Table of Contents - Birkbeck, University of London
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Table of Contents - Birkbeck, University of London
School of Arts Department of English & Humanities MA Romantic Studies 2013-14 Contents Introduction Programme Structure Term Dates Starting your Course Romantic Objects (Core) Romantic Feelings (Core) Study Skills Option Courses Victorian Society & Culture: Progress and Anxiety Modernising Victorians (MA Victorian Studies Autumn Core- opened as option to our full-timers) Colonialism and Modernity The Book Unbound Death in Victorian Culture Victorian Emotions Romantic Studies Internship Page 2 3 4 6 9 15 22 24 25 31 Directed Reading In Romantic Studies 59 Summer Term Activities 60 Coursework Presentation and Plagiarism Coursework Submission Research Ethics Grade-Related Criteria Assessment Degree Regulations Disability Statement Student Support and Available Resources Other Resources and Organisations Other Graduate Activities Academic Contact Details Appendices – Term Dates Policy of Submission of Essays and Dissertations Starting with Moodle Programme Structures and Regulations Common Award Scheme Map of Campus Dissertation Proposal Form 61 66 68 69 71 73 74 77 80 82 83 84 85 87 88 91 97 98 34 39 47 50 58 Published July 2013 This document is for reference only. Every effort was made to ensure that information was correct at time of print, but discrepancies may still occur due to the nature of this document. Any changes will be communicated to you via your registered email address as soon as the School of Arts is made aware of any issues. 1 Introduction Welcome to the MA Romantic Studies. This new interdisciplinary programme offers a deep grounding in the multisensorial and material dimensions of Romantic literature and culture around 1750-1850. ‘Romanticism’ has long been associated with an interiorization of the imagination the move from a dependence on sense impressions to an idealist account of the imagination and the ‘free play of the faculties’. Inspiration, in this account, depends on an autonomous aesthetic sphere not determined by disciplines, taxonomies, external objects. Yet the period from 1750 to 1850 marks the rise of the museum, the gallery, the zoo and a range of other sites and institutions as arenas for public culture (the British Museum opens in 1753, the museum of the Royal College of Surgeons in 1799, the National Gallery in 1824, the Zoological Gardens in 1828 to specialists and 1847 to the general public and this is to name but a few). The two core courses give you an exciting and rigorous introduction to key questions, texts, poetics, and aesthetic theories and practices of the Romantic Period. ‘Romantic Objects’ offers you the chance to work on objects, texts, and artefacts in London museums and archives, such as stuffed birds, exotic artefacts of colonial travel, locks of hair, death masks, monuments and souvenirs in Romantic period museums, environments, and displays, including the British Museum, the John Soane’s Museum, and William Bullock’s London Museum and Pantherion. You will encounter a wide range of objects and texts, literary, artistic, scientific — some of them shaped by a disciplinary practice, some adisciplinary, some deliberately resisting established practices and forms. The module will help develop methodologies for identifying, researching, and writing about Romantic Objects. ‘Romantic Feelings’ explores the role of the senses in the production of personal and cultural identity in the Romantic Period. Positing a form of subjective participation, be it a form of sympathy or ‘impartial spectatorship’, feelings offer a new way of analyzing history through forms of cultural mediation. You will learn to understand the period through the forms (literary and other) in which events and other experiences ‘came home’ to the reader and viewer. Each class is structured around a feeling or cluster of feelings, such as the sublime, fear, ecstasy, indolence, and joy. You will get a strong grounding in key Romantic period texts and genres, and learn how literature explored and shaped the experience of important events at a distance. Thanks to the programme’s interdisciplinary approach, you will be thinking about literature as part of a multisensorial range of cultural phenomena. Cutting across conventional, but anachronistic, disciplinary boundaries, this programme recuperates the cultural forms that fall in the cracks between today’s disciplines. Together the core courses give you a strong knowledge of Romantic period literature and culture, and rigorous training in interdisciplinary methodologies and prepare you to tailor your studies to your own research interests and to engage in advanced MA Level work in your optional courses. The programme offers advanced MA level work and is an excellent preparation for doctoral research. MA Romantic Studies is run within the Department of English and Humanities, but brings together specialists from other departments in the School of Arts at Birkbeck, drawing on expertise in Art History, Museum Studies, and European Languages and Cultures. Thanks to our collaboration with MA European Cultures, this MA opens up Romantic culture as a transnational European phenomenon. 2 Structure and Timetable of the Course Part-time Study Year One Year Two Autumn Core Module: Romantic Objects Spring Option Module Summer Summer Term Project Core Module: Romantic Feelings Option Module Dissertation Research Workshops and individual supervision Dissertation Topic is due by 31 January First consultation with supervisor by end of spring term Submission of Dissertation Autumn Core Module: Romantic Objects Spring Core Module: Romantic Feelings Summer Summer Term Project Option Module Option Module Dissertation Research Workshops and individual supervision Full-time Study Year One Dissertation Topic is due by 31 January First consultation with supervisor by end of spring term Submission of Dissertation Attendance Requirements Taking a degree course at Birkbeck requires a high level of commitment, it is important that you attend lectures and classes consistently. It is your responsibility to make sure you sign the register at every class you attend. It is accepted that through illness or exceptional pressure at home or at work you may have to miss occasional classes, but if you have to be absent from several classes, or you know that you are going to have difficulties in attending regularly, please inform your Course Director as many departments enforce a 75% attendance policy. 3 Term Dates and Deadlines Monday 30September 2013 to Friday 13 December 2013 Monday 6 January 2014 to Friday 21 March 2014 Monday 28 April 2014 to Friday 11 July 2014 Option modules run over one term and take up at least ten teaching weeks. Reading weeks are observed in most courses. Deadlines and Important Dates Essay deadlines: Please note that these deadlines apply to ALL students on the MA programmes within the Department English & Humanities. Those students who take options within other Departments should adhere to the deadlines given by the Department in which the option takes place. Any queries/ concerns should be directed to your MA Course Director. Catalogue Entry (Romantic Objects, FT only): Monday 25 November 2013, 12.00, noon. Romantic Objects (Core) essay (FT only): Monday 6 January 2014, 12.00, noon. Critical Bibliography (Romantic Feelings, PT & FT): Monday 24 February 2014, 12.00, noon. Romantic Feelings (Core), essay (PT &FT): Monday 28 April 2014, 12.00, noon. Option Essay(s) – Term 2: Monday 28 April 2014, 12.00, noon (unless otherwise stated). Dissertation form: Friday 31 January 2014 (FT and year 2 PT only) - to be submitted to Annmarie Shadie, Administrator. Dissertation (FT and year 2 PT only): 12.00 noon, Monday 29 September 2014, 12.00, noon. NB. Deadlines for option courses offered outside the Department of English and Humanities may differ. Students should check with the teacher of the option concerned. Option choice deadlines: Students are required to submit their option choices to the relevant Postgraduate Administrator by the given deadlines: Autumn-term option choices: Spring-term option choices: Monday 2 September 2013 Friday 22 October 2013 Please ensure that you have notified your course administrator of your choices by the deadline. Acceptance on the option is subject to the approval of your Programme Director. You may also select options outside of the MA offerings subject to the approval of your Programme Director; when the option is external to the programme, it will also need approval by the relevant Tutor and Programme Director, according to the rules of each MA. 4 Contacts Director: Dr Luisa Calè – [email protected]; 020 3073 8412 Administrator: Annmarie Shadie – [email protected]; 020 3073 8379 Please note: any students taking an option based in another department, e.g., History, should submit their essays to the Postgraduate Administrator within English & Humanities, who will forward it on to the relevant administrator in the host department. 5 Starting your Course Enrolment: Important Information After receiving an offer of a place on the degree course, you need to enrol as soon as possible (see Administrative information, below). For early applicants this option is usually available starting in May and for late applicants (those interviewed in September) may experience some delay in receiving their enrolment letters at what is the busiest time of the year for Registry. The College will expect you to have formally enrolled and to have begun paying your fees by mid-October. You must enrol by the end of October or you may not be eligible to continue your degree. A student who withdraws after enrolling is liable for payment of fees for the first term of their intended study, and all subsequent terms up to and including the term in which they withdraw or for the full fees due for all modular enrolments (whichever is greater). Fees are not returnable, but requests for ex-gratia refunds of part of the fees paid in cases where a student is obliged to withdraw because of circumstances beyond the student's own control (but normally excluding changes in employment) may be made. All such refunds are subject to an administrative charge of £100, and will be pro-rated to reflect the proportion of a study already elapsed. Fees/ Finance College fees may be paid by many methods, The College Finance Office deals with fees and you should communicate and negotiate with them directly on 020 7631 6362. Students who fail to pay their fees may become ineligible to continue the course or unable to submit assessments. Any student who has a debt to the College at the end of the year will not have their marks relayed to them. Neither the Course Director nor any of your supervisors have the power to waive fees or sanction delays in payment. How to get your Birkbeck ID card Once you have completed your enrolment, you will be entitled to an ID card - here's what you need to do: The simplest way to get your ID card is by ordering it via your My Birkbeck profile. Just upload a recent image of yourself and submit your order. Alternatively, visit the My Birkbeck Helpdesk where we can take a photo of you and produce a card. Please note you may be required to queue during busy periods. The ID card will remain valid for the duration of your studies, and you will not be issued with a new card for each subsequent academic year. http://www.bbk.ac.uk/mybirkbeck/services/you/cards Contact Details/Email Birkbeck students are required to maintain their personal details via the “My Studies” Portal (student intranet) throughout their period of study. Failure to inform maintain this information via your student portal will mean that you may miss important information 6 concerning the course: all documentation, reading lists, class notices, etc, is sent to students via the Birkbeck e-mail system, as is information about associated events that may be of interest. You may nominate an email via your “My Studies” Student Portal. If you encounter any difficulty with this process please visit the MyBirkbeck Helpdesk in the main Malet Street building. Email is the normal means of communication in the School of Arts. Location The School of Arts is housed at 43 Gordon Square, where you will find the Administrative Office and individual staff offices. Teaching often takes place in our building, but your lectures may be held in any of the University of London or University College London buildings. Pigeonholes for communications with students are located at 43 Gordon Square, and should be checked frequently. During term time the Gordon Square entrance is staffed from 8.00am to 9.00pm, Monday to Friday. Urgent messages outside these times can be left at the Malet Street reception desk, which is open until 10.00pm. The Administrative Office The School of Arts student advice desk is located in the foyer of 43 Gordon Square, and is open during term time from 4.00pm to 6.00pm Monday to Thursday until week 6 in the Autumn term, and from 5.00pm to 6.00pm thereafter. Outside these hours, please contact your administrator by phone or e-mail to discuss your query or to book an appointment. 