{"id":3518,"date":"2017-11-04T01:00:07","date_gmt":"2017-11-04T01:00:07","guid":{"rendered":"http:\/\/courses.suzannechurchill.com\/eng394-f17\/?p=3518"},"modified":"2017-11-04T01:00:07","modified_gmt":"2017-11-04T01:00:07","slug":"royce-and-erin-lesson-plan","status":"publish","type":"post","link":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/2017\/11\/04\/royce-and-erin-lesson-plan\/","title":{"rendered":"Royce and Erin Lesson Plan"},"content":{"rendered":"

SHORT VERSION:<\/p>\n

Frank O\u2019Hara, 31 October 2017<\/span> Erin and Royce<\/span><\/p>\n

 <\/p>\n

Goals:<\/span><\/p>\n

    \n
  1. Have the class begin to reconcile the \u201cavant-garde\u201d with \u201ckitsch\u201d–challenge Greenberg\u2019s notion that they\u2019re opposites<\/span><\/li>\n
  2. Develop and defend perspectives on the polarizing way that O\u2019Hara juggles tools like humor, popular culture references\/taboos, and intimacy.<\/span><\/li>\n
  3. Laugh! Have fun with O\u2019Hara, even while taking him seriously–Royce and Erin think he wants us to. <\/span><\/li>\n<\/ol>\n

