the-dictionary\">Sleeping With the Dictionary<\/a><\/li>\n<li><a href=\"https:\/\/www.poets.org\/poetsorg\/poem\/souvenir-anywhere-audio-only\">Souvenir from Anywhere<\/a>\u00a0(link is audio only; also scanned)<\/li>\n<li>Why You and I (also scanned)<\/li>\n<\/ul>\n<p>Essays:<\/p>\n<ul>\n<li><a href=\"https:\/\/ebookcentral.proquest.com\/lib\/davidson\/reader.action?docID=997588\">Poetry and Identity<\/a><\/li>\n<li><a href=\"https:\/\/ebookcentral.proquest.com\/lib\/davidson\/reader.action?docID=997588\">Telegraphs from a Distracted Sybil<\/a><\/li>\n<\/ul>\n<p><strong>Optional reading:<\/strong><\/p>\n<ul>\n<li>Mullen\u2019s essay \u201c<a href=\"https:\/\/www.jstor.org\/stable\/pdf\/303900.pdf?refreqid=excelsior%3Acf56f8e673992579db41b2e2a09b3851\">Writing to the Unimagined Reader<\/a>\u201d<\/li>\n<li>Eric Liu\u2019s article for the Atlantic, \u201c<a href=\"https:\/\/www.theatlantic.com\/politics\/archive\/2015\/07\/what-every-american-should-know\/397334\/\">What Every American Should Know<\/a>\u201d<\/li>\n<\/ul>\n<p><strong>Assignments:<\/strong><\/p>\n<p>Prep Page Part A: Fill out this\u00a0<a href=\"https:\/\/docs.google.com\/forms\/d\/1Kqvu9-7Q2xsawSm4ZMiXpUJQZ8g5FcOBbB_p3qaQaY0\/edit\">Google form<\/a> for a class exercise. Write endings to the poem \u201cElliptical\u201d as if it were a giant fill-in-the blanks. (There are, of course, no right or wrong answers \u2014 just go through and fill it out quickly, using your instinct for what you think the end of each sentence might be.) Please have this turned in by midnight on Wednesday (Nov. 1)!<\/p>\n<p>Prep Page Part B: Close read a poem.<\/p>\n<p>Prep Page Part C: Respond to one of these questions.<\/p>\n<ol>\n<li>Pick a poem and a short essay and put them in conversation. What do you as a reader gain from Mullen\u2019s insights on her writing? Do these poems support or contradict the categorizations she describes in \u201cPoetry and Identity\u201d?<\/li>\n<li>Which do you find more of in these poems \u2014 a speaker or a subject? Are you more sympathetic to the speakers or the subjects?<\/li>\n<li>Which of these poems would you take with you to a desert island? Why?<\/li>\n<\/ol>\n<p>Please complete parts B &amp; C on your own and bring them to class.<\/p>\n<p>&nbsp;<\/p>\n<h5>Fri, Nov 3<\/h5>\n<p><strong>Avant-Garde Writer Project: Literature Review due<\/strong><\/p>\n<hr \/>\n<h6>WEEK 12<\/h6>\n<h5>Tue, Nov 7<\/h5>\n<h4>Evie Shockley<\/h4>\n<p>Guest Teachers: Abbey, Grady<\/p>\n<p><b>Readings:<\/b><\/p>\n<ul>\n<li>Evie Shockley, Introduction to\u00a0<i>Renegade Poetics: Black Aesthetics and Formal Innovation in African American Poetry\u201d,\u00a0<\/i>pages 1-15 (Found on PDF Page)<\/li>\n<li>Courtney Thorsson, \u201cFoodways in Contemporary African American Poetry: Harryette Mullen and Evie Shockley\u201d (<a style=\"font-size: 1.1em;\" href=\"https:\/\/muse.jhu.edu\/article\/630330\">https:\/\/muse.jhu.edu\/article\/630330<\/a><span style=\"font-size: 1.1em;\">), pages 184-188; 203-213<\/span><\/li>\n<li>Evie Shockley,\u00a0<i>The New Black, <\/i>available through the library here:<a href=\"https:\/\/muse.jhu.edu\/book\/13559\/\"> https:\/\/muse.jhu.edu\/book\/13559\/<\/a>\n<ul>\n<li>\u201cthe defense of marriage act, alternatives to\u201d<\/li>\n<li>\u201cnever after\u201d<\/li>\n<li>\u201cyou can\u2019t deny it\u201d<\/li>\n<li>\u201cWomanish\u201d<\/li>\n<li>\u201cduck, duck, redux\u201d<\/li>\n<li>\u201cmy last