43 Gordon Square is open between 9.00am and 5.00pm on Saturdays during term time for access to student pigeonholes and coursework delivery. Moodle (Birkbeck’s Virtual Learning Environment Platform) You will be expected, throughout your studies, to submit relevant coursework through Moodle. You will need your Birkbeck College username and password in order to gain access to Moodle. Your username and password are created by ITS and all enrolled students will receive them. You cannot access this system if you are not enrolled. If you do not have your username and password, please contact ITS Reception in the main Malet Street building or by e-mail at [email protected]. If you have difficulty using Moodle, please contact/visit the ITS Help Desk where they can walk you through the process. Books: to buy or borrow? Throughout your degree you will be given reading lists, which will include both essential texts forming the basis of lectures and seminars, and suggestions for wider reading. The distinction between these two categories is clearly marked in this booklet. The first you will normally be expected to buy (particular versions or editions are specified in some cases) or photocopy from the short loan collection in Birkbeck Library. If you have trouble obtaining the recommended edition, or already own an alternative, a substitute will often be acceptable; consult the lecturer concerned if you are in any doubt. If you intend to rely on libraries, bear in mind that many other students will inevitably need the books at exactly the same time as you do. It is your responsibility to obtain these books in time for the classes. If you do find that a book has become unobtainable for any reason, please let the lecturer know as soon as possible. 7 Module Choices You will be contacted by your Department with regard to the modules you would like to take for the coming year. Please do not delay in returning your choices as modules are allocated first by year of study and then by date of submission. Students are grouped by year with the earliest submission gaining highest priority within that year. There is a strict deadline in place from the College that is enforced within the School of Arts. This date will be made clear to you on your module choice forms. Students submitting after this date will have modules allocated to them based on degree requirements. 8 Core Courses Romantic Objects Module Code: AREN075S7 Monday, 6.00-7.20pm, Autumn Term Module Convenor: Dr Luisa Calè Learning Objectives and Aims historical and mutisensorial grasp of Romantic period culture indepth knowledge of the modes of production, collecting, and exhibiting of Romantic objects a historical and critical engagement with Romantic disciplines, practices, and institutions engaging with Romantic objects Romantic ekphrasis within classical and Romantic traditions. techniques of writing about objects situated in specific contexts of reading, viewing, and practice. literary genres and modes of address to objects and their audiences research methods for the study of Romantic period objects Module Description Romantic objects articulate a multisensorial aesthetic in which reading, viewing, and collecting are overlapping and complementary creative practices. This module situates the literary in a wider range of cultural phenomena. Our focus on objects goes against attempts to privilege solitary reading and solitary encounters with art forms isolated from the public sphere. Our aim to restore cultural forms in the domain of practice in which the Romantics created and encountered them. The period from 1750 to 1850 marks the rise of the museum, the gallery, the zoo and a range of other sites and institutions as arenas for public culture (the British Museum opens in 1753, the museum of the Royal College of Surgeons in 1799, the National Gallery in 1824, the Zoological Gardens in 1828 to specialists and 1847 to the general public – and this is to name but a few). The rise of consumer culture, with the development of retail outlets and the wider circulation of consumer goods, and more publicized forms of collecting opened up new sites of cultural exchange for a new reading and viewing public. ‘Romantic Objects’ will introduce works produced in a variety of genres and media. You will work on a wide range of texts, literary, artistic, scientific – some of them shaped by a disciplinary practice, some adisciplinary, some deliberately resisting established practices and forms. You will analyse poems, paintings, and more canonical forms alongside more unusual Romantic objects such as stuffed birds, death masks, monuments and souvenirs in Romantic period museums, environments, and displays, including the British Museum, the John Soane’s Museum, William Bullock’s London Museum and Pantherion. You will be introduced to modes of production, collecting, display, and circulation of objects. You will acquire methodologies for identifying, researching, talking, and writing about objects. Each class juxtaposes an object in a specific domain of practice with a literary text, a particular disciplinary angle, and a selection of key secondary readings. 9 The assessment combines an academic essay with a catalogue entry, which trains students to write for the museum and culture industry sector. Assessment Assignment Catalogue Entry Assessed Essay Description 1,500-2,000 words 4,500 Words Weighting 10% 90% Essential Texts In preparation for the module it is recommended that you familiarize yourselves with approaches to objects anthologized inThe Object Reader, ed. by Fiona Candlin and Raiford Guins (London: Routledge, 2009); Mary Jacobus, Romantic Things (Chicago, 2012). A good introduction to the Romantic period is Marilyn Butler’s engaging Romantics, Rebels, and Reactionaries: English Literature and its Backgrond 1760-1830 (Oxford: Oxford University Press, 1981). For specific points of information, you can consult An Oxford Companion to the Romantic Age, ed. by Ian McCalman (Oxford: Oxford University Press, 2001). On Romantic objects and memorialization, a good introductory reading is Nicola Watson’s The Literary Tourist (Palgrave, 2006). On literary form in the Romantic Period, you may wish to consult David Duff, Romanticism and the Uses of Genre (Oxford: Oxford University Press, 2009) Week 1: Romantic Ekphrasis & The Materialities of Writing Object in Focus: The Medusa by a Flemish Artist, once attributed to Leonardo da Vinci, Uffizi Gallery, Florence. Percy B. Shelley, ‘On the Medusa of Leonardo da Vinci, in the Florentine Gallery’ (1824), online edition available through Romantic Circles website: http://www.rc.umd.edu/editions/shelley/medusa/mforum.html (it includes an annotated edition of the poem and secondary readings) W. J. T. Mitchell, ‘Ekphrasis and the Other’, The South Atlantic Quarterly, 91:3 (Summer 1992), 695-719, rpt online via the Romantic Circles website above Sophie Thomas, ‘Ekphrasis and Terror: Shelley, Medusa, and the Phantasmagoria’, in Illustrations, Optics and Objects in Nineteenth-Century Literary and Visual Culture, ed. L. Calè and P. di Bello (Palgrave 2009) Week 2: Romantic Objects in Theory Samuel Taylor Coleridge, ‘Constancy to an Ideal Object’ (1828), approved edition on moodle Extracts from Immanuel Kant, Critique of Judgment, on moodle or distributed in class Critical Inquiry, 28:1 (2001), special issue on Thing Theory, edited by Bill Brown (JSTOR), see especially essays by Bill Brown, Jonathan Lamb, W.J.T.Mitchell http://ezproxy.lib.bbk.ac.uk/login?url=http://www.jstor.org/stable/i257808 10 Week 3: The Gothic Object in Focus: Horace Walpole’s ‘toything’ house at Strawberry Hill Lewis Walpole Library Digital Collection:(http://images.library.yale.edu/walpoleweb/); key in ‘Description of Strawberry Hill’ for a rich collection of prints and extra-illustrations in Horace Walpole and Richard Bull’s extra-illustrated copies of A Description of the Villa of Horace Walpole ... at Strawberry Hill (1784) Readings: [Horace Walpole], The Castle of Otranto, A Story. Translated by William Marshall, Gent. From the Italian of Onuphrio Muralto (1764) Secondary Readings: Horace Walpole and Strawberry Hill, ed. by Michael Snodin and Cynthia Roman (New Haven: Yale University Press, 2009) Ruth Mack, ‘Horace Walpole and the Objects of Literary History’, English Literary History, 75:2 (2008), 367-387, JSTOR. E. J. Clery, The Rise of Supernatural Fiction, 1762–1800 (Cambridge: Cambridge Univ. Press, 1995) Week 4: Objects of Sensibility Object in focus: Joseph Wright of Derby, ‘Maria, from Sterne’ 1777 Lawrence Sterne, A Sentimental Journey, 1768 (Oxford World Classics) Secondary readings: W.B. Gerard, Lawrence Sterne and the Visual Imagination (Ashgate, 2006), chapter 5 J. Egerton, Wright of Derby (Tate catalogue, 1990), catalogue 52, pp.106-7 J.Chandler, ‘The languages of sentiment’, Textual Practice, 22:1 (2008), 21-39 J.Chandler, An Archeology of Sympathy: The Sentimental Mode in Literature and Cinema (Chicago, 2013) M.Ellis, The Politics of Sensibility: Race Gender and Commerce in the Sentimental Novel (Cambridge University Press, 1996) J. Mullan, Sentiment and Sociability: the Language of Feeling in the Eighteenth Century (Oxford, Clarendon, 1990) G.J. Barker-Benfield, The Culture of Sensibility (Chicago, 1992) Week 5: Paper Foliage Object in focus: Mary Delany’s ‘Paper Mosaics’, British Museum, Enlightenment Gallery and Department of Prints and Drawings http://www.britishmuseum.org/research/search_the_collection_database.aspx Readings: William Blake, The Book of Thel (1789) Erasmus Darwin, The Loves of the Plants (London: Johnson, 1789), extracts 11 Secondary Readings: Mrs Delany and her Circle, ed. Mark Laird and Alicia Weisberg-Roberts (New Haven: Yale University Press, 2009) Week 6: READING WEEK Week 7: Vases Objects in focus: China Fish Bowl, formerly at Strawberry Hill The Townley Vase, Townley Collection; The Portland Vase, Portland Museum, currently both at the British Museum Readings: Thomas Gray, ‘Ode on the Death of a Favourite Cat’, Poems, 1753 (pics of the illustrated edition can be viewed at: Erasmus Darwin, The Botanic Garden (1791), excerpt John Keats, ‘Ode on a Grecian Urn’, online through Romantic Circles Secondary Readings: Viccy Coltman, ‘Sir William Hamilton’s Vase Publications (1766-1776): A Case Study in the Reproduction and Dissemination of Antiquity’, Journal of Design History (2001) Stacey Sloboda, ‘Displaying Materials: Porcelain and Natural History in the Duchess of Portland’s Museum’, Eighteenth-Century Studies (2010) Stacey Sloboda, Chinoiserie: Commerce and Critical Ornament in Eighteenth-Century Britain (Manchester: Manchester University Press, forthcoming) Week 8: Ruins Objects in Focus: The Elgin Marbles, as installed in the British Museum; copies of the Elgin Marbles at the John Soane’s Museum Readings: Sir John Soane, ‘Crude Hints towards an History of my House in L I Fields’ (1812) William Hazlitt, ‘The Elgin Marbles’ (1822) John Keats, ‘On Seeing the Elgin Marbles’ P.B.Shelley, ‘Ozymandias’ Secondary Readings: Viccy Coltman, ‘Representation, Replication and Collecting in Charles Townley’s Late Eighteenth-Century Library’, Art History (2006) Viccy Coltman, Classical Sculpture and the Culture of Collecting in Britain since 1760 (2009) Viccy Coltman, Fabricating the Antique: Neoclassicism in Britain, 1760-1800 (Chicago, 2006) Donald Preziosi, Brain of the Earth’s Body: Art, Museums, and the Phantasms of Modernity (University of Minnesota Press, 2003) 12 Sophie Thomas, ‘Assembling History: Fragments and Ruins’, European Romantic Review, 14:2 (2003) Grant Scott, ‘The Elgin Marbles Sonnet in its Historical and Generic Contexts, KeatsShelley Journal, 39 (1990), 123-50. Grant Scott, ‘Ekphrasis and the Picture Gallery’, in Advances in Visual Semiotics, ed. Thomas A. Sebeok and Jean Umiker-Sebeok (New York and Berlin: W. De Gruyter, 1995), pp. 403-421 Week 9: Albums (LC) Object in focus: Mrs Birkbeck’s Album, Birkbeck College Library Readings: Mrs Birkbeck’s Album http://birkbeck.lunaimaging.com:8180/luna/servlet/detail/BIRKBECKBCM~15~15~ 56317~110283:Mrs-Birkbeck-s-Diary Secondary Readings: Patrizia di Bello, 'Mrs Birkbeck's Album: the Hand-Written and the Printed in Early Nineteenth-Century Feminine Culture’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 1 (2005), www.19.bbk.ac.uk Hunt, Leigh, ‘Pocket-Books and Keepsakes’, The Keepsake (London: Hurst, Chance & Cp., 1828), pp. 4-5. Wilson, John, ‘Monologue, or Soliloquy on the Annuals’, Blackwood’s Edinburgh Magazine, 26 (December 1829), 949–51. Thackeray, William, "A Word on the Annuals" (Fraser's Magazine, December 1837), "The Annuals" (The Times, 2 November 1838) and "Our Annual Execution" (Fraser's Magazine, January 1839) Week 10: Birds (LC) Object in focus: The Hummingbird Cabinet, London, Natural History Museum. Readings: Samuel Taylor Coleridge, ‘The Nightingale: A Conversational Poem written in April, 1798’, Lyrical Ballads (Bristol: Cottle, 1798), pp. 63-69, electronic facsimile available at Romantic Circles: http://www.rc.umd.edu/editions/LB/html/Lb98-l.html. John Keats, Ode to a Nightingale, Annals of the Fine Arts (July 1819) Percy Shelley, To a Skylark William Bullock, A Companion to the London Museum and Pantherion (London, 1812), pp. 50-52. Secondary Readings: Bullock, William, A concise and easy method of preserving objects of natural history: 13 intended for the use of sportsmen, travellers, and others; to enable them to prepare and preserve such curious and rare articles, 2nd edn (London: printed for the proprietor, 1818) Kaeppeler, Adrienne, Holophusicon: The Leverian Museum. An Eighteenth-Century English Institution of Science, Curiosity, and Art (Altenstadt: ZKF Publishers, 2011) Pascoe, Judith, The Hummingbird Cabinet: A Rare and Curious History of Romantic Collectors (Princeton, NJ: Princeton University Press, 2006). Pearce, Susan, ‘William Bullock: Collections and Exhibitions at the Egyptian Hall, London, 1816-25’, Journal of the History of Collections, 20:1 (2008), 17-35 Ritvo, Harriet, The Platypus and the Mermaid and other Figments of the Classifying Imagination (Cambridge, Mass.: Harvard University Press, 1997) Special Issue on Eighteenth-Century Animals, Journal of Eighteenth-Century Studies (2010) Week 11: material culture of memory: monuments, locks of hair, death masks (LC) Object in focus: Keats’ House Reading: Shelley, ‘Adonais’ Secondary Readings: Philip Connell, ‘Death and the Author: Westminster Abbey and the Meanings of the Literary Monument’, Eighteenth-Century Studies, 38:4 (2005), 557-85 Nicola Watson, The Literary Tourist (Palgrave, 2006) Ernst Benkard, Undying Faces A Collection of Death Masks, trans. Margaret M. Green (London: Hogarth Press, 1929) Rune Fredericksen and Eckart Marchand, eds, Plaster Casts: Making, Collecting and Displaying from Classical Antiquiry to the Present (Brill 2012). Peter Malone, ‘Keats’s ‘Posthumous Existence’ in Plaster’, Keats-Shelley Review , 26:2 (September 2012), 125-35 Brendan Corcoran, ‘Keats’s Death: Towards a Posthumous Poetics’, Studies in Romanticism, 48 (Summer 2009) James Heffernan, ‘Adonais: Shelley’s Consumption of Keats’, Studies in Romanticism, 23:3 (Fall 1984), 295-315. Grant Scott, ‘Writing Keats’s Last Days: Severn, Sharp, and Romantic Biography’, Studies in Romanticism, 42:1 (Spring 2003), 2-26. Mark Merritt, ‘The Politics of Literary Biography in Charles Brown’s Life of John Keats’, Studies in Romanticism, 44:2 (Summer 2005), 207-238. ‘On the Cockney School of Poetry, IV’, Blackwood’s Magazine (August 1818), available through wikipedia Ayumi Mizukoshi, Keats, Hunt, and the Aesthetics of Pleasure (Palgrave, 2001) 14 Romantic Feelings Module Code: AREN076S7 Tuesday, 7.40-9.00pm Spring Term Module Convenor: Dr Emily Senior Learning Objectives and Aims Demonstrate a historical grasp of Romantic-period culture A multidisciplinary approach to the imagination, and to considering different Romantic mode presenting the impressions of the senses to the mind Think about the specific ways in which different literary genres and different media cons feelings and address their audiences Historicize the role and representations of feeling Demonstrate a command of literary, philosophical, and political discussions of feelings in Romantic Period Identify different constructions of the Romantic through the ways they negotiate the physiolo the aesthetic Identify the vocabulary which articulates the place of feeling and the physiology of the aesthe Identify Romantic disciplines, practices, and institutions engaging with Romantic feelings Historicize disciplinary practices and understand the implications of disciplinary approach feelings Identify appropriate research methods for the study of Romantic feelings Module Description Romanticism is often associated with an interiorization of the imagination—the move from associat to idealist accounts of the imagination and the role of a Kantian 'free play of the faculties' as a guara of an autonomous aesthetic sphere not determined by disciplines or taxonomies of objects, no morality, self-interest, or the unpredictable and multifarious domain of sense impressions. This mo contextualizes disembodied notions of reading and purified notions of viewing as responses to widening body of the public, which some thought less educated and therefore less capab restraining bodily inclinations in the exercise of aesthetic practice, be it reading or looking at v objects in a dizzying world of public spectacle much attached to the pleasures of sensation. This mo is complementary to the 'Romantic Objects' core: while both modules together offer ways of thin about the materiality of culture and experience, 'Romantic Feelings' focuses on the material perception and the role of the senses in the production of culture and subjectivity. Positing a fo subjective participation theorized by Smith's notion of sympathy and impartial spectatorship, a focu feelings offers a new way of analysing history through the forms in which it 'came home' to the re and viewer: how the Terror, for instance, was witnessed by Helen Maria Williams in first person then vicariously by her readers; how a feeling that denoted a physical response would becom historiographical term for a period. Each class is structured around a specific feeling or cluster of feelings. 15 Assessment Assignment Critical Bibliography Assessed Essay Description Weighting 1,500-2,000 Words 0% 5,000 Words 100% Texts to read in preparation for the course: Jane Austen’s Sense and Sensibility is the ideal novel to read over the summer in order to start thinking about Romantic feelings. Mary Shelley’s Frankenstein would also be a great introduction to thinking about how the act of reading shapes effects of feeling, and how the monster tests the limits of sympathy. To get started on the module’s specific reading list, it is advisable to read Sterne’s Sentimental Journey (Oxford University Press) and Hazlitt’s Liber Amoris, ed. Greg Dart (Carcanet, 2008). It would also be a good idea to read some Wordsworth and Keats’s Odes (the best editions to buy are those of Oxford World Classics). Useful advance secondary reading would be: Cohen, Margaret, The Sentimental Education of the Novel (Princeton: Princeton University Press, 1999). Cohen, Margaret, ‘Sentimental Communities’, in The Literary Channel (Princeton: Princeton University Press, 2001), 106-48. Dixon, From Passions to Emotions: The Creation of a Secular Psychological Category (Cambridge University Press, 2003). Marshall, David, The Surprising Effects of Sympathy (Chicago: University of Chicago Press, 1988). Mullan, John, Sentiment and Sociability: The Language of Feeling in the Eighteenth Century (Oxford: Oxford University Press, 1988). 1. Introduction and the Sublime (Dr. David McAllister) This session will introduce two major traditions and texts on the sublime, focusing on Edmund Burke's physiological sublime and the Kantian Analytic of the Sublime as explorations of the possibilities and limitations of modes of feeling. Seminar discussion will focus on these texts, as well as passages from Wordsworth’s Prelude Book VI and Turner’s painting of Hannibal Crossing the Alps. Reading: Edmund Burke, An Enquiry into the Origins of Our Ideas of the Sublime and the Beautiful, ed. by Adam Phillips (Oxford: Oxford University Press, 1998) [extract on Moodle]. William Wordsworth, The Prelude, Book VI. Further Reading: Ashfield, Andrew and Peter de Bolla (eds), The Sublime: A Reader in British EighteenthCentury Aesthetic Theory (Cambridge: Cambridge University Press, 1996). 16 Immanuel Kant, ‘Analytic of the Sublime’, Critique of the Power of Judgement (Cambridge: Cambridge University Press, 2000), pp. 128-59. Monk, Samuel, The Sublime: A Study of Critical Theories in Eighteenth-Century England (Ann Arbor: Ann Arbor Paperbacks, 1960). Shaw, Philip, The Sublime (Abingdon and New York: Routledge, 2006). ‘The Sublime and the Beautiful: Reconsiderations’, special issue of New Literary History, 16:2 (1985), access through JSTOR. Weiskel, Thomas, The Romantic Sublime: Studies in the Structure and Psychology of Transcendence (Baltimore: Johns Hopkins University Press, 1976). 