Writing Course Review Form (1/12)
I. General Education Review – Writing Course
Dept/Program
Course # (i.e. ENEX
English/ Lit
LIT 355
Subject
200)
Course Title
British Romanticism
II. Endorsement/Approvals
Complete the form and obtain signatures before submitting to Faculty Senate Office.
Please type / print name Signature
Date
Instructor
9/10/12
Louise Economides
Phone / Email
x 2263
Program Chair
Jill Bergman
Dean
Chris Comer
III. Type of request
New
One-time Only
Reason for new course, change or deletion
Change
Remove
Scheduled review of W courses
IV Overview of the Course Purpose/ Description: Provide an introduction to the subject
matter and course content.
Although the specific content of the course varies from semester to semester, the course is
designed to introduce students to major writers and genres of the British Romantic period. A
significant theory component is also present, so that students gain a sense of the recent critical
reception of texts from this period, major issues in Romantic scholarship over time, etc. Please
see specific syllabus attached.
V Learning Outcomes: Explain how each of the following learning outcomes will be achieved.
Writing assignments ask students to engage with
Student learning outcomes :
key concepts covered in lectures of the course.
Use writing to learn and synthesize new
concepts
Formulate and express written opinions and
ideas that are developed, logical, and
organized
Compose written documents that are
appropriate for a given audience, purpose and
context
Revise written work based on constructive
comments from the instructor
Find, evaluate, and use information
effectively and ethically (see
http://www.lib.umt.edu/informationliteracy/)
All papers require standard college essay format
and the development of logical, organized
interpretations.
Writing topics invite students to enter into
ongoing critical conversations about major texts
of the period.
Major papers require drafting and revision.
Major papers for the course require students to
find and employ at least three critical sources.
Begin to use discipline-specific writing
conventions
Demonstrate appropriate English language
usage
VI. Writing Course Requirements
Enrollment is capped at 25 students.
If not, list maximum course enrollment. Explain
how outcomes will be adequately met for this
number of students. Justify the request for
variance.
What instructional methods will be used to teach
students to write for specific audiences, purposes,
and genres?
Which written assignments will include revision in
response to instructor’s feedback?
The course builds upon discipline-specific
writing conventions assumed to be covered in
lower division courses such as LIT 201. We
discuss different models of interpretation/
discipline-specific writing employed by
professional critics.
Appropriate use of grammar, mechanics and
citation format is one of the criteria for
evaluation on all written work in the course.
Enrollment is capped at 25 students and
outcomes can be met for this number of
students.
We cover close reading techniques for poetry
as well as prose, given the high percentage of
poetry on the syllabus.
Both major papers require drafting and
revision.
VII. Writing Assignments: Please describe course assignments. Students should be required to
individually compose at least 16 pages of writing for assessment. At least 50% of the course grade
should be based on students’ performance on writing assignments. Clear expression, quality, and
accuracy of content are considered an integral part of the grade on any writing assignment.
Formal Graded Assignments
Two 8-10 page research papers (please see
attached assignments); Written overview for
group presentation (5 pages).
Informal Ungraded Assignments
Students are often asked to respond in writing
to focused questions about a text at the
beginning of class as preparation for
discussions.
VIII. Syllabus: Paste syllabus below or attach and send digital copy with form. 
For assistance on syllabus preparation see: http://teaching.berkeley.edu/bgd/syllabus.html
The syllabus must include the following:
1. Writing outcomes
2. Information literacy expectations
3. Detailed requirements for all writing assignments or append writing assignment instructions
Paste syllabus here.
ENLT 355: ROMANTICISM AND SOCIAL JUSTICE (FALL 2008)
Tues/Thurs 3:40-5pm, Davidson Honors College 120
Prof. Louise Economides (louise.economides@mso.umt.edu)
Office: LA 233 Office hours: TBA
---------------------------------------------------------------------------------------------------------------Required Texts:
Norton Anthology of English Literature: The Romantic Period (Vol. 2A, 7th ed)
Austen, Jane. Mansfield Park. Norton Critical Edition only.
Equiano, Odaudah. The Interesting Narrative of the Life of Equiano.