modernist poem\u201d<\/li>\n<li>\u201cstatistical haiku\u201d<\/li>\n<li>\u201cclare\u2019s song\u201d<\/li>\n<li>\u201cDependencies\u201d<\/li>\n<\/ul>\n<\/li>\n<li>\u201cJohannesburg mines\u201d by Langston Hughes (<a href=\"https:\/\/www.poetrynook.com\/poem\/johannesburg-mines\">https:\/\/www.poetrynook.com\/poem\/johannesburg-mines<\/a>)<\/li>\n<\/ul>\n<p><b>Assignments: <\/b><\/p>\n<ul>\n<li>Secondary Source Report on introduction: Follow <a style=\"font-size: 1.1em;\" href=\"http:\/\/suzannechurchill.com\/secondary-source-report\/\">these instructions<\/a><span style=\"font-size: 1.1em;\"> except for the final step: instead of rhetorical strategies, please answer the following prompt using complete sentences: <\/span><strong style=\"font-size: 1.1em;\">Respond to one of the nine Shockley poems we read for today with one of the arguments from the critical text(s) in mind.<\/strong><\/li>\n<li>Using Hypothesis, leave at least three comments on any of the selections from <i style=\"font-size: 1.1em;\">The New Black<\/i><\/li>\n<\/ul>\n<hr \/>\n<h5>Thu, Nov 9<\/h5>\n<h4>DigiLab<\/h4>\n<p><strong>Team work on digital resources<\/strong><\/p>\n<p>Get <a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/help\/\" target=\"_blank\" rel=\"noopener\">help<\/a> from Media Consultants, Sun-Thu, 8-11 pm, Studio D.<\/p>\n<p>SWC in CA<\/p>\n<hr \/>\n<h6>WEEK 13<\/h6>\n<h5>Tue, Nov 14<\/h5>\n<h4>DigiLab<\/h4>\n<p><strong>Team work on digital resources<\/strong><\/p>\n<p>Get <a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/help\/\" target=\"_blank\" rel=\"noopener\">help<\/a> from Media Consultants, Sun-Thu, 8-11 pm, Studio D.<\/p>\n<p>[SWC in DC?]<\/p>\n<hr \/>\n<h5>Thu, Nov 16<\/h5>\n<h4>DigiLab<\/h4>\n<p><strong>Team work on digital resources<\/strong><\/p>\n<p>Get <a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/help\/\" target=\"_blank\" rel=\"noopener\">help<\/a> from Media Consultants, Sun-Thu, 8-11 pm, Studio D.<\/p>\n<hr \/>\n<h6>WEEK 14<\/h6>\n<h5>Mon, Nov 20<\/h5>\n<p><strong>Bio project &#8211; final draft of narrative and bio template due by 5 pm<\/strong> (category = bio-final)<\/p>\n<h5>Tue, Nov 21<\/h5>\n<h4>Virtual Workshop<\/h4>\n<p><strong><a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/assignments\/avant-garde-writer-project\/digital-resource\/\" target=\"_blank\" rel=\"noopener\">Avant-Garde Writer Digital Resources<\/a> \u2013 prototype 1 due by the beginning of class <\/strong>(3 pm, category = AG digital resource)<strong><br \/>\nUX comments are officially due by the end of class time <\/strong>(4:20 pm), and must be completed by the end of the day.<strong><br \/>\nVirtual User Testing:\u00a0<\/strong>Since half the class will already have departed for Thanksgiving break, we will conduct the first round of user-testing virtually. Your task is to locate and test a different group&#8217;s digital resource, providing constructive feedback in the comment section. If the resource is a website, you may also provide more detailed feedback using our Hypothes.is group, but please indicate in the comment that you have done so. Your comments should offer an honest narrative of your process of testing the prototype:<\/p>\n<ul>\n<li>What did you notice and do first?<\/li>\n<li>What attracted your interest?<\/li>\n<li>What confused you?<\/li>\n<li>What satisfied your needs?<\/li>\n<li>What made you want to explore more?<\/li>\n<li>What obstacles did you encounter?