2. Grief (Dr. David McAllister) This session will focus on the expression of grief in the Romantic period, its persistent associations with tangible material remains, conceptions of its value to the feeling subject and theorizations of its circulation through culture. Primary texts: William Godwin, Essay on Sepulchres (1809) Adam Smith, The Theory of Moral Sentiments (1759) [Extract on Moodle] William Wordsworth, ‘Distressful gift! This Book receives’; ‘I Only looked for Pain and Grief’; ‘Elegiac Stanzas Suggested by a Picture of Peele Castle in a Storm’ [on Moodle] Secondary Reading: Ildiko Csengei, ‘Godwin’s Case: Melancholy Mourning in the “Empire of Feeling”’, Studies in Romanticism, 48.3 (2009), 491-519 Mary Jacobus, ‘“Distressful gift”: Talking to the Dead’, South Atlantic Quarterly 106.2 (2007), 393-418 Kurt Fosso, Buried Communities: Wordsworth and the Bonds of Mourning (Albany, NY.: SUNY Press, 2004) Paul Westover, ‘William Godwin, Literary Tourism, and the Work of Necromanticism’, Studies in Romanticism, 48.2 (2009), 299-319 Julie Carlson, ‘Fancy’s History’, European Romantic Review, 14.2 (2003), 163-176 Esther Schor, Bearing the Dead: The British Culture of Mourning from the Enlightenment to Victoria (Princeton, NJ: Princeton University Press, 1994) 3. Sympathy and the Sentimental This session will explore the history and literary dimensions of sympathy and sentiment, with discussion focusing on Adam Smith’s Theory of Moral Sentiments and Laurence Sterne’s A Sentimental Journey. Reading: Adam Smith, Theory of Moral Sentiments (1759), ‘Part I: Of the Propriety of Action, Consisting of Three Sections’ and Part III Of the Foundation of Our Judgements Concerning Our Own Sentiments and Conduct, and the Sense of Duty’, in Theory of Moral Sentiments (Oxford: Clarendon Press, 1982), or online at: http://oll.libertyfund.org/index.php?option=com_content&task=view&id=1340&Itemid=29 9. Laurence Sterne, A Sentimental Journey (1768). 17 Further Reading: Bell, Michael, Sentimentalism, Ethics, and the Culture of Feeling (Basingstoke: Palgrave Macmillan, 2000). Csengei, Ildiko, ‘I Will Not Weep’: Reading through the Tears of Henry Mackenzie’s Man of Feeling’, Modern Language Review, 103:4 (October 2008), 952-68. Ellis, Markman, The Politics of Sensibility: race, gender and commerce in the sentimental novel (Cambridge: Cambridge University Press, 1996) Ellison, Julie, Cato’s Tears and the Making of Anglo-American Emotion (Chicago: Chicago University Press, 1999). Festa, Lynn, Sentimental Figures of Empire in Eighteenth-Century Britain and France (Baltimore: Johns Hopkins, 2006). Goring, Paul, The Rhetoric of Sensibility in Eighteenth-Century Culture (Cambridge: Cambridge University Press, 2005). Hume, David, Treatise of Human Nature (1739-40). Kant, Immanuel, Perpetual Peace: A Sketch (1795), in Kant’s Political Writings, ed. by H.S.Riess (Cambridge: Cambridge University Press, 1970). Mackenzie, Henry, The Man of Feeling (1771). Schiller, Friedrich, ‘On Naïve and Sentimental Poetry’ (1794-5). Terada, Rei, Feeling in Theory: Emotion After the ‘Death of the Subject’ (Cambridge, MA: Harvard University Press, 2001). 4. Indolence, Melancholy, Nostalgia This session traces the varied forms of Romantic melancholy and nostalgia associated with a longing for home, being out of place, or a sense of belatedness, moving from medical taxonomy to psychological state to aesthetic discourse, and placing melancholy and nostalgia in the wider social contexts of empire, war, nationalism, and revolution. Reading: John Keats, Odes to Indolence and Melancholy (1819). William Wordsworth, ‘The Brothers’, in Lyrical Ballads (1800). William Cullen, Nosology, or a Systematic Arrangement of Diseases (1769), extract on Moodle. Further Reading: Batten, Guin, The Orphaned Imagination: Melancholy and Commodity Culture in English Romanticism (Durham, NC: Duke University Press, 1998). Bewell, Alan, Romanticism and Colonial Disease (Baltimore: Johns Hopkins, 1999). Bewell, Alan, ‘John Clare and the Ghosts of Natures Past’, in Nineteenth-Century Literature, 65: 4 (March 2011), 548-78. De Quincey, Thomas, ‘The pains of opium’, in The Confessions of an English Opium Eater (1821), ed. by Grevel Lindop (Oxford World Classics, 1985, 1996). 18 Favret, Mary, Romanticism and the Making of Modern Wartime (Princeton: Princeton University Press, 2010). Manning, Peter (ed.), ‘Nostalgia, Melancholy, Anxiety: Discursive Mobility and the Circulation of Bodies’, special issue of Studies in Romanticism, 49:2 (Summer 2010) (see especially Kevis Goodman’s essay in this volume: ‘“Uncertain Disease”: Nostalgia, Pathologies of Motion, Practices of Reading’). 5. Joy, Sadness and Despair This class will examine a range of poems from Blake’s Infant Joy to Wordsworth’s Immortality Ode, and explore different ways of reading them by reference to different contexts, from infant joy (Blake), to a ‘dialectics of happiness’, which articulates joy in relation to indolence and dejection (Wordsworth’s ‘Tintern Abbey’, ‘Resolution and Independence’, and ‘Stanzas’, and Coleridge’s ‘Dejection: An Ode’), and also think about how this dialectic articulates political notions of joy in particular moments in the Revolutionary Period (Ode: Intimations of Immortality), which will also be an occasion to think about the importance of dates and different versions (Tintern Abbey, Ode: Intimations). The session will also explore the apparently opposite feeling of despair, examining the pre-history of what is now called ‘depression’ and recuperating 'dejection' and 'despair' in their linguistic contexts, as well as the historical specificity of their physiological and psychological implications. Reading: William Blake, ‘Infant www.blakearchive.org. Joy’, Songs of Innocence (1789), available at Samuel Taylor Coleridge, ‘Dejection: An Ode’ (1802). William Wordsworth, ‘Resolution and Independence’ (1802), ‘Stanzas Written in my Pocket-Copy of Thomson’s “Castle of Indolence”’ (1802), ‘Ode: Intimations of Immortality from Recollections of Early Childhood’ (1804/1815). Thomas Pfau, ‘Introduction’, Romantic Moods: Paranoia, Trauma, and Melancholy, 1790-1840 (Baltimore: Johns Hopkins University Press, 2005). Further Reading: Dolan, Elizabeth A., Seeing Suffering in Women’s Literature of the Romantic Era (Aldershot: Ashgate, 2008). Johnson, Claudia L., Equivocal Beings: Politics, Gender and Sentimentality in the 1790s (Chicago: University of Chicago Press, 1995). Potkay, Adam, The Story of Joy: From the Bible to Late Romanticism (Cambridge: CUP, 2007). McMahon, Darrin, Happiness: A History (New York, 2006). Smith, Charlotte, ‘On Being Cautioned Against Walking on a Headland Overlooking the Sea, Because it was Frequented by a Lunatic’ (1784). Vickers, Neil, Coleridge and the Doctors, 1795-1806 (Oxford: Oxford University Press, 2004). 19 Wordsworth, William, ‘Lines Written a Few Miles Above Tintern Abbey, 13 July 1798’, ‘Home at Grasmere’ (1800). Wollstonecraft, Mary, Mary: A Fiction (1788). 6. Reading week 7. Ecstasy and Enthusiasm: Liturgy, The Carnivalesque, The Millenarian, and the Revolutionary Public Sphere. Reading: William Blake, Milton. William Hogarth, ‘Enthusiasm Delineated’ (1759). Further Reading: Guest, Harriet, A Form Sound of Words: The Religious Poetry of Christopher Smart (Oxford: Clarendon Press, 1989). Hawes, Clement, Mania and Literary Style (Cambridge: Cambridge Univ. Press, 1996). Klein, Lawrence E. and Anthony La Vopa, ‘Enthusiasm and Enlightenment in Europe, 1650-1850’, special issue of Huntington Library Quarterly, 60: 1-2 (1998). Matthews, Susan, ‘“Happy Copulation”: Blake, visual enthusiasm and gallery culture’, Romanticism on the Net, Vol. 46 (May 2007). Mee, Jon, Dangerous Enthusiasm (Oxford: Oxford University Press, 1992). Mee, Jon, Romanticism, Enthusiasm, and Regulation (Oxford: Oxford University Press, 2003). Smart, Christopher, ‘Jubilate Agno’, in The Poetical Works of Christopher Smart, ed. by Karina Williamson (Oxford: Clarendon, 1980), or on LION. 8. Terror and Horror (Dr. Silke Arnold-de Simine) This week will explore terror and horror and focus on Ann Radcliffe's 'On the Supernatural in Poetry' (1826) and The Mysteries of Udolpho (1794) and Matthew Lewis’s gothic classic The Monk (1796). Reading: Ann Radcliffe, 'On the Supernatural in Poetry', New Monthly Magazine 16/1 (1826), 145-152 [on Moodle] Ann Radcliffe,The Mysteries of Udolpho (1794) [extracts on Moodle] M.G. Lewis, The Monk (1796) [extracts on Moodle] 9. Hatred and Anger This session will cover representations of revolutionary crowds, key moments of the French Revolution such as Edmund Burke’s description of the fisherwomen of Versailles in Reflections on the Revolution in France (1790), representations of the ‘enragés’, the Peterloo massacre in Shelley’s ‘England in 1819’, as well as more abstract pieces such as William Hazlitt’s essay ‘On the Pleasures of Hating’ (1826). 20 Reading: Edmund Burke, Reflections on the Revolution in France (1790) [extracts on Moodle] Percy Bysshe Shelley, ‘England in 1819’. William Hazlitt, 'On the Pleasures of Hating' (1826). Further reading: Stauffer, Andrew, Anger, Revolution, and Romanticism (Cambridge University Press, 2005). Chandler, James, England in 1819: The Politics of Literary Culture and the Case of Romantic Historicism (University of Chicago Press, 1998). 10. Love Percy Bysshe Shelley, fragment ‘on love’. William Hazlitt, Liber Amoris, or the New Pygmalion (1823) [in Complete Works of William Hazlitt, ed. P.P. Howe (London: Dent, 1920), vol. 9, or full view through Google Books. The best edition to buy is Liber Amoris and related writings, ed. by Gregory Dart (Carcanet, 2008)] Further Reading: Barnard, John, ‘Hazlitt’s Liber Amoris; or, the New Pygmalion (1823): Conversations and the Statue’, in Shirley Chew and Alistair Stead, eds, Translating Life: Studies in Transpositional Aesthetics (Liverpool University Press, 1999), pp. 181-99. Benjamin, Walter, ‘Goethe’s Elective Affinities’, in Walter Benjamin: Selected Writings 1 (1913-1926), ed. by Marcus Bullock and Michael William Jennings (Harvard University Press, 2004). Butler, Marilyn, ‘Hazlitt’s Liber Amoris and Romantic Satire’, Yearbook of English Studies, 14 (1984), 209-25. Goethe, Wolfgang von, Elective Affinities (1808), trans. David Constantine (Oxford World Classics, 1999); Roman Elegies (project gutenberg online has the best translation). Henderson, Andrea, ‘Practicing Politics in the Comforts of Home’, Romanticism and the Painful Pleasures of Modern Life (Cambridge University Press, 2008), pp. 171-223. 11. Conclusions and student presentations In this final week we will reflect on the different models of passions, affections, sentiments, feelings and emotions that we have discussed. This week will also offer students the opportunity to bring in an example of ‘Romantic Feeling’—an image, object or text they are interested in—and present it to the group, offering an analysis of it in the context of our discussions on the module. 