     <\/p>\n

    Lesson Plan:<\/span><\/p>\n

      \n
    1. (RC) <\/b>Audio of \u201cPoem (Lana Turner has collapsed)\u201d <\/span>\n
        \n
      1. What are we supposed to do with this poetry? Why is the audience laughing? Do you think O\u2019Hara is funny? <\/span><\/li>\n<\/ol>\n<\/li>\n
      2. (EP)<\/b> Intro to \u201cI do this, I do that\u201d poems: explain what O\u2019Hara meant by that term<\/span><\/li>\n
      3. (RC) <\/b>Write <\/b>an \u201cI do this, I do that\u201d poem: take <\/span>5 minutes <\/b>to have everyone in the class write their own poem mimicking O\u2019Hara\u2019s style<\/span>\n
          \n
        1. Have anyone who wants to read theirs aloud<\/span><\/li>\n
        2. Close Reading Topic 1:<\/span> Do you <\/span>like<\/b> O\u2019Hara? Is his mind a <\/span>fun<\/b> place to be? <\/span><\/li>\n<\/ol>\n<\/li>\n
        3. (EP) <\/b>Mini-lecture<\/b> on O\u2019Hara\u2019s biography\/ some context on the NY School (since we have not come across either yet as a class) Limit to <\/span>five minutes max<\/b>\n
            \n
          1. Where we\u2019ve been, where we\u2019re going: Mina Loy\u2019s New York vs. Frank O\u2019Hara\u2019s; a Loy or Stein poem vs. an O\u2019Hara one; Pablo Picasso vs. Jackson Pollock<\/span><\/li>\n
          2. O\u2019Hara\u2019s Life<\/span><\/li>\n
          3. Context of the New York School<\/span><\/li>\n<\/ol>\n<\/li>\n
          4. (EP) <\/b>Close Readings<\/b>: \u201cYou go here, you go there\u201d introduce a point\/topic\/<\/span>issue<\/b> about O\u2019Hara and guide close readings of poems that grapple with that issue<\/span>\n
              \n
            1. Close Reading Topic 2<\/span>:<\/span> (Directed at those who responded to homework question 1) <\/span>How does O\u2019Hara experiment with meaning making?<\/b> Returning to our discussion of our own poems and the form\/content choices we made when we tried to mimic O\u2019Hara, in what ways is he less straightforward than he seems at first read? <\/span>\n
                \n
              1. \n
                  \n
                1. \u201cWhy I Am Not A Painter\u201d<\/span><\/li>\n
                2. \u201cA Pleasant Thought From Whitehead\u201d<\/span><\/li>\n
                3. \u201cMemorial Day 1950\u201d <\/span><\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n
                4. Degree of Agree Activities\/ \u201cYou go here, you go there\u201d:<\/b>\n
                    \n
                  1. (RC) <\/b>Close Reading Topic 3<\/span>:<\/span> (Addresses the responses to homework question 2) <\/span>Is O\u2019Hara a personal poet?<\/b> In what ways is he forthcoming, and in what ways is he <\/span>reticent?<\/b> Does he deal with some subjects with more reticence, and is he more open about others?<\/span>\n
                      \n
                    1. Show the ballroom of critical conversation (draw it on the board)<\/span>\n
                        \n
                      1. Herring 1: \u201cSomeone who, throughout his literary career, was quintessentially open – immediate, chatty, visible, and candid about his sexual preferences\u201d (416)<\/span><\/li>\n
                      2. Herring 2: \u201c disdain for . . . \u00a0personal exposure\u201d (416)<\/span><\/li>\n
                      3. Herring 3: \u201cparadox,\u201d \u201cstriv[ing] to achieve impersonal impersonal intimacy by using the language of the mass public sphere\u201d (423), \u201cpoet [who] is simultaneously intimate and depersonalized\u201d (424).<\/span><\/li>\n<\/ol>\n<\/li>\n
                      4. Reference poems<\/span>\n
                          \n
                        1. \u201cPersonism\u201d <\/span><\/li>\n
                        2. \u201cA Step Away From Them\u201d<\/span><\/li>\n
                        3. \u201cThe Day Lady Died\u201d<\/span><\/li>\n
                        4. \u201cPersonal Poem\u201d<\/span><\/li>\n
                        5. \u201cA Pleasant Thought From Whitehead\u201d<\/span><\/li>\n
                        6. \u201cSteps\u201d<\/span><\/li>\n
                        7. \u201cMeditations in an Emergency\u201d<\/span><\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n
                        8. (RC) <\/b>Close Reading Topic 3:<\/span> Does O\u2019Hara ever <\/span>trouble<\/b> you?<\/span>\n
                            \n
                          1. \u201cA Step Away From Them,\u201d \u201cThe Day Lady Died,\u201d \u201cPersonal Poem\u201d (for its tokenism of LeRoi Jones)<\/span><\/li>\n<\/ol>\n<\/li>\n
                          2. (EP)<\/b> Close Reading Topic 4<\/span>:<\/span> Is he serious? Is he joking? Is he both? <\/span>\n
                              \n
                            1. \u201cPersonism\u201d<\/span><\/li>\n
                            2. \u201cWhy I Am Not a Painter\u201d<\/span><\/li>\n
                            3. \u201cMemorial Day 1950\u201d<\/span><\/li>\n
                            4. \u201cPoem (Lana Turner has collapsed!)\u201d<\/span><\/li>\n
                            5. \u201cA Pleasant Thought From Whitehead\u201d<\/span><\/li>\n
                            6. \u201cPoem (Instant coffee with slightly sour cream)\u201d<\/span><\/li>\n<\/ol>\n<\/li>\n
                            7. (EP) <\/b>& <\/b>(RC)<\/b> Debate:<\/b> Is O\u2019Hara avant-garde, kitsch, or does he straddle the line? <\/span><\/li>\n<\/ol>\n<\/li>\n<\/ol>\n

                               <\/p>\n

                              \n

                              LONG VERSION:<\/p>\n

                              Frank O\u2019Hara, 31 October 2017<\/span> Erin and Royce<\/span><\/p>\n

                              Goals:<\/span><\/p>\n

                                \n
                              1. Have the class begin to reconcile the \u201cavant-garde\u201d with \u201ckitsch\u201d–challenge Greenberg\u2019s notion that they\u2019re opposites<\/span><\/li>\n
                              2. Have the class develop and defend perspectives on the polarizing way that O\u2019Hara juggles tools like humor, popular culture references\/taboos, and intimacy<\/span><\/li>\n
                              3. Laugh! Have fun with O\u2019Hara, while taking him seriously at the same time<\/span><\/li>\n<\/ol>\n