<\/li>\n<li>What information and instructions do you need that would make your experience more satisfying?<\/li>\n<\/ul>\n<p>Remember that the first prototype is likely to be very rough, with more obstacles and sources of confusion than of insight. But if you are honest with the creators, you can help them solve problems, save time, and rebuilt early on, before they&#8217;ve invested too much time trying to perfect a flawed model. Remember that in digital studies, there is no expertise: only courage, resilience, and a willingness to experiment!<\/p>\n<p>UX commenting assignments for prototype 1:<\/p>\n<ul>\n<li>Erin &amp; Royce&#8217;s O&#8217;Hara Project: Leigha, Ellie<\/li>\n<li>Grady &amp; Abbey&#8217;s Shockley Project: Erin, Maura<\/li>\n<li>Leigha &amp; Bean&#8217;s Picabia\/Buffet Project: Royce, Meredith<\/li>\n<li>Meredith &amp; Ellie&#8217;s Mullen Project:\u00a0Grady, Sarah<\/li>\n<li>Sarah &amp; Maura&#8217;s Stevens Project: Abbey, Bean<\/li>\n<\/ul>\n<p>Get <a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/help\/\" target=\"_blank\" rel=\"noopener\">help<\/a> from Media Consultants, Sun-Thu, 8-11 pm, Studio D.<\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<h6>THANKSGIVING BREAK<\/h6>\n<h5>TUE, Nov 21 (4:30 P.M.)-MONDAY, Nov. 27 (8:30 A.M.)<\/h5>\n<hr \/>\n<h6>WEEK 15<\/h6>\n<h5>Tue, Nov 28<\/h5>\n<h4>Workshop<\/h4>\n<p><strong>Avant-Garde Writer Digital Resources \u2013 prototype 2 due<\/strong><\/p>\n<p>Get <a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/help\/\" target=\"_blank\" rel=\"noopener\">help<\/a> from Media Consultants, Sun-Thu, 8-11 pm, Studio D.<\/p>\n<hr \/>\n<h5>Thu, Nov 30<\/h5>\n<h4>Workshop<\/h4>\n<p><strong>Avant-Garde Writer Digital Resources \u2013 prototype 3 due<\/strong><\/p>\n<p>Get <a href=\"http:\/\/courses.suzannechurchill.com\/eng394-f17\/help\/\" target=\"_blank\" rel=\"noopener\">help<\/a> from Media Consultants, Sun-Thu, 8-11 pm, Studio D.<\/p>\n<hr \/>\n<h6>WEEK 16<\/h6>\n<h5>Tue, Dec 5<\/h5>\n<h4>Salon<\/h4>\n<p><strong>Avant-Garde Writer Digital Resources \u2013 prototype 4 due<\/strong><\/p>\n<hr \/>\n<h5>Wed, Dec 6<\/h5>\n<h4>Digital Studies Showcase<\/h4>\n<ul>\n<li class=\"p1\"><span class=\"s1\">Lilly Gallery, 3:30 &#8211; 5:30 pm<\/span><\/li>\n<\/ul>\n<hr \/>\n<h5>Dec 7 Reading Day<\/h5>\n<hr \/>\n<h4>Final Exam<\/h4>\n<p><strong>Design your own domain, or, if you already have one, conduct an experiment in digital avant-garde scholarship or poetry<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>CALENDAR Questions? Email the class: ENG3940_201701@davidson.edu, or come to my office hours: Mon &amp; Thu 1:30-3 pm, or by appt (CH 3288) Items in green\u00a0are recommended but optional. WEEK 1 Tue, Aug 22 Introduction: The Avant-Garde Challenge The&#8230; <a class=\"read-more\" href=\"https:\/\/courses.suzannechurchill.com\/eng394-f17\/calendar\/\">Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-9","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/pages\/9","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/comments?post=9"}],"version-history":[{"count":103,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/pages\/9\/revisions"}],"predecessor-version":[{"id":3615,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/pages\/9\/revisions\/3615"}],"wp:attachment":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/media?parent=9"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}