21 Study Skills Term 1 Week 1 Monday 30 Sept, 6.00-7.30 (LC) Induction Week 1 Monday 30 Sept, 7.30-9.00 (LC) Research and Writing Skills (new entrants only) Week 2 Monday 7 Oct, 7.30-9.00 pm (Subject Librarian) Using the Library: Electronic resources Deadline for submission: Monday 25 November, 12 noon Week 4 Wednesday 23 Oct, 6.00-7.20 pm (LC): The Catalogue Entry (for Romantic Objects module). In preparation for this workshop, examine catalogue entries related to Romantic objects, and bring two examples to the session to share in the discussion. More will be available for analysis in class. Reading: Pearce, Susan, ed., Interpreting Objects and Collections (London: Routledge, 1994), 127-9 (moodle). Further Reading: Appadurai, Arjun, ‘Introduction: Commodities and the Politics of Value’, in A. Appadurai, ed., The Social Lives of Things: Commodities in Cultural Perspective (Cambridge University Press, 1988), pp. 3-61. Ritvo, Harriet, The Playtypus and the Mermaid and other figments of the classifying imagination (Cambridge, Mass.: Harvard University Press, 1997) Week 4 Wednesday 23 Oct, 7.40-9.00 The Romantic Museum (all): In preparation for this workshop, 1. visit one of the following museums: John Soane Museum, Lincoln Inn’s Fields, London Hunterian Museum, Lincoln Inn’s Fields, London Elgin Marbles Room, British Museum, London National Gallery, Trafalgar Square, London 2. choose an object from the Romantic period, collected during the romantic period, or written about during the Romantic period, and think about what it tells you about the Romantic Museum as a cultural phenomenon Week 9 Wednesday 27 Nov, 7.40-9.00 (LC): How to write a Dissertation 1: title and abstract (compulsory for FT & 2nd year PT) Dissertation Form Deadline: Friday 31st January 2014(FT and 2nd-year PT only) 22 Term 2 Week 4 Tuesday 28 January (ES): How to Write a Critical Bibliography (for Romantic Feelings module, but all welcome) Deadline for submission of Critical Bibliography coursework: Week 8, Monday 24th February, 12 noon. Week 7 Tuesday 18 Feb, 7.40-9.00 (ES): Online Research Week 8 Wednesday 26 Feb, 7.40-9.00 (LC): How to deliver a Research Presentation Term 3 Dissertation workshops (compulsory for full timers and second year part-time students) Week 1 Monday 28 April, 6.00-7.20 Dissertation Workshop 2: Writing Introductions Week 2 Wednesday 7 May, 7.40-9.00 Dissertation Workshop 3: Writing Conclusions Research Project Presentations Week 3 Monday 12 May, 6.00-7.20 Research project presentations Week 3 Wednesday 14 May, 6.00-7.20 Research project presentations About research project presentation: This exercise trains you to give an oral presentation, work out the right pitch and scope and keep to time (max 15 mins), try out an idea in front of a friendly public, receive and respond to feedback on the spot, get a sense of the range of topics approaches and methods, ask questions and respond to someone else's ideas. 23 Option Modules Victorian Society & Culture: Progress and Anxiety HICL025S7 (Autumn Term opened as option to our full-timers) Wednesdays 6:00-9:00pm Modernising Victorians AREN166S7 (Autumn Term opened as option to our full-timers) Thursdays, 6:00-7:30pm Colonialism and Modernity – Emily Senior AREN122S7 Mondays, 7.40-9.00pm The Book Unbound – Luisa Calè ENHU123S7 Monday, 6.00-7.30pm Death In Victorian Culture – David McAllister AREN119S7 Monday - 7:30-9:00pm Victorian Emotions – Carolyn Burdett AREN002S7 Tuesday - 6:00-7:30pm History of Art options will also be on offer, details will be provided as soon as they become available. 24 Option Modules Victorian Society & Culture: Progress and Anxiety (MA Victorian Autumn Core offered to MA Romantic Studies Full-timers) Module Code HICL025S7 Autumn Term: Wednesdays 6:00-9:00pm Module Convenors: Dr Nicola Bown, Dr David McAllister, Dr Heather Tilley This core course consists of a mixture of master classes, seminars and workshops. Seminars on Victorian society, history, political economy, science and novels are followed by a series of workshops designed to introduce you to the research skills required to complete a postgraduate degree in Victorian Studies. These workshops are absolutely vital to the course. Your first piece of coursework will require you to choose a book from the Farrer collection to write a historical-bibliographic essay on it (to be submitted on Week 7), in week 11 the seminar will be followed by an end of term drinks party. ASSESSMENT: There will be two pieces of assessed work for this course. 1) Bibliographic exercise (1,500 words), due Monday 11 November. This is a compulsory piece of work but is zero-weighted. 2) Essay on a topic of your choice arising from the course (3,500 words), due Monday 6 January 2014 (100%). PLEASE NOTE: You need to read all the Primary Reading listed. Secondary Reading lists are intended to start you off on an individual reading programme. Naturally, where the list is lengthy we do not expect you to read all the texts listed: try to look at one or two of the texts to orientate yourselves, preferably in advance of the seminar. Except where indicated, Primary Reading will be available on Moodle for you to print out. You will need copies of the two novels. Week One: INDUCTION MEETING, followed by 7.40pm-9pm: Victorian Studies Masterclass by Professor Hilary Fraser, Dean of Arts. Week Two: MACAULAY AND REFORM 6pm-7.30pm: Seminars (Two Groups: Nicola Bown and David McAllister) Required Reading Thomas Babington Macaulay, extracts from The History of England; speeches on parliamentary reform in Parliamentary Debates Vol. 4, 3rd Series, columns 773-83, and Vol. 9, 3rd Series, columns 378-92. 25 Secondary Reading J. Hamburger, Macaulay and the Whig Tradition, Chicago IL, 1976 B. Fontana, Rethinking the Politics of a Commercial Society: the Edinburgh Review 18021832, Cambridge, Cambridge University Press, 1985 J. Parry, The Rise and Fall of Liberal Government, Cambridge, Cambridge University Press, 1993 P. Ghosh, ‘Macaulay and the Heritage of the Enlightenment’, English Historical Review, 112, 1997, pp.358-95 A. Burns and J. Innes eds., Rethinking the Age of Reform, Britain 1780-1850, Cambridge, Cambridge University Press, 2003 esp. chapters 1-3 C. Hall, “At Home With History: Macaulay and The History of England”, in C. Hall and S. Rose eds, At Home with the Empire, Cambridge, Cambridge University Press, 2006 B. Hilton, A Mad, Bad and Dangerous People? England 1783-1846, Oxford, Oxford University Press, 2006 W. Thomas, The Quarrel of Macaulay and Croker: Politics and History in the Age of Reform (Oxford, 2000) 7.30-9pm: -- Farrer Library Workshop 1: Researching Victorian Print Culture Week Three: THE POOR LAWS 6pm-7.30pm: Seminars (Two Groups: Nicola Bown and David McAllister) Required Reading F.B. Head, ‘English Charity’, Quarterly Review 53 (1835), 473-539. [Douglas Jerrold], ‘The “Milk” of Poor-Law Kindness’, Punch 4 (1843), 46-7. Indicative Secondary Reading Brundage, Anthony, The Making of the New Poor Law: The Politics of Inquiry, Enactment and Implementation, 1832-39 (Hutchinson, 1978) Cody, Lisa Forman, ‘The Politics of Illegitimacy in the Age of Reform: Women, Reproduction and Political Economy in England’s New Poor Law of 1834’, Journal of Women’s History, 11.4 (Winter 2000) Driver, Felix, Power and Pauperism: The Workhouse System, 1834-1884 (Cambridge University Press, 1983) Edsall, Nicholas C., The Anti-PoorLaw Movement, 1834-44 (Manchester University Press, 1971) Himmelfarb, Gertrude, The Idea of Poverty: England in the Early Industrial Age (London: Faber and Faber, 1984). Winch, Donald, Riches and Poverty: An Intellectual History of Political Economy in Britain, 1750-1834 (Cambridge: Cambridge University Press, 1996). 7.30pm-9.00pm: Farrer Library Workshop 2: ‘Digital Victorians’ Week Four: Elizabeth Gaskell, Mary Barton 6pm-7.30pm: Seminars (Two Groups: Nicola Bown and David McAllister) Primary Reading Elizabeth Gaskell, Mary Barton (1848). Any scholarly edition of the text will do. Shirley Foster’s 2006 Oxford World’s Classics edition has a useful introduction. Secondary Reading Dentith, Simon, ‘Generic Diversity in Elizabeth Gaskell’s Mary Barton’, Gaskell Society Journ1 (1997), 43-54. Guest, Harriet, ‘The Deep Romance of Manchester: Gaskell’s Mary Barton’, in K.D.M. Snell (ed.), 26 The Regional novel in Britain and Ireland, 1800-1900 (Cambridge: Cambridge University Press, 1998), 79-98. Hotz, Mary Elizabeth, ‘A Grave with No Name: Representations of Death in Elizabeth Gaskell’s Mary Barton’, Nineteenth Century Studies 15 (2001), 38-56. Matus, Jill, The Cambridge Companion to Elizabeth Gaskell (Cambridge: Cambridge University Press, 2007). See especially the chapters by Matus and Deirdre D’Albertis. Recchio, Thomas, ‘Melodrama and the Production of Affective Knowledge in Mary Barton’. Studies in the Novel 43.3 (2011), 289-305. Williams, Raymond, Culture and Society 1780-1950 (London: Chatto and Windus, 1958). Williams’s brief discussion of the novel in this classic text has been enormously influential. Zemka, Sue, ‘Brief Encounters: Street Scenes in Gaskell’s Manchester’ ELH 76.3 (2009), 783819. 7.40pm-9pm: Farrer Library Workshop 3: Researching Victorian Visual Culture Week Five: EVANGELICALISM AND ITS CULTURE 6pm-7.30pm: Seminars (Two Groups: Nicola Bown and David McAllister) Primary Reading William Blaikie, extract from The Family, Its Scriptural Ideal and Its Modern Assailants, London: Religious Tract Society, 1888, (extract repr in Religion in Victorian Britain ed. G. Parsons, Vol 3: Sources ( Manchester: Manchester University Press/Open University, 1988), pp. 200-206) John Angell James, extract from The Anxious Enquirer After Salvation Directed and Encouraged, London: Religious Tract Society, 1834 (extract repr in Religion in Victorian Britain ed. G. Parsons, Vol 3: Sources ( Manchester: Manchester University Press/Open University, 1988), pp. 228-232) John Angell James, extract from The Principles of Dissent and the Duties of Dissenters: A Pastor’s Address to his People, London, Birmingham, 1834 (extract repr in Religion in Victorian Britain ed. G. Parsons, Vol 3: Sources ( Manchester: Manchester University Press/Open University, 1988), pp. 132-134) Secondary Reading Bebbington, DW, Evangelicalism in Modern Britain, London: Unwin Hyman, 1989 Ditchfield, DM The Evangelical Revival, London: UCL Press, 1998 Englander, D, ‘The world and the word: evangelicalism and the Victorian city’, , in Religion in Victorian Britain, Vol 2: Controversies ed. G Parsons, Manchester: Manchester University Press/Open University, 1988, pp. 14-38. Fyfe, Aileen, Science and Salvation: Evangelical popular science publishing in Victorian Britain, Chicago & London: University of Chicago Press, 2004 Hilton, Boyd, The Age of Atonement: the influence of evangelicalism on social and economic thought 1785-1865, Oxford: Oxford University Press: 1988 Jay, Elisabeth, Religion of the Heart: Anglican evangelicalism and the nineteenth-century novel, Oxford: Clarendon, 1979 Lewis, Donald M, Lighten their Darkness: the evangelical mission to working class London 1828-1860, New York: Greenwood Press, 1986 Parsons, Gerald, ‘Reform, revival, realignment: the experience of Victorian Anglicanism’ in Religion in Victorian Britain, Vol 1: Traditions ed. G Parsons, Manchester: Manchester University Press/Open University, 1988, pp. 14-66. 27 --------------------- ‘From dissenters to free churchmen: the transitions of Victorian nonconformity’, in Religion in Victorian Britain, Vol 1: Traditions ed. G Parsons, Manchester: Manchester University Press/Open University, 1988, pp. 67-116. Rosman, Doreen M, Evangelicals and Culture, London: Croom Helm, 1984 Tolley, Christopher, Domestic Biography: The legacy of evangelicalism in four nineteenth-century families, Oxford: Clarendon, 1997 7.40pm-9pm: NO CLASS Week Six: READING WEEK Week Seven: CARLYLE, HISTORY AND PROGRESS 6pm-7.30pm: Seminars (Two Groups: David McAllister and Heather Tilley) Primary Reading: Thomas Carlyle, Past and Present (1843), excerpts Secondary Reading: Le Quesne, AL, Carlyle Oxford: Oxford University Press, 1982 (This book was also reprinted as part of Victorian Thinkers) Culler, A. Dwight, The Victorian Mirror of History, New Haven & London: Yale University Press, 1985 Rosenberg, John D., Carlyle and the burden of history, Oxford :Clarendon,1985. Vanden Bossche, Chris, Carlyle and the search for authority, Columbus :Ohio State University Press,c1991. K. J. Fielding and Rodger L. Tarr (eds), Carlyle past and present :a collection of new essays, London :Vision,c1976. D.J. Trela and Rodger L. Tarr (eds), The critical response to Thomas Carlyle's major works, Westport, Conn. ;London :Greenwood,1997. Taylor, Jonathan, Science and omniscience in nineteenth-century literature, Brighton :Sussex Academic,2007. Ulrich, John M.. Signs of Their Times: History, Labor and the Body in Cobbett, Carlyle, and Disraeli. Athens, OH.: Ohio University Press, 2002. ---. “Thomas Carlyle, Richard Owen, and the Paleontological Articulation of the Past.” Journal of Victorian Culture 11.1 (2006): 30-58. Jules Paul Seigel (ed.), Thomas Carlyle :the critical heritage, London: Routledge,1995, c1971. 