                                 <\/p>\n

                                Lesson Plan:<\/span><\/p>\n

                                  \n
                                1. (RC) <\/b>Audio of \u201cPoem (Lana Turner has collapsed)\u201d <\/span>(five minutes)<\/b>\n
                                    \n
                                  1. What are we supposed to do with this poetry? Why is the audience laughing? Do you think O\u2019Hara is funny? <\/span><\/li>\n<\/ol>\n<\/li>\n
                                  2. (EP)<\/b> Intro to \u201cI do this, I do that\u201d poems: explain what O\u2019Hara means by that term <\/span>(2 minutes)<\/b><\/li>\n
                                  3. (RC) <\/b>Write <\/b>an \u201cI do this, I do that\u201d poem: take (<\/span>5 minutes) <\/b>to have everyone in the class write their own poem mimicking O\u2019Hara\u2019s style<\/span>\n
                                      \n
                                    1. Have anyone who wants to read theirs aloud<\/span><\/li>\n
                                    2. Compare your poem to one of O\u2019Hara\u2019s: what did you \u201cget right\u201d? What did you \u201cget wrong\u201d?<\/span><\/li>\n
                                    3. Close Reading Topic 1:<\/span> (10 minutes) <\/b>Do you <\/span>like<\/b> O\u2019Hara? Is his mind a <\/span>fun<\/b> place to be? <\/span><\/li>\n<\/ol>\n<\/li>\n
                                    4. (EP)<\/b> Mini-lecture<\/b> on O\u2019Hara\u2019s biography\/ some context on the NY School (since we have not come across either yet as a class) Limit to <\/span>five minutes max<\/b>. Take-aways:<\/span>\n
                                        \n
                                      1. Where we\u2019ve been, where we\u2019re going: Mina Loy\u2019s New York vs. Frank O\u2019Hara\u2019s; a Loy or Stein poem vs. an O\u2019Hara one; Pablo Picasso vs. Jackson Pollock<\/span>\n
                                          \n
                                        1. <\/li>\n<\/ol>\n<\/li>\n
                                        2. The importance of O\u2019Hara\u2019s life (his career, his personal life, his friendships) to his poetry (without heading toward biographical determinism)<\/span><\/li>\n
                                        3. The context of the \u201cmovement\u201d he and his contemporaries were in (even though the NY School of poets was more of a misnomer than a name that demarcated anything) <\/span><\/li>\n
                                        4. The importance of visual art to his poetry (Perloff\u2019s argument, his career, his relationships to the NY School of painters) <\/span><\/li>\n<\/ol>\n<\/li>\n
                                        5. (EP) <\/b>Close Reading (10 minutes):<\/b> introduce a point\/topic\/<\/span>issue<\/b> about O\u2019Hara and guide close readings of poems that grapple with that issue<\/span>\n
                                            \n
                                          1. Close Reading Topic 2<\/span>:<\/span> (Directed at those who responded to homework question 1) <\/span>How does O\u2019Hara experiment with meaning making?<\/b> Returning to our discussion of our own poems and the form\/content choices we made when we tried to mimic O\u2019Hara, in what ways is he less straightforward than he seems at first read? <\/span>\n
                                              \n
                                            1. \u201cWhy I Am Not a Painter\u201d<\/span> –lead a discussion of this poem: have someone read it aloud<\/span>\n
                                                \n
                                              1. Show the slide with Hartigan\u2019s\/Goldberg\u2019s paintings–link O\u2019Hara to painters a la Perloff <\/span><\/li>\n
                                              2. Is this poem funny? Why? <\/span><\/li>\n
                                              3. Can we parse what sort of \u201cmeaning\u201d O\u2019Hara is trying to create?<\/span><\/li>\n<\/ol>\n<\/li>\n
                                              4. \u201cA Pleasant Thought from Whitehead\u201d<\/span>\n
                                                  \n
                                                1. Who are all the characters in this poem? Who\u2019s the pelican?<\/span><\/li>\n<\/ol>\n<\/li>\n
                                                2. \u201cMemorial Day 1950\u201d<\/span>\n
                                                    \n
                                                  1. What\u2019s the difference between \u201cnaming\u201d and \u201cmaking\u201d? What does O\u2019Hara think the difference is? See the last stanza.<\/span><\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n
                                                  2. Degree of Agree Activities\/ \u201cYou go here, you go there\u201d (25 minutes):<\/b>\n
                                                      \n
                                                    1. (RC) <\/b>Close Reading Topic 2<\/span>:<\/span> (Addresses the responses to homework question 2) <\/span>Is O\u2019Hara a personal poet?<\/b> In what ways is he forthcoming, and in what ways is he <\/span>reticent?<\/b> Does he deal with some subjects with more reticence, and is he more open about others?<\/span>\n
                                                        \n
                                                      1. Show the ballroom of critical conversation (draw it on the board) <\/span>\n
                                                          \n
                                                        1. Herring 1: \u201cSomeone who, throughout his literary career, was quintessentially open – immediate, chatty, visible, and candid about his sexual preferences\u201d (416)<\/span><\/li>\n