---------------------------------------------------------------------------------------------------------------Course Description:
In this class we will explore British Romantic literature within the context of emergent
social justice movements in the late 18th and early 19th century. That is, we will examine how
major literary texts of the period speak to Enlightenment and post-Revolutionary notions of
“universal rights,” particularly the issues of class inequity, slavery, women’s rights and
animal rights. We will consider how the poetry and prose of Romantic writers negotiates
tensions within rights discourse, and how/why literary texts can be seen as either forwarding
social justice, working against it, or offering alternative visions of what could constitute
social emancipation. Along the way, we’ll also be covering major aesthetic innovations
within Romantic poetry and prose. Finally two films, Amazing Grace and Mansfield Park
will also be screened for the course.
--------------------------------------------------------------------------------------------------------------Required Work:
1) Two major papers: each paper (8-10 pages in length) will require you to use secondary
sources (criticism) and to conduct research. Papers must be hard copies – I do not accept emailed essays (if you are unable to turn your paper in during class, put a hard copy in my
mailbox in LA 133). Late policy: for each day the paper is late, final mark will be reduced
by 1/3 letter grade (i.e. B- paper becomes C+, etc.). Drafts are required for both papers.
2) Group presentation: working with a peer (or peers) you will be presenting literary and/or
critical texts on the syllabus for one class period. The major goal of presentations is to foster
lively discussion and to engage the class with the material for that day (see “presentation
guidelines” for more details). A written overview is also required, to be turned in on the day
of the presentation.
3) Class participation: a certain percentage of your final grade will be based upon
demonstrated participation throughout the term. This includes: 1) no more than 3 absences
(more than 3 will result in a maximum grade of “C” for participation) 2) coming to class with
annotated reading materials for that day 3) participating regularly in class discussions 4)
showing evidence that you have read and thought about texts when instructor asks for your
input during class discussions or in written input 5) active participation in small group work
and presentations 6) coming to class on time (arriving late may result in an “absence” for that
day).
GRADING: Papers 70% (350 points each); Presentation: 20% (150 points); Participation:
10% (100 points)
-----------------------------------------------------------------------------------------------------------------
Departmental Assessment: The English Department’s ongoing process of assessing its
curriculum requires professors to read student papers to learn how students in general are
progressing through the program. Your professor may request to use a copy of one of
your papers for this purpose. All identifying information will be removed and
participation in the evaluation process will not play any role in determining your grade.
If you do not want your work used in this way, please inform your professor: nonparticipation will also not affect your grade for the course.
COURSE SCHEDULE (subject to changes) password for e-res: JUSTICE
All readings, unless otherwise indicated, are from Norton Anthology
ER= material on e-reserve; please print these texts and bring them to class
THE AGE OF REVOLUTION
Week One
Tues. 8/26: Course introduction – lecture on the Age of Revolution
Thurs. 8/28: “The English Controversy about the Revolution” (pgs. 117-133)
“The Arts in an Age of Revolution: 1760-1790” (ER)
Week Two
Tues. 9/2: Blake, “The Marriage of Heaven and Hell”
“The Lamb” and “The Tyger” from Songs of Innocence and