7.40pm-9pm: Farrer Library Workshop 4: Researching Victorian Material Culture Week Eight: THE WOMAN QUESTION 6pm-7.20pm Seminars (Two Groups: David McAllister and Heather Tilley) Required Reading: Sarah Stickney Ellis, extract from The Wives of England, their relative duties, domestic influence, and social obligations (London: Fisher and Son, 1843) Harriet Taylor, ‘Enfranchisement of Women’, in M. Mulvey Roberts and T. Mizuta (eds), The Disenfranchised: the Fight for the Suffrage (London: Routledge/Thoemmes, 1993). Indicative Secondary Reading Caine, Barbara, English Feminism 1780-1980 (Oxford: Oxford University Press, 1997). Davidoff, Leonore, and Hall, Catherine, Family Fortunes: Men and Women of the English Middle Class, 1780-1850 (London: Hutchinson, 1987; rev. edn, London: Routledge, 2002). See especially the introduction to the revised edition of this book. 28 Gleadle, Kathryn, The Early Feminists: Radical Unitarians and the Emergence of the Women’s Rights Movement, 1831-51 (Basingstoke: Macmillan, 1995). Rendall, Jane, The Origins of Modern Feminism: Women in Britain, France and the United States, 1780-1860 (Basingstoke: Macmillan, 1985). Taylor, Barbara, Eve and the New Jerusalem: Socialism and Feminism in the Nineteenth Century (London: Virago, 1983). Vickery, Amanda, ‘Golden Age to Separate Spheres? A Review of the Categories and Chronology of English Women’s History’, Historical Journal 36 (1993), pp. 383-414. 7.40pm-9pm: Essay Writing Workshop (Nicola Bown & David McAllister). Week Nine: GEOLOGY AND TIME 6pm-7.20pm: Seminars (Two Groups: David McAllister and Heather Tilley) Primary Reading Charles Lyell, Principles of Geology (1830), extracts Secondary Reading Martin Rudwick, Worlds before Adam :the reconstruction of geohistory in the age of reform, Chicago and London :University of Chicago Press,2010. -------------------- Lyell and Darwin, geologists :studies in the earth sciences in the age of reform, Aldershot: Ashgate Variorum,c2005. James Secord, ‘Introduction’ to Charles Lyell, Principles of Geology, London: Penguin, 1977 Stephen Jay Gould, Time's arrow, time's cycle :myth and metaphor in the discovery of geological time, London: Penguin,1988. Ludmilla Jordanova and Roy Porter (eds), Images of the Earth: New Perspectives in the History of Geology, British Society for the History of Science,1997. Week Nine: 7.40pm-9pm: NO CLASS Week Ten: Anthony Trollope, The Warden 6.00pm-7.20pm: Seminars (Two Groups: David McAllister and Heather Tilley) Primary Reading Anthony Trollope, The Warden (1855). Any scholarly edition of the text will do. Secondary Reading Blumberg, Ilana M., '”Unnatural Self-Sacrifice”: Trollope's Ethic of Mutual Benefit’, NineteenthCentury Literature, 58:4 (2004), 506-46. Bridgham, Elizabeth, ‘Victorian Fatherhood and Clerical Conscience: Crises of Paternal Authority in Gaskell and Trollope’ , in Fathers in Victorian Fiction, ed. Natalie McKnight, Newcastle upon Tyne, England: Cambridge Scholars, 2011, pp. 63-91. Dever, Carolyn and Lisa Niles (eds), The Cambridge companion to Anthony Trollope Cambridge and New York : Cambridge University Press, 2011. Earle, Bo, ‘Policing and Performing Liberal Individuality in Anthony Trollope's The Warden’, Nineteenth-Century Literature, 61:1 (2006), 1-31 Goodlad, Lauren M. E.: ‘Trollopian 'Foreign Policy': Rootedness and Cosmopolitanism in the Mid-Victorian Global Imaginary’ , PMLA: Publications of the Modern Language Association of America, 124:2 (2009), 437-454. Langford, Thomas A., ‘Trollope's Satire in The Warden’, Studies in the Novel, 19:4 (1987), 435-447. McDermott, Jim, ‘New Womanly Man: Feminized Heroism and the Politics of Compromise in The Warden’, VIJ: Victorians Institute Journal, 27 (1999), 71-90. 29 Maid, Barry M., ‘Trollope, Idealists, Reality, and Play’, VIJ: Victorians Institute Journal, 12 (1984),, 9-21. Markwick, Margaret, Deborah Denenholz Morse and Regenia Gagnier (eds), The politics of gender in Anthony Trollope's novels : new readings for the twenty-first century , Farnham and Burlington, VT : Ashgate, 2009. Meckier, Jerome, ‘The Cant of Reform: Trollope Rewrites Dickens in The Warden,’ Studies in the Novel, 15:3 (1983), 202-223. 7.40 -9.00: MA Victorian Studies Meeting with Student Reps Week 11: THE GREAT EXHIBITION 6pm-7.20pm: Seminars (Two Groups: David McAllister and Heather Tilley) Required Reading Extracts 1.1, 1.2, 1.3, 1.4 and 1.5 from J.M. Golby (ed.), Culture and Society in Britain 18501890 (Oxford: Oxford Univ. Press, 1986), 1-6. ‘Some Moral Aspects of the Exhibition’, The Economist (17 May 1851), 532. Charles Dickens and R.H. Horne, ‘The Great Exhibition and the Little One’, Household Words 3 (5 July 1851), 356-60. Visual Material ‘The Queen and Her Subjects’, Punch (3 May 1851). ‘The Classes and the Masses’, Punch (14 June 1851). ‘Specimens From Mr Punch’s Industrial Exhibition of 1850. To be Improved in 1851’. Punch 18 (1850), 145. ‘Dinner-Time at the Crystal Palace’, Punch (5 July 1851). John Nash, stuffed elephant and howdah from India. ‘The Tunis Court’ John Tenniel, ‘The Happy Family in Hyde Park’, Punch (19 July 1851). ‘Cannibal Islanders’ Secondary Reading Louise Purbrick (ed.), The Great Exhibition of 1851: New Interdisciplinary Essays (Manchester: Manchester University Press, 2001). Thomas Richards, ‘ The Great Exhibition of Things’, in The Commodity Culture of Victorian England: Advertising and Spectacle, 1851-1914 (Stanford: Stanford Univ. Press, 1990), pp. 17-72. Audrey Short, ‘Workers Under Glass’, Victorian Studies 10 (1966), pp. 193-202.Deborah Wynne, ‘Responses to the 1851 Exhibition in Household Words’, Dickensian 97:3 (2001), 228-34. Paul Young, ‘Economy, Empire, Extermination: The Christmas Pudding, the Crystal Palace and the Narrative of Capitalist Progress’, Literature and History 14 (2005), 14-30. Paul Young, ‘”Carbon, Mere Carbon”: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India’, Nineteenth-Century Contexts 28 (2006). 7.40pm-9pm: Christmas Drinks Party 30 Modernising Victorians (MA Victorian Autumn Core offered to MA Romantic Studies Full-timers) Autumn Term: Thursdays, 6:00-7:30pm Module Convenors: Dr Ana Vadillo, Dr Carolyn Burdett Module Aims and Outcomes Students will gain: a series of key debates about the poor, women, nation, the English; of modernisation was problematical and criticised by the Victorians. which the mid to late Victorians investigate their changing world and consequent transformations in subjectivity; of study; ary and secondary resources, and appropriate use of them. Other Information: Students will need to have a copy of novels studied on the course. Other reading can be found either in John Plunkett et al (eds), Victorian Literature: A Sourcebook (Basingstoke: Palgrave Macmillan, 2012); to download through specified online sources; or posted on Blackboard. Module Breakdown and Reading List Week 1: Induction (no class) Week 2: Philosophies and ideas Extracts from Herbert Spencer, Auguste Comte, Ludwig Feuerbach, John Stuart Mill, Walter Pater, Francis Herbert Bradley, Friedrich Nietzsche. Sections 5.5-5.11 of Victorian Literature (pp. 133-49). 31 Week 3: Darwin, post-Darwinism and evolution Charles Darwin, The Descent of Man, and Selection in Relation to Sex (first edn 1871; this edn 1874) Part III, chps 19-21. The Complete Works of Charles Darwin Online: http://darwin-online.org.uk/contents.html#descent [NB please ensure you use the 1874 edn] Thomas Henry Huxley, ‘Evolution and Ethics’ (The Romanes Lecture, 1893). Available to download from Gutenberg at http://www.gutenberg.org/cache/epub/2940/pg2940.html [section II] Week 4: Realism and the web of life George Eliot, Middlemarch (1871-2) [Any good edition] Week 5: Gender and sexuality Extracts from Samuel Smiles, Eliza Lynn Linton, John Stuart Mill, John Ruskin, Charles Darwin, Henry Maudsley, Edward Aveling and Eleanor Marx Aveling, Mona Caird, Havelock Ellis and John Addington Symonds Sections3.3-3.11 of Victorian Literature (pp.78-97) Week 6: Reading week Week 7: Labour, art and value John Ruskin, ‘The Nature of Gothic’, from The Stones of Venice, vol II (1853). Available to download from Gutenberg at http://www.gutenberg.org/files/30755/30755-h/30755h.htm#page151 William Morris, ‘Preface’ to ‘The Nature of Gothic’. Downloadable from http://www.marxists.org/archive/morris/works/1892/ruskin.htm Week 8: Modern living James Thomson, ‘The City of Dreadful Night’ (1874/1880). Available to download from Gutenberg at http://www.gutenberg.org/files/1238/1238-h/1238-h.htm Gustave Le Bon, ‘The Crowd’ . Available to download at http://etext.virginia.edu/toc/modeng/public/BonCrow.html John Davidson, ‘Thirty Bob a Week’ Charles Dickens ‘The Signal Man’ (1866) Secondary Reading: Amy Levy, ‘James Thomson: A Minor Poet’ (1883) in the Broadview Victorian Poetry and Poetic Studies 1138-1363 “Arrivee d'un train en gare a La Ciotat” by Louis and Auguste Lumiere (1895) or London's Trafalgar Square (Wordsworth Donisthorpe and W. C. Crofts 1890) 32 Henry Maudsley, The Physiology and Pathology of Mind (1867); and Charles Henry Felix Routh, On Overwork and Premature Mental Decay: Its Treatment (1876): extracts from Embodied Selves: an Anthology of Psychological Texts 1830-1890, eds Jenny Bourne Taylor and Sally Shuttleworth (Oxford: Clarendon, 1998), pp., 297-300. [Extracts on blackboard] Week 9: Socialism and Marxism Extracts from H.M.Hyndman, England for All, William Morris, 'Why I Became Socialist ', G. B. Shaw, Fabian Tracts; extracts from eg Clarion. Week 10: Darkest England Booth, William, In Darkest England and the Way Out (London: The Salvation Army, 1890) - read the preface and the first three chapters of part I Secondary Reading Booth, William, All About the Salvation Army (London: The Salvation Army, 1885) – it would be equally helpful to examine other Salvation Army publications from the 1880s and 1890s (such as the War Cry periodical).The British Library holds a lot of relevant material. Hattersley, Roy, Blood and Fire: The Story of William and Catherine Booth and their Salvation Army (London: Little, Brown, 1999) Inglis, K. S., Churches and the Working Classes in Victorian England (London: Routledge, 1963 – read chapter 5. (For more recent work on religion and the working class, see Hugh Mcleod‘s work.) Knight, Mark & Emma Mason, Nineteenth-Century Religion and Literature: An Introduction (Oxford: Oxford University Press, 2006) – read Chapter 5. Law, John, Captain Lobe (London: Hodder and Stoughton, 1889) – republished as Margaret Harkness, In Darkest London (Cambridge: Black Apollo Press, 2003) McLaughlin, Joseph, Writing the Urban Jungle: Reading Empire in London from Doyle to Eliot (Charlottesville: University Press of Virginia, 2000) - read Chapter 4 (‗Colonizing the Urban Jungle: General Booth‘s In Darkest England the Way Out‘) Walker, Pamela, Pulling the Devil’s Kingdom Down: The Salvation Army in Victorian Britain (Berkeley: University of California Press, 2001) Week 11: Empire and race This week's work will be a student led session on the Boer War (1899-1902). Preparation will be a mini research project, based upon sources including journalism, literary responses, and contemporary analysis. ASSESSMENT 1. Essay (5,000 words. 100% of total possible marks): This forms the main element of assessment. Students are encouraged to develop their own essay question in consultation with the tutor. 