                                                        2. Herring 2: \u201c disdain for . . . \u00a0personal exposure\u201d (416)<\/span><\/li>\n
                                                        3. Herring 3: \u201cparadox,\u201d \u201cstriv[ing] to achieve impersonal impersonal intimacy by using the language of the mass public sphere\u201d (423), \u201cpoet [who] is simultaneously intimate and depersonalized\u201d (424).<\/span><\/li>\n<\/ol>\n<\/li>\n
                                                        4. \u201cPersonism\u201d <\/span>\n
                                                            \n
                                                          1. \u201cIt does not have to do with personality or intimacy, far from it! But to give you a vague idea, one of its minimal aspects is to address itself to one person (other than the poet himself), thus evoking overtones of love without destroying love\u2019s life-giving vulgarity\u2026 . \u2026 The poem is at last between two persons instead of two pages.\u201d<\/span><\/li>\n
                                                          2. Is O\u2019Hara\u2019s project to personalize, or depersonalize poetry? <\/span><\/li>\n<\/ol>\n<\/li>\n
                                                          3. \u201cA Step Away From Them\u201d<\/span>\n
                                                              \n
                                                            1. Reticent, but to whom does he write this elegy? Would he be so reserved if he were truly writing to his friends? <\/span><\/li>\n
                                                            2. Does this poem, or any others, ask for a personal reading even though the poet has divulged everything? Are we ever encouraged to read our own lives into the poetry? \u201cA Step Away From Them\u201d is particularly personally important to Erin; O\u2019Hara tells his own story but makes it general enough for her to fit herself in. <\/span><\/li>\n<\/ol>\n<\/li>\n
                                                            3. \u201cThe Day Lady Died\u201d<\/span>\n
                                                                \n
                                                              1. O\u2019Hara gives you the details you need to figure out exactly what day it is, so that he does not have to directly name who has died. In doing so, he also gives you the itinerary of his day. Do you feel as though you have access to his mind and emotions?<\/span><\/li>\n<\/ol>\n<\/li>\n
                                                              2. \u201cPersonal Poem\u201d<\/span>\n
                                                                  \n
                                                                1. Have someone read this aloud with attention to the last four lines: personal to the poet.<\/span><\/li>\n
                                                                2. Have someone read this aloud with attention to the manifesto within: personal to O\u2019Hara and his friends.<\/span><\/li>\n<\/ol>\n<\/li>\n
                                                                3. \u201cA Pleasant Thought From Whitehead\u201d<\/span>\n
                                                                    \n
                                                                  1. Does this poem hail you? Do you feel active in it?<\/span><\/li>\n
                                                                  2. Does <\/span>\u201cMemorial Day 1950\u201d<\/span> hail you?<\/span><\/li>\n<\/ol>\n<\/li>\n
                                                                  3. \u201cSteps\u201d<\/span>\n
                                                                      \n
                                                                    1. Who is the \u201cyou\u201d in the last line? <\/span><\/li>\n
                                                                    2. Is the reader invited into this portrait of a city in the same way that the reader is invited into \u201cWhitehead\u201d? <\/span><\/li>\n<\/ol>\n<\/li>\n
                                                                    3. \u201cMeditations in an Emergency\u201d<\/span>\n
                                                                        \n
                                                                      1. Is this a <\/span>vulnerable<\/b> poem? Do you feel as though the poet is laying himself bare to you?<\/span><\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n
                                                                      2. (RC) <\/b>Close Reading Topic 3:<\/span> Does O\u2019Hara ever <\/span>trouble<\/b> you?<\/span>\n
                                                                          \n
                                                                        1. \u201cA Step Away From Them,\u201d \u201cThe Day Lady Died,\u201d \u201cPersonal Poem\u201d (for its tokenism of LeRoi Jones)<\/span><\/li>\n<\/ol>\n<\/li>\n
                                                                        2. (EP)<\/b> Close Reading Topic 4<\/span>:<\/span> Is he serious? Is he joking? Is he both? <\/span>\n
                                                                            \n
                                                                          1. \u201cPersonism\u201d<\/span>\n
                                                                              \n