Experience
Thurs. 9/4: Blake, “America: A Prophesy” (ER); from The French Revolution;
“A Song of Liberty”
Week Three:
Tues. 9/9: Wordsworth, The Prelude, from Books Ninth-Eleventh (pgs 354-363)
Thurs. 9/11: Barbauld, “Eighteen-Hundred and Eleven” (ER)
POVERTY AND CLASS REFORM
Week Four:
Tues. 9/16: Blake, “The Chimney Sweeper,” from both Songs of I and E;
“London”; Wordworth, “Simon Lee” from Lyrical Ballads
Thurs. 9/18: Wordsworth, “Tintern Abbey”
Levinson, “Insight and Oversight ...” (ER)
DRAFT ESSAY #1 DUE
Week Five
Tues. 9/23 Wordworth, “The Ruined Cottage”
McGann, from The Romantic Ideology (ER)
Thurs. 9/25: Wordworth, “Preface to Lyrical Ballads”
Gray, “Elegy Written in a Country Church-Yard” (ER)
Robinson, “The Poor Singing Dame”
Clare, “The Peasant Poet”
SLAVERY AND ABOLITIONISM
Week Six
Tues. 9/30: Interesting Narrative of the Life of Olaudah Equiano (Intro + Chapts 1-6)
Group Presentation #1
Thurs. 10/2: Equiano, continued (Chapts 7-12)
Week Seven
Monday 10/6: Evening screening, Amazing Grace (time/room TBA)
Tues. 10/7: Discussion of Amazing Grace
Thurs. 10/9: Blake, “The Little Black Boy” (Songs of Innocence)
Barbauld, “Epistle to William Wilberforce” (ER)
ESSAY #1 DUE
WOMEN’S RIGHTS
Week Eight
Tues. 10/14 Wollstonecraft, A Vindication of the Rights of Woman
Group Presentation #2
Thurs. 10/16: Barbauld, “The Rights of Woman”; “Washing-Day”; “A Summer
Evening’s Meditation”
Week Nine
Tues. 10/21: Austen, Mansfield Park – Intro + Volume I
Group Presentation #3
Thurs. 10/23: Mansfield Park – Volume II
Week Ten
Tues. 10/28: Mansfield Park – Volume III
Thurs. 10/30: Johnson, “Mansfield Park: Confusions of Guilt and Revolutions of
Mind”
Week Eleven
Monday 11/3: Evening screening, Mansfield Park (time/room TBA)
Tues.11/4:
Lew, “ ‘That Abominable Traffic’: Mansfield Park and the Dynamics
of Slavery”; Said, “Jane Austen and Empire”; Southam, “The Silence of
the Bertrams” + Discussion of Mansfield Park (film)
DRAFT ESSAY #2 DUE
ANIMAL RIGHTS
Thurs. 11/6: Taylor, “A Vindication of the Rights of Brutes” (ER)
Bentham, from Introduction to the Principles of Morals and Legislation
(ER)
Perkins, “Preface” to Romanticism and Animal Rights (ER)
Group Presentation #4
Week Twelve
Tues. 11/11: Barbauld, “The Mouse’s Petition” (ER)
Coleridge, “To a Young Ass ...” (ER)
Perkins, “Work Animals, Slaves, Servants: Coleridge’s Young
Ass”(ER)
Thurs. 11/13: Barbauld, “To a Caterpillar” (ER)
Economides, “Animal Rights, Romantic Individualism and the
Challenge of Multiplicity” (on-line – Rhizomes 15: Deleuze and
Guattari’s Ecophilosophy) – optional revision Essay #1 due
ROMANTIC UTOPIANISM AND DYSTOPIANISM
Week Thirteen
Tues. 11/18: Shelley, “Prometheus Unbound”
Thurs. 11/20: Shelley, “Prometheus Unbound,” cont.
Week Fourteen
Tues. 11/25: Shelley, “The Triumph of Life” ESSAY #2 DUE
Thurs. 11/27: THANKSGIVING HOLIDAY
Week Fifteen
Tues. 12/2: “The Triumph of Life” + de Man, “Shelley Disfigured”(ER)
Thurs. 12/4: Barbauld, “Eighteen-Hundred and Eleven”
ESSAY ONE: ENLT 355 Due: Thurs. 10/9 Length: 8-10 pages. Bibliography
required. For this paper, craft an analysis of one (or more) texts on our syllabus to date.
Also, please incorporate at least three secondary sources (critical analysis written by a
professional in the field) into your own discussion and list this source in your
bibliography. One secondary source may be one from our syllabus. The following are
possible paper topics. If you would like to focus on a different topic, please see me about
this in advance of turning in the paper.
1.
Compare and contrast the representation of the French Revolution in texts by two writers
of the Romantic period. How does each author characterize the origin and the
significance of the Revolution? Is the Revolution ultimately justified or deconstructed in
the author’s work? How do these authors “speak to one and other” and what can we
learn from their different views about the Revolution?