2. Students are expected to contribute to sessions throughout the module. 33 Colonialism and Modernity Module Code: AREN122S7 Spring Term: Mondays, 7.40-9.00pm Module Convenor: Dr Emily Senior The eighteenth and nineteenth centuries conjoined Europe, the Americas, Africa, and Asia in a complex of social, political, cultural, and economic relationships. In the context of such international transformation, this module invites students to rethink the relationship between literature and colonialism in terms of intercultural encounter and narratives of modernity. How did new global networks shape ideas about citizenship and subjectivity, and national and racial difference? What forms of identity and society did colonialism bring into being? How did colonial spaces—such as the plantation— function as particular sites of ‘modernity’? How did travel writing and literature articulate and shape the cultural and political concerns of empire? With reference to the conceptual categories of Enlightenment, Romanticism and nation, this module situates literary texts within the social context of imperial expansion and the development of colonial cultures. The module develops an interdisciplinary focus by working around key themes such as scientific knowledge, travel, and the colonial gothic, and by reading literary texts in conjunction with historical works. We will also draw on recent theoretical work in postcolonial and world literature studies, in order to consider the idea of an international or global literary space in the context of increased travel across national borders and tensions between the local, national and global dimensions of colonial societies. We will discuss the role of the literary in articulating the new social concerns of an enlarged empire, and examine the production of ideas about different cultures, places and peoples. Texts marked ‘additional reading’ are optional. A further reading list will be available at the start of the module. Assessment Assignment Assessed Essay Description 5,000 Words Weighting 100% 1. Introduction: Colonial Modernities? In this introductory seminar, we will explore what we mean by the term ‘colonial modernity’ through excerpts from a range of Romantic and Victorian travellers and authors (specific passages will be made available on Moodle). Additional reading: C.A. Bayly, The Birth of the Modern World, 1780-1914 (Oxford: Blackwell, 2004). Linda Colley, Britons: Forging the Nation 1707-1837 (New Haven: Yale University Press, 2009). Anthony Giddens, The Consequences of Modernity (Stanford: Stanford University Press, 1990). Johann Gottfried Herder, Philosophical Writings, ed. Michael N. Forster (Cambridge: Cambridge University Press, 2002). Michael Hardt and Antonio Negri, Empire (Cambridge, MA: Harvard University Press, 2000). 34 Franco Moretti, Atlas of the European Novel, 1800-1900 (London: Verso, 1998). 2. Colonial Sensibilities Samuel Taylor Coleridge, ‘The Rime of the Ancyent Marinere’ (1798 edition) http://www.rc.umd.edu/editions/LB/readtxts.html Ian Baucom, Specters of the Atlantic: Finance Capital, Slavery, and the Philosophy of History (Durham: Duke University Press, 2005), extract on Moodle. Additional reading: Alan Bewell, Romanticism and Colonial Disease (Baltimore: Johns Hopkins University Press, 1999), pp. 97-108. Tim Fulford, ‘Slavery and Superstition in the Supernatural Poems’, The Cambridge Companion to Coleridge (Cambridge: Cambridge University Press, 2002). 3. Travel and Intercultural Encounter Mungo Park, Travels in the Interior Districts of Africa (1798) (Durham: Duke University Press, 2002) extract on Moodle. Matthew Lewis, Journal of a West India Proprietor (1834), ed. Judith Terry (Oxford: Oxford University Press, 1999), extract on Moodle. James Clifford, The Predicament of Culture: Twentieth Century Ethnography, Literature and Art (Cambridge, MA: Harvard University Press, 1988), extract on Moodle. Additional reading: Nigel Leask, Curiosity and the Ethics of Travel Writing 1770-1840 (Oxford: Oxford University Press, 2002). Mary Louise Pratt, ‘Anti-Conquest II: The Mystique of Reciprocity’, Imperial Eyes: Travel Writing and Transculturation (London: Routledge, 1992), pp. 69-85. 4. Colonial Selfhood John Gabriel Stedman, Narrative of a Five Years Expedition against the Revolted Negroes of Surinam (1790) (Baltimore: Johns Hopkins University Press, 1988), ed. Richard Price and Sally Price, extracts on Moodle. 35 William Blake, selected engravings in Stedman, Narrative of a Five Years Expedition against the Revolted Negroes of Surinam (available at www.blakearchive.org, links on Moodle). Adam Smith, Theory of Moral Sentiments (A. Millar: London, 1759), extract on Moodle. Additional reading: Giorgio Agamben, The Open: Man and Animal (Stanford: Stanford University Press, 2004). Lynn Hunt, Inventing Human Rights: A History (New York: Norton, 2007). Roxann Wheeler, The Complexion of Race: Categories of Difference in EighteenthCentury British Culture (Philadelphia: University of Pennsylvania Press, 2000). 5. Slavery, Autobiography and National Consciousness Olaudah Equiano, The Interesting Narrative of Olaudah Equiano (1789), ed. Vincent Carretta (London: Penguin, 1998). Paul De Man, ‘Autobiography as De-Facement’, Modern Language Notes, Vol. 94, No. 5 (Dec. 1979), pp. 919-930 (on Moodle) Additional reading: Vincent Carretta, ‘Olaudah Equiano or Gustavus Vassa? New Light on an Eighteenthcentury Question of Identity’, Slavery and Abolition, Vol. 20, No. 3 (December 1999), pp. 96-105. Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (London: Verso, 1993), pp. 1-40 6. Reading Week 7. Romantic Pasts William Beckford, Vathek (1786) (Oxford: Oxford University Press, 1998). Elizabeth Hamilton, Translation of the Letters of a Hindoo Rajah (1796), ed. Pamela Perkins and Shannon Russell (Peterborough, ON: Broadview, 2000), extract on Moodle. 36 Edmund Burke, A philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, and other Pre-Revolutionary Writings (1756), ed. David Womersley (London: Penguin, 1998), extract on Moodle. Additional reading: Edward Said, Orientalism (London: Routledge, 1978). Saree Makdisi and Felicity Nussbaum (eds) The Arabian Nights in Historical Context: Between East and West (Oxford: Oxford University Press, 2008). 8. Romantic Futures Anna Laetitia Barbauld, ‘Eighteen Hundred and Eleven’ (1812), Selected Poetry and Prose, ed. William McCarthy and Elizabeth Kraft (Peterborough, ON: Broadview, 2002), on Moodle. Anna Laetitia Barbauld, ‘Sins of Government, Sins of the Nation’ (1792), Selected Poetry and Prose, ed. William McCarthy and Elizabeth Kraft (Peterborough, ON: Broadview, 2002) on Moodle. William Blake, America a Prophecy (1793) (available at www.blakearchive.org, link on Moodle). Additional reading: Ian Balfour, The Rhetoric of Romantic Prophecy (Stanford: Stanford University Press, 2002), extract on Moodle. 9. Colonial Gothic I Anonymous, Hamel, the Obeah Man (1827), ed. Candace Ward and Tim Watson (Peterborough, ON: Broadview Press, 2010) Great Britain. Parliament. House of Commons Sessional Papers of the Eighteenth Century, Vol. 69. Report of the Lords of the Committee of the Council Appointed for the Consideration of All Matters Relating to Trade and Foreign Plantations (London, 1789), extract on Moodle. Additional reading: Srinivas Aravamudan, Tropicopolitans: Colonialism and Agency, 1688-1804 (Durham: Duke University Press, 1999). Vincent Brown, ‘Spiritual Terror and Sacred Authority in Jamaican Slave Society’, Slavery & Abolition, Vol. 24, No. 1 (April 2003), on Moodle. 37 Catherine Hall, Civilising Subjects: Metropole and Colony in the English Imagination, 1830-1867 (Chicago: University of Chicago Press, 2002), pp. 69-83. 10. Colonial Gothic II Charlotte Brontë, Jane Eyre (1847), ed. Sally Shuttleworth and Margaret Smith (Oxford: Oxford University Press, 2008). Homi Bhabha, The Location of Culture (New York: Routledge, 1994), extract on Moodle. Patrick Brantlinger, Rule of Darkness: British Literature and Imperialism, 1830-1914 (Ithaca: Cornell University Press, 1988). 11. Colonial Modernity, Postcolonial Perspectives Dipesh Chakrabarty, Provincializing Europe (Princeton: Princeton University Press, 2007), extract on Moodle. Robert J.C. Young, Colonial Desire: Hybridity in Theory, Culture, and Race, extract on Moodle. 38 The Book Unbound Module Code: ENHU123S7 Monday, 6.00-7.30, Spring Term Module Convenor: Dr Luisa Calè ([email protected]) Learning Objectives and Aims By the end of the course, you will be able to: Situate, historicize, and theorize books, their production, circulation, and consumption, ca 1750-2010. analyse the materiality of the book as an object and of book practices under specific conditions of cultural production and across different media Identify the conceptual framework informing an artist’s book or other kinds of book practice. Reconstruct the ‘lives’ of a book across different audiences, times, places, modes of circulation. Module Description This MA module explores the book as a cultural form under changing conditions of technical reproducibility. The materialities of the book have come under increasing scrutiny in the wake of electronic media and the new archival storage possibilities heralded by digital culture. Against millenarian talk about the ‘end of the book’ as a support for the act of reading, this module discusses practices that resisted and reinvented the book’s physical properties at earlier moments of technological change, from Romantic cultures of the book marked by the 1774 copyright act to their recreations in twentieth-century artists’ books. Efforts to resist the book as a commercial object published in identical multiples for an anonymous reading public often took the form of handcrafted interventions, which highlight the bibliographical codes that define the operations of the book as a support for reading. The architectures and archeologies of the page indicate its functioning as a site of sociability, collaborative authorship, and composite art from the expanded extra-illustrated page to the crowded walls of words of William Blake’s plates and the overwrought margins of William Morris’s Kelmscott Press compared to the fin-de-siècle aspiration for a ‘book all margin; full of beautiful unwritten thoughts’. Bound and unbound formats speak out the horizon of the book in changing cultures of reading and viewing. The boundaries and partitions of books become dynamic, books nest inside other books, plates disbound or published in series trace unpredictable lines of flight and crystallize in hybrid configurations that subvert stable notions of the book as a condition of possibility for the production and circulation of knowledge. Such hybrid forms assemble objects from different periods challenging distinctions between scribal and print cultures, mechanical and autographic forms. They register the changing visual cultures of the book supplemented by watercolours, prints, and later photographs, and situate it in relation to the archive, the collection, and the gallery. Rooting reading in concrete historical forms, this module opens up new ways of thinking about the composite arts of the book, its multisensorial aesthetics, and intermedial recreations. Each session concentrates on a book practice that subverts, dismantles, or recreates the codex as an alternative to the commercial book, concentrating on 39 Romantic books and their artistic recreations, including works by Walpole, Gray, Sterne, Blake, Dickens, Morris, Stevenson, as well as artist book interventions by Tom Phillips and John Baldessari. Assessment Assignment Description Weighting Catalogue Entry 1,500-2,000 words 10% Assessed