                                                                            1. \u201cIf you\u2019re going to buy a pair of pants you want them to be tight enough so everyone will want to go to bed with you. There\u2019s nothing metaphysical about it. Unless, of course, you flatter yourself into thinking that what you\u2019re experiencing is \u2018yearning.\u2019\u201d<\/span><\/li>\n
                                                                            2. \u201cNobody should experience anything they don\u2019t need to, if they don\u2019t need poetry, bully for them.\u201d<\/span><\/li>\n
                                                                            3. Is O\u2019Hara really so flippant about poetry? Is there a serious side to his joking? Does he believe in the importance of poetry without wanting to saddle everyone with the gravity of that?<\/span><\/li>\n<\/ol>\n<\/li>\n
                                                                            4. \u201cWhy I Am Not a Painter\u201d<\/span>\n
                                                                                \n
                                                                              1. Is this poem funny? Why? <\/span><\/li>\n<\/ol>\n<\/li>\n
                                                                              2. \u201cMemorial Day 1950\u201d<\/span>\n
                                                                                  \n
                                                                                1. All his joking aside, is there an intellectual, cerebral element to reading O\u2019Hara? <\/span><\/li>\n
                                                                                2. Some of his references are to his friends or are purely pop cultural, but others are so intellectual; what do we make of those? See also: <\/span>\u201cThe Day Lady Died\u201d<\/span><\/li>\n<\/ol>\n<\/li>\n
                                                                                3. \u201cPoem (Lana Turner has collapsed!)\u201d<\/span>\n
                                                                                    \n
                                                                                  1. Is this poem funny? Why?<\/span><\/li>\n<\/ol>\n<\/li>\n
                                                                                  2. \u201cA Pleasant Thought From Whitehead\u201d<\/span>\n
                                                                                      \n
                                                                                    1. Who\u2019s Whitehead? A philosopher who \u201cinsisted that all forms of human inquiry and experience are interrelated, and that the gulf between man and nature, value and fact must be bridged\u201d (Perloff, \u201cTransparent Selves\u201d 182). <\/span><\/li>\n
                                                                                    2. A serious poem and a funny one at the same time?<\/span><\/li>\n<\/ol>\n<\/li>\n
                                                                                    3. \u201cPoem (Instant coffee with slightly sour cream)\u201d<\/span>\n
                                                                                        \n
                                                                                      1. Is this poem funny? Why?<\/span><\/li>\n
                                                                                      2. Is this poem also weird, in a way that some of the others are not?<\/span><\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n
                                                                                      3. (EP) <\/b>& <\/b>(RC)<\/b> Debate:<\/b> Is O\u2019Hara avant-garde, kitsch, or does he straddle the line? <\/span>\n
                                                                                          \n
                                                                                        1. The last avant-garde? If the only avant-garde thing left to do was embrace kitsch, something that was supposed to be the exact opposite of the avant-garde, can we ever have a real avant-garde movement after the New York School? @ Haryette Mullen, Meredith and Ellie: we challenge you to prove that O\u2019Hara and his friends were not the last avant-garde \ud83d\ude42 <\/span><\/li>\n<\/ol>\n<\/li>\n<\/ol>\n<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

                                                                                          SHORT VERSION: Frank O\u2019Hara, 31 October 2017 Erin and Royce   Goals: Have the class begin to reconcile the \u201cavant-garde\u201d with \u201ckitsch\u201d–challenge Greenberg\u2019s notion that they\u2019re opposites Develop and defend perspectives on the polarizing way that O\u2019Hara juggles… Read More<\/a><\/p>\n","protected":false},"author":188,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[43],"tags":[],"class_list":["post-3518","post","type-post","status-publish","format-standard","hentry","category-ag-lesson"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3518","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/users\/188"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/comments?post=3518"}],"version-history":[{"count":1,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3518\/revisions"}],"predecessor-version":[{"id":3519,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3518\/revisions\/3519"}],"wp:attachment":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/media?parent=3518"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/categories?post=3518"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/tags?post=3518"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}