C-1 ELIT 401 The Romantic Age Full Course Title: The Romantic Age (Insert the full course title in Bosnian) Course Code: Course Level/BiH cycle: ECTS credit value: ELIT 401 1st Cycle 6 Student work-load: For the whole semester: Length: Faculty/School/Department: Lectures Individual learning TOTAL 30 120 150 Fall 2013 Faculty of Arts and Social Sciences, English Language and Literature Program Course leader: Assist. Prof. Dr. Barbara Ann Brown Contact details: Office: F2.20 Office hours: Site: Host Study Program: e-mail: bbrown@ius.edu.ba Phone: 033/957 312 IUS Main Campus English Literature Course status: Core Course Pre-requisites: ELIT 101 Introduction to Literature Access restrictions: None Assessment: Assignments, written exams, essays Date validated: February 2012 The aims of this module are: To define what Romanticism is and how it came into being in the second half of the 18 th and early 19th centuries in England; Course aims: To give an overview of the social, political, cultural, economical and religious aspects of English life from the second half of the 18th century to the early 19th century. This will enable the students to see the relationship between the spirit of the age and literary romanticism; To develop a critical understanding of the debates related to the literature created during the 1 C-1 Romantic age; To compare and contrast English literature created before and the Romantic age; To cultivate in the student of literature an appreciation of the power of imagination in literary creation, and an understanding of the role of critical traditions in shaping literary history. On successful completion of this module the student will be able to: Form an educated opinion on a particular work of prose or poetry and discuss that opinion in a verbal or written format; Define the movement of Romanticism in literature, particularly in England, and how that movement relates to the social, political, economical, historical, philosophical and cultural events that took place at the time; Examine and analyze an individual major work created in the Romantic period and formulate a critical interpretation of it based on academic research. Learning outcomes: Indicative syllabus content: At the end of the 18th and beginning of the 19th centuries, the world experienced the French and American revolutions as well as the popular wars of independence in Greece, Spain, and Poland. Because of these developments, the European and, particularly, English perceptions and views also changed, and then a reaction against the mechanism and rationalism of the Enlightenment started taking place in Europe as well as all over the world. This reaction may be simply called Romanticism, which rejected inherited notions of formality and containment, emphasized the individual and the expressive, and the immanence of imagination in human life. It asserted the primacy of the perceiver, of the individual experience. In England, Romanticism was manifested in the works of several generations of poets and artists, such as William Blake, William Wordsworth, Samuel Coleridge, John Keats, Lord Byron, Pearcey Shelley, Mary Shelley and others. This course will survey the work and ideas of these English writers, whose prose and poetry are a prime example of the Romantic Age. Students will learn about the historical events, major philosophical influences, the dominant literary genres and traditions of the period. Learning delivery: Weekly lectures, presentation and classroom discussions (3 hours per week). Assessment Rationale: Assessment within this module is designed to have the students recognise properly the course content which they will be learning during the semester. The assessment of the students’ overall success during the semester and at the end of the semester includes reading and writing assignments, classroom discussions, essays, mid-term and final exams. 20 % Mid-term exam, 30 % essays (2 essays worth 15% each) Assessment Weighting: 20 % classroom discussions, and 30 % Final exam. Abrams, M. H. and Others, eds., The Norton Anthology of English Literature, vol. 2 (New York: W. W. Norton and Company, 1979) Essential Reading: Abrams, M. H., The Mirror and The Lamp: Romantic Theory and the Critical Tradition (Oxford: Oxford University Press, 1953) Brisman, Leslie, Romantic Origins (Ithaca: Cornell University Press, 1978) Clayton, Jay, Romantic Vision and the Novel (Cambridge: Cambridge University Press, 1987) 2 C-1 Fry, Northrop, A Study of English Romanticism (Brighton: Harvester, 1968) Macovski, Michael, Dialogue and Literature: Apostrophe, Auditors, and the Collapse of Romantic Discourse (Oxford University Press, 1994) Jerome J. McGann, The Romantic Ideology: A Critical Investigation (University Of Chicago Press, 1985) Saree Makdisi, Romantic Imperialism: Universal Empire and the Culture of Modernity (Cambridge University Press, 1998) Recommended readings: Intranet web reference: N/A Important notes: Quality assurance: Student surveys Course schedule: 3 C-1 Week Lesson / Date Topics to be covered Class activities Lab Problems/ Readings activities Assignments (Homework) Learning objectives (After this lesson student will be able to:) 1 1&2 Welcome to the course! Students will be given the syllabus and they will have the chance to greet the professor. No lab activities 1. Identify Romanticism. Course design, objectives, and learning outcomes will be explained and discussed. Begin reading Ivanhoe by Sir Walter Scott. 