Essay 4,500 Words 90% Preliminary Readings Blanchot, Maurice, The Book to Come, trans. Charlotte Mandell (Stanford University Press 2003), pp. 224-243 McDonald, Peter, ‘Ideas of the Book and Histories of Literature: After Theory?’, PMLA (January 2006), 214-28 Price, Leah, ‘Reading: The State of the Discipline’, Book History, 7 (2004), 303-320 Price, Leah, ‘From The History of a Book to a “History of the Book”, Representations, 108:1 (Fall 2009), 120-138 Stewart, Garrett, ‘Bookwork as Demediation’, Critical Inquiry, 36:3 (2010), 410-457 The Book History Reader, ed. by D. Finkelstein and A. McCleery, 2nd revised edition (London: Routledge, 2006) Renée Riese Hubert and Judd David Hubert, The Cutting Edge of Reading: Artists’ Books (New York: Granary Books, 2001) 1. Unpacking the Library, Rethinking the Archive This introductory session rethinks the book in relation to the library as a scene of reading and a cultural laboratory. William Hazlitt, ‘On Reading Old Books’, London Magazine (Feb. 1821), rpt in Complete Works of William Hazlitt, ed. by P.P.Howe (London: Dent, 1930-33), XII, 220-29; available on moodle Charles Lamb, ‘Detached Thoughts on Books and Reading’, London Magazine (July 1822), on moodle Leigh Hunt, ‘My Books’, Literary Examiner (July 1823), 1-6 (full view on Google) Walter Benjamin, ‘Unpacking my Library: A Talk about Collecting’, in Selected Writings, ed. by Michael W. Jennings, Howard Eiland, and Gary Smith (Harvard University Press, 1999, 2005), II:ii: 1931-34, 486-93; also rpt in Candlin Michel Foucault, ‘The Fantasia of the Library’, in Language, Counter-Memory, Practice, ed. and trans. by Donald Bouchard (Ithaca: Cornell University Press, 1977) 2. On the Margins of the Book, Inside-Out (In Theory) This class explores the materiality of the book as a cultural form. Drawing on textual bibliography to envision the partitions and spacings of the book, the paratext, frontispiece, titlepage, margins, colophon open up as sites for appropriation, inscription, transgression: What is inside and outside the book? What happens in the book’s expanded margins? 40 William Blake marginalia to 1798 edition of The Works of Sir Joshua Reynolds (Eighteenth-Century Collections Online, through Senate House Library Databases) Derrida, J., Of Grammatology, corrected edition, trans. G. C. Spivak (Baltimore: Johns Hopkins Press, 1997), esp. p. 158. Derrida, J., ‘Signature Event Context’, trans. S. Weber and J. Mehlman, Glyph, 1 (1977); rpt in Limited Inc, ed. by Gerald Graff (Evanston, IL: Northwestern UP, 1988) Genette, G., Paratexts: Thresholds of Interpretation, trans. J. E. Lewin (CUP 1997). Jackson, H.J., Romantic Readers: The Evidence of Marginalia (Yale UP 2005) 3. Between the Sheets: The Extra-Illustrated Book This session explores extra-illustration, a practice that questions the book as a stable support for reading by altering its form, interleaving it with additional pages, prints, watercolours, and other extraneous materials. As a result, the book ceases to be an identical copy within a homogeneous print run and becomes a unique object that documents an idiosyncratic practice of reading, viewing, and collecting. Our key example in this class, Horace Walpole’s extra-illustrations of Strawberry Hill, exemplifies the metaphorical interchangeability between the book, the house, and the collection as a scene of composition. Horace Walpole’s Description of Strawberry Hill as extra-illustrated by himself and others: Lewis Walpole Digital Collection http://lwlimages.library.yale.edu/walpoleweb/ (shelfmark: 33 30). [Horace Walpole], The Castle of Otranto, A Story. Translated by William Marshall, Gent. From the Italian of Onuphrio Muralto (1764) Further Readings Klancher, J., “Wild Bibliography: The Rise and Fall of Book History in the Nineteenth Century,” in Bookish Histories: Literature, Books, and Commercial Modernity 1700-1900, ed. Ina Ferris and Paul Keen (New York: Palgrave, 2009) Peltz, L., ‘Facing the Text: the amateur and commercial histories of extraillustration, c. 1770-1840’, in R. Myers et al., eds., Owners, Annotators, and the Signs of Reading (London: The British Library, 2005), pp. 91-135. Peltz, L., ‘A Friendly Gathering. The Social Politics of Presentation Books and their Extra-Illustration in Horace Walpole’s Circle’, Journal of the History of Collections, (2006), 1-17 4. The Illuminated Book and the Book of Designs: William Blake’s poetic portable galleries Poised between the illuminated manuscript and the portable picture gallery, Blake’s Illuminated books destabilize the idea of the book as a homogeneous commodity, by disrupting the expectation of stability that made it a condition of possibility for the 41 dissemination of knowledge in the Gutenberg era. Is the book ‘an organizing fiction,... a useful mode to try and contain what turn out to be uncontainable images’? (Makdisi). In this class we will consider Blake’s The First Book of Urizen, and the separate life that some of its plates acquire in the Small and Large Books of Designs, which he produced for miniature artist Ozias Humphry. Blake, William, The Book of Urizen (www.blakearchive.com); Blake, William, The Small and Large Books of Designs (British Museum; Tate Britain; www.blakearchive.org) Further Reading Butlin, Martin, The Paintings and Drawings of William Blake, 2 vols (New Haven:Yale University Press, 1981) Goode, M., ‘What do Blake’s Images Want?’, Representations, 119:1 (Summer 2012), 1-36 Hagstrum, Jean, William Blake: Poet and Painter (Chicago: University of Chicago Press, 1964) Hagstrum, Jean, ‘Blake and the Sister-Arts Tradition’, in Blake’s Visionary Forms Dramatic, ed. by D.V.Erdman and J. E. Grant (Princeton, 1970), pp. 82-91 Mann, P., ‘The Book of Urizen and the Horizon of the Book’, in Unnam’d Forms: Blake and Textuality, ed. by N. Hilton and T.Vogler (Berkeley: California UP, 1986), pp. 49-68 Mann, P., ‘Apocalypse and Recuperation: Blake and the Maw of Commerce’, ELH, (1985) Mitchell, W.J.T., Blake’s Composite Art (Princeton University Press, 1978) 5. Blake’s Recycled Book: extra-illustration, remediation, inscription This class explores the life of a book within another book through three experiments with which William Blake altered Edward Young’s Night Thoughts: first, he drew on first and second editions of Young’s nine nights (1742-5), which were disbound and inlaid on larger sheets, and extra-illustrated the mounted pages with 537 watercolour designs in the mid 1790s; secondly, he engraved a selection of 43 designs for an edition of the first four nights (1797); finally, he used the proofs of the surround engravings with a rectangle left blank in the middle for the letterpress as a writing surface on which to inscribe the manuscript Vala or the Four Zoas: ‘in experimenting with these designs as places where his Four Zoas text could materialize, Blake was creating a scenario of possible reading, where page layout becomes instruction rather than representation’ (Ault) Blake’s Night Thoughts extra-illustrations are in the British Museum Department of Prints and Drawings. Its digital reproductions can be perused online through the British Museum Collection Database, online at The 1797 engravings can be perused online through the Blake Archive (www.blakearchive.org). William Blake's Designs for Edward Young's Night Thoughts. A Complete Edition, 2 vols, ed. by D. V.Erdman, J. E.Grant, E. J.Rose, M. J.Tolley (Oxford, 1980) The Four Zoas by William Blake: A Photographic Facsimile of the Manuscript with Commentary on the Illuminations, ed. by C.Tramontano Magno and D.Erdman (Lewisburg, 1987), selections available through moodle 42 Further Reading Ault, Donald, ‘Postscript on the Four Zoas as Visual Text’, Narrative Unbound (Station Hill Press, 1987), 469-72, online at: http://ufdc.ufl.edu/UF00076002/00001/1j rpt in ‘William Blake and Visual Culture’, ed. by Roger Whitson and Donald Ault, ImageTexT: Interdisciplinary Comic Studies, 3:2 (2006). online at: http://www.english.ufl.edu/imagetext/archives/v3_2/ault/index.shtml Grant, John, ‘Visions in Vala: A Consideration of Some Pictures in the Manuscript’, in Blake’s Sublime Allegory, ed. by S. Curran and J. A. Wittreich (Madison, 1973) pp. 141-202 Heppner, Christopher, Reading Blake’s Designs (Cambridge: Cambridge University Press, 1995) Lincoln, Andrew, Spiritual History: A Reading of William Blake’s Vala, or The Four Zoas (Oxford: Clarendon Press, 1995) 6. READING WEEK 7. The Album and the Photobook in the 1840s (with Patrizia di Bello) This session looks at two of the earliest experiments at using photographs to make illustrated books: William Henry Fox Talbot’s The Pencil of Nature (London, 184446) and AA’s (Anna Atkins) Photographs of British Algae: Cyanotype Impressions (Halstead, Seveoaks, 1843-53), discounted by some as not a ‘proper’ book but more of an album. We are going to discuss them, the difference between making an album and making (or publishing) a book, and how they negotiate the photograph, the blank page, and the physical relationship between image and text. Please have a look on-line before the seminar, as well as tackling the key readings. The Pencil of Nature can be accessed at: http://www.gutenberg.org/files/33447/33447-pdf.pdf Photographs of British Algae: Cyanotype Impressions is in the British Library catalogue of Photographically Illustrated Books: http://www.bl.uk/catalogues/photographyinbooks/record.asp?RecordID=3048 Key readings Patrizia Di Bello and Shamoon Zamir, ‘Introduction’, The Photobook from Talbot to Rusha and Beyond, ed. by Patrizia Di Bello, Colette Wilson and Shamoon Zamir (London: IB Tauris, 2012), 1-16. Also, a useful ‘Select Bibliography’ 229-232 Carol Armstrong, Scenes in a Library: Reading the Photograph in the Book, 18431875 (Cambridge, MA and London, UK: MIT, 1998), especially chapter 2 ‘A Scene in a Library: The First Photographically Illustrated Book’, 107-110 8. Dickens In Parts Serial publication shows the more fluid boundaries of the book unbound, testing ideas about what is inside and outside the text, the relationship between composition and advertising; the book, the work, and the oeuvre. This class 43 explores the serial and unbound publication of Dickens in parts, paying attention to the relationship between official plates and sets of extra-illustrations published to complement the print run of each work. Through the serialization of Dickens’s work we will compare the periodical publication in parts and bound in volume and think about the different temporalities of reading embedded in each. Charles Dickens, The Old Curiosity Shop, serialized in Master Humphrey’s Clock (1840-1), read in the Penguin edition Sets of prints produced to extra-illustrate these works will be discussed in class 9. The Ideal Book and the Fantasia of the Library: William Morris’s Kelmscott Press William Morris founded the Kelmscott Press in 1891 to reinvent the book as a work of art ‘whose only ornament is the necessary and essential beauty which arises out of the fitness of a piece of craftsmanship for the use which it is made’. His organic and architectural notion of book making goes against the division of labour and the distinction between letterpress and illustration in an attempt to recuperate the visual aesthetic of the medieval arts and crafts, ‘the calligraphy of the Middle Ages, & of the earlier printing which took its place’. This class explores the material principles forms of Morris’s press, the corpus and the ‘fantasia of the library’ that can be detected from his list, as a startingpoint for the analysis of one of the books he printed. Walker, Emery, 'Letterpress Printing and Illustration', delivered on