2. Analyze the interrelations between various forms of social oppression represented in
Blake’s “America: A Prophesy.” Does the poem’s linking of sexual , racial and political
oppression lend weight to its suggestion that revolution is a necessary unleashing of
repressed social energies? Or is does the text’s representation of violence against women
and slavery actually backfire, reflecting an underlying sexism and racism that
compromises its vision of revolutionary change? Or, do these elements actually make
clear the risks associated with revolutionary violence?
3. Do Wordsworth’s representations of poverty in poems like “Simon Lee” and “The
Ruined Cottage” promote awareness of this problem and (implicitly) call for social
reform? Or does Wordsworth’s aestheticization and/or naturalization of poverty
undermine social reform in ways that Levinson and McGann critique? Is there a third
position which could see Wordsworth’s poetry as performing an important social
function that doesn’t amount to either reformist propaganda or reactionary political
escapism?
4. Where do you stand on the controversy surrounding whether “Tintern Abbey” can be
read as text that avoids confronting ugly historical and political realities associated with
the abbey at the time the poem was written? Do you find Levinson’s assertion that the
text employs brilliant strategies for such evasion (strategies that are characteristic of
Romantic art) convincing? Or, do you feel that Levinson’s own selective interpretation
of history – what Rzepka terms her “historical inaccuracies” – actually undermines her
interpretation of Wordsworth? As literary scholars, what can we learn about the
Levinson-Rzepka debate with regard to historicism as a methodology for approaching
Romantic studies?
5. How do recent controversies surrounding Olaudah Equiano’s biography effect our
reading of his Interesting Narrative? If Equiano wasn’t in fact born in Africa, does this
diminish the impact of his narrative as a pro-abolitionist statement? Or, is the difference
between the “actual” Equiano and the textual persona really not a critical factor in
assessing his narrative’s legacy? What effect might historical distance from the events
surrounding slavery play in how one answers this question?
ESSAY TWO: ENLT 355
Due: 11/25
Write a 8-10 page analysis on one (or more) text(s) on our syllabus from week seven
to fifteen. Be sure to include a clear, original thesis (central argument) about the
text(s) you are focusing upon, and to support this thesis with detailed textual
evidence. You are also required to use one secondary source to supplement your
interpretation (either from our syllabus or from your own research). The following
are possible paper topics (if you would like to write on a different topic, please see
me in advance of turning in the essay).
1.
Compare and contrast Blake’s “The Little Black Boy” and Barbauld’s “Epistle to
William Wilberforce.” Which text seems to make a more effective argument
against slavery and why?
2. To what extent do Barbauld’s poems (“The Rights of Woman,” “Washing Day”
and/or
A Summer Evening’s Meditation”) represent visions of female empowerment?
How and why does her manner of envisioning women’s rights differ from
Wollstonecraft’s?
3. Does Austen’s Mansfield Park invite us to compare Fanny Price’s status within
the Bertram family to the status of slaves on Sir Thomas’s Antigua plantations?
What might be the advantages of such a comparison, as well as the drawbacks,
from the standpoint of women’s rights and/or abolitionism?
**If you would like to bring the film version of Mansfield Park into your analysis,
discuss whether or not writer/director Patricia Rozema’s decision to make explicit
links between Fanny and slavery augments the movie’s representation of Austen’s
novel, or detracts from it.**
4. To what extent do Barbauld’s “The Mouse’s Petition” and/or Coleridge’s “To a
Young Ass” invite readers to interpret these texts as championing animal rights?
Or are these poems really about human rights which are addressed indirectly
through animals? What difference does it make that the speaker of Barbauld’s
poem is a mouse, whereas the speaker in Coleridge’s poem is a human observer
of a mute donkey?
5. Why do many Romantic writers seem to embrace an optimistic view of political
reform in their youth, only to find that this optimism sours in their later years? Is
this due to flaws in how these thinkers envision the means of social reform and/or
the possibility of utopia? Or, is social and political resistance to meaningful
change the underlying cause of this disenchantment? Are other factors at work?
Focusing on texts by one or more writers on our syllabus (Wordsworth, Shelley,
Barbauld) analyze the issue of political disenchantment.