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Quick Facts

Medium Of InstructionsMode Of LearningMode Of Delivery
EnglishSelf StudyVideo and Text Based

Courses and Certificate Fees

Fees InformationsCertificate AvailabilityCertificate Providing Authority
INR 2188yesCoursera

The Syllabus

Videos
  • Welcome to Modern American Poetry!
Readings
  • Syllabus
  • How to Pass This Class
  • About the Discussion Forums
  • Social Media
  • Getting to Know Your Classmates
Practice Exercise
  • Orientation Quiz

Videos
  • Modern American Poetry, 1899-1950 (Part 1)
  • Modern American Poetry, 1899-1950 (Part 2)
  • Modern American Poetry, 1899-1950 (Part 3)
  • Modern American Poetry, 1899-1950 (Part 4)
  • Modern American Poetry, 1899-1950 (Part 5)
  • Modern American Poetry, 1899-1950 (Part 6)
  • Modern American Poetry, 1899-1950 (Part 7)
  • Modern American Poetry, 1899-1950 (Part 8)
  • Modern American Poetry, 1899-1950 (Part 9)
  • Modern American Poetry, 1899-1950 (Part 10)
  • Modern American Poetry, 1899-1950 (Part 11)
  • Walt Whitman and Emily Dickinson: 'A Strange, Uncoupled Couple' (Part 1)
  • Walt Whitman and Emily Dickinson: 'A Strange, Uncoupled Couple' (Part 2)
  • Walt Whitman and Emily Dickinson: 'A Strange, Uncoupled Couple' (Part 3)
  • Walt Whitman and Emily Dickinson: 'A Strange, Uncoupled Couple' (Part 4)
  • Native American Poetry from the 1890s to 1930 (Part 1)
  • Native American Poetry from the 1890s to 1930 (Part 2)
  • Hart Crane's The Bridge (Part 1)
  • Hart Crane's The Bridge (Part 2)
  • Hart Crane's The Bridge (Part 3)
  • Hart Crane's The Bridge (Part 4)
  • Hart Crane's The Bridge (Part 5)
Readings
  • Module 1 Information
  • 1.1 Recommended Reading
  • 1.2 Recommended Reading
  • 1.3 Recommended Reading
  • 1.4 Recommended Reading
Practice Exercise
  • 1.1 Modern American Poetry, 1899-1950
  • 1.2 Walt Whitman and Emily Dickinson: 'A Strange, Uncoupled Couple'
  • 1.3 Native American Poetry from the 1890s to 1930
  • 1.4 Hart Crane's The Bridge

Videos
  • Modernist Women's Poetry and the Sentimental Tradition (Part 1)
  • Modernist Women's Poetry and the Sentimental Tradition (Part 2)
  • Modernist Women's Poetry and the Sentimental Tradition (Part 3)
  • Modernist Women's Poetry and the Sentimental Tradition (Part 4)
  • Modernist Women's Poetry and the Sentimental Tradition (Part 5)
  • Modernist Women's Poetry and the Sentimental Tradition (Part 6)
  • Marianne Moore: Syllabics (Part 1)
  • Marianne Moore: Syllabics (Part 2)
  • Marianne Moore: Syllabics (Part 3)
  • Marianne Moore: Syllabics (Part 4)
  • Marianne Moore: Syllabics (Part 5)
  • Women's Poetry, Modernism, and Classical Myth (Part 1)
  • Women's Poetry, Modernism, and Classical Myth (Part 2)
  • Women's Poetry, Modernism, and Classical Myth (Part 3)
  • Women's Poetry, Modernism, and Classical Myth (Part 4)
  • Women's Poetry, Modernism, and Classical Myth (Part 5)
  • 'A Cessation of Resemblances': Stein / Picasso / Duchamp (Part 1)
  • 'A Cessation of Resemblances': Stein / Picasso / Duchamp (Part 2)
  • 'A Cessation of Resemblances': Stein / Picasso / Duchamp (Part 3)
Readings
  • Module 2 Information
  • 2.1 Recommended Reading
  • 2.2 Recommended Reading
  • 2.3 Recommended Reading
  • 2.4 Recommended Reading
Practice Exercise
  • 2.1 Modernist Women’s Poetry and the Sentimental Tradition
  • 2.2 Marianne Moore: Syllabics
  • 2.3 Women’s Poetry, Modernism, and Classical Myth

Videos
  • Rethinking High Modernism (Part 1)
  • Rethinking High Modernism (Part 2)
  • Rethinking High Modernism (Part 3)
  • Rethinking High Modernism (Part 4)
  • Rethinking High Modernism (Part 5)
  • "Tomorrow . . . who knows?": The Futures of Harlem Renaissance Poetry (Part 1)
  • "Tomorrow . . . who knows?": The Futures of Harlem Renaissance Poetry (Part 2)
  • "Tomorrow . . . who knows?": The Futures of Harlem Renaissance Poetry (Part 3)
  • "Tomorrow . . . who knows?": The Futures of Harlem Renaissance Poetry (Part 4)
  • The Political 1930s (Part 1)
  • The Political 1930s (Part 2)
  • The Political 1930s (Part 3)
  • The Political 1930s (Part 4)
  • The Political 1930s (Part 5)
  • Tradition and the Folk in Sterling Brown's Poetry (Part 1)
  • Tradition and the Folk in Sterling Brown's Poetry (Part 2)
Readings
  • Module 3 Information
  • 3.1 Recommended Reading
  • 3.2 Recommended Reading
  • 3.3 Recommended Reading
  • 3.4 Recommended Reading
Practice Exercise
  • 3.1 Rethinking High Modernism
  • 3.2 “Tomorrow . . . who knows?”: The Futures of Harlem Renaissance Poetry
  • 3.3 The Political 1930s
  • 3.4 Tradition and the Folk in Sterling Brown's Poetry

Videos
  • Developing the Cultural Epic: From Eliot’s Cultural Elegy to Rukeyser’s Documentary Testament (Part 1)
  • Developing the Cultural Epic: Eliot and Crane: Expanding the Terrain of the Modernist Epic (Part 2)
  • Developing the Cultural Epic: "The Tunnel": Contesting Eliot (Part 3)
  • Developing the Cultural Epic: Muriel Rukeyser's Theory of Flight (Part 4)
  • Developing the Cultural Epic: Muriel Rukeyser's Documentary Testament (Part 5)
  • The Image of the City in Pre-war Poetry (Part 1)
  • The Image of the City in Pre-war Poetry (Part 2)
  • The Image of the City in Pre-war Poetry (Part 3)
  • Little Magazines (Part 1)
  • Little Magazines (Part 2)
  • Little Magazines (Part 3)
  • Introduction
  • Emily Dickinson's "We Learned the Whole of Love"
  • Wallace Stevens's "Large Red Man Reading"
  • Harryette Mullen's "Sleeping with the Dictionary"
Readings
  • Module 4 Information
  • 4.1 Recommended Reading
  • 4.2 Recommended Reading
  • 4.3 Recommended Reading
  • 4.4 Recommended Reading
  • The Symposium Overview
  • The Symposium: Additional Information for Video Submissions
Practice Exercise
  • 4.1 Developing the Cultural Epic Quiz
  • 4.2 The Image of the City in Pre-War Poetry
  • 4.3 Little Magazines

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