2. Explain how Romanticism was a reaction to Classicism. 3. Describe the basic history and cultural influences related to Romanticism. The lecture will be a brief summary of relevant literary approaches to Romanticism within the academy. Students will be asked to explain their orientation with Romanticism. A lecture will be given to review late 18th and early 19th century history and cultural influences. 2 3 &4 Welcome to the course! Eid Holiday Week Students will be given the syllabus and they will have the chance to greet the professor. No lab activities Ivanhoe by Sir Walter Scott. Course design, objectives, and learning outcomes will be explained and discussed. The lecture will be a brief summary of relevant literary approaches to Romanticism within the academy. 1. Define Romanticism. 2. Explain how Romanticism was a reaction to Classicism. 3. Describe the basic history and cultural influences related to Romanticism. Students will be asked to explain their orientation with Romanticism. A lecture will be given to review late 18th and early 19th century history and cultural influences. 3 5&6 The Long 19th Century This lecture will give a broad overview of 19th Century British history and literature. No lab activities Ivanhoe by Sir Walter Scott. 4 7&8 The First Historical Romance Novel: Students will be asked to read in advance of these lectures the No lab Sir Walter 1. Explain the major changes from the end of the 18th century to the beginning of the 19th century. 2. Identify monarchs and their policies. 3. Describe major cultural trends and literary views regarding verbal art. 1. Define Novel. 2. Identify the early form of the Novel. 4 C-1 Ivanhoe historical Romantic novel Ivanhoe. activities Scott, Ivanhoe No lab activities Sir Walter Scott, Ivanhoe The lecture will focus on historical accuracy of events in the text as well as on how this novel impacted the legend of Robin Hood in Yorkshire. Students will be asked to explain the difference between a text that is meant to be didactic as opposed to a text that comes from the imagination in an effort to please the audience. 5 9 & 10 The First Historical Romance Novel: Ivanhoe Students will be asked to read in advance of these lectures the historical Romantic novel Ivanhoe. The lecture will focus on historical accuracy of events in the text as well as on how this novel impacted the legend of Robin Hood in Yorkshire. 6 11 & 12 Note: If it is obvious that very few students have read Ivanhoe, the professor reserves the right to immediately give a quiz. Students will be asked to explain the difference between a text that is meant to be didactic as opposed to a text that comes from the imagination in an effort to please the audience. Gothic Novel + Romanticism = Science Fiction: Mary Shelley’s Frankenstein Students will be asked to read in advance of these lectures the Gothic novel Frankenstein. Students should begin reading Mary Shelley’s Frankenstein. No lab activities Mary Shelley’s Frankenstein Students will discuss the implications of humans “playing God,” No lab so to speak and debate issues of human potential and human activities responsibility when it comes to these issues. Additionally, they will compare and contrast ideas, images, and the role of imagination within the realm of human achievement and potential Mary Shelley’s Frankenstein The lecture will focus briefly on Mary Shelley’s biography and advance toward early feminist ideas regarding creation and procreation. 3. Define Historical Romance Novel 4. Identify Walter Scott’s poetic license regarding real historical figures and events and how Scott portrays these people and events in a work of fiction. 1. Define didactic verbal art. 2. Define imagination. 3. Define audience, incident, and tone. 4. Compare and contrast historical texts with works of fiction. 1. 2. 3. 4. Define Novel. Define Gothic Novel. Define early feminism. Identify and explain The Big Questions of human potential and human responsibility. Students will be asked to explain the difference between late 18th century novel forms and that of the Gothic Novel, which Mary Shelley largely invented on her own. 7 13 & 14 Gothic Novel + Romanticism = Science Fiction: Mary Shelley’s Frankenstein Essay #1 due. 8 15 & 16 Midterm Examination Week No lab 1. Define what the Creature is. 2. Compare and contrast issues of creation and imagination. 3. Identify and explain how Shelley was influenced to write such a horror story. Midterm examination week. 5 C-1 th BH Statehood Day November 25 . 9 17 & 18 William Blake activities Students will be in troduced to the coolest poet who ever lived. No lab Students will discuss the relationship between visual and verbal activities art, and how William Blake achieved the perfect marriage between these two artistic mediums. William Blake, Songs of Innocence and Experience. Students will be asked to choose their favorite plate and present a brief explication of the plate and the poem it represents in a lively classroom discussion. Students will also be introduced to Blake’s influence on contemporary poets and musicians, such as Peter Gabriel, U2, and of course, Bob Dylan. 10 19 & 20 William Wordsworth Students will discuss what made Wordsworth the quintessential poet laureate by focusing on imagery of nature within his poetry. No lab activities Students will be asked to write a short poetic stanza imitating Wordsworth’s use of nature imagery in English as a writing and reading exercise. Students will be asked to share their stanza with the class in a round table discussion. 11 21 & 22 Samuel Taylor Coleridge The lecture will focus primarily on Coleridge’s introduction of No lab German idealist philosophy to English speaking cultures and his activities large influence on the American Transcendentalists, specifically Ralph Waldo Emerson. Students will be asked to read the poems closely and explicate images, symbols, and wordplay to demonstrate how Coleridge created meaning with a large toolbox of different poetic artifices. 12 23 & 24 George Gordon, Lord Byron Catholic Christmas Dec. 25. This lecture will focus on the controversial poet George Gordon, No lab Lord Byron and his groundbreaking advances in verbal art via activities the narrative and short lyric poetic forms. Students will be asked to compose a short imitation of “She William Wordsworth, “Lines Composed Above Tintern Abbey” Samuel Taylor Coleridge, “The Rime of the Ancient Mariner” and Kubla Khan. 1.Identify the process Blake used to make his plates. 2.Define Romantic Age characteristics of visual and verbal art. 3. Identify poetic form and meter. 3. Define how Blake sees the difference between innocence and experience in nature. 4. Explain and describe the place of nature in Romanticism. 1.Identify and explicate natural imagery. 2.Define lyrical ballad. 3.Define Romantic poetry. 1.Identify poetic form and meter. 2.Explain and describe how images, symbols, and wordplay interact to create meaning. 3.Identify the speaker of the poem. 4. Compare and contrast the role of the poet with the role of the speaker. 1.Define narrative poem. George 2.Define lyric poem Gordon, Lord 3.Define self-imposed exile. Byron, Selected 4.Define Byronic hero. Poems 6 C-1 walks in beauty” as a reading and writing exercise. Students will be asked to share their short lyric with the class in a round table discussion about the form, meter, and rhyme of a short lyric poem. 13 25 & 26 Percy Bysshe Shelley New Year Holiday Essay #2 due. The lecture will focus primarily on Shelley’s Synaesthesia and No lab how he uses synaethestic images to create meaning in his activities poems. Additionally, we will discuss Shelley’s influence on the French Symbolist poet Arthur Rimbaud and Jim Morrison of The Doors. 1.Define Lyric Poetry Percy Bysshe 2.Define Synaesthesia. Shelley, 3.Explain the role of the poet and Selected Poems the role of the speaker. Students will be asked to provide synaethetic examples from their own experiences in nature and to compose 2 images of their own that feature synaesthetic components. 14 27 & 28 John Keats The lecture will focus primarily on Keats’s ambition to reinvent the form of the Ode for a modern audience. His use of images to create meaning and his lasting influence on subsequent generations of poets will also be discussed. No lab activities Students will be asked to compose one stanza using the Keatsian Ode as a reading and writing exercise. Students will be encouraged to share their composition in a roundtable discussion. 15 29 & 30 The Pre-Raphelite Poets and Artists The lecture will focus primarily on the union of poetry and the No lab visual arts in this lecture. Students will be introduced to various activities artists and in particular to John William Waterhouse. John Keats, “The Eve of St. Agnes,” “La belle dame sans merci,” and the six Keatsian Odes. The Poetry of Drawing. 1.Define Spenserian stanza. 2.Define Ode. 3.Identify and describe the departures Keats took from the Classical Ode forms. 1.Define Pre-Raphelite Brotherhood. 2. Identify key figures within the Pre-Raphelite Brotherhood. 3.Describe the Pre-Raphelite depictions of female literary figures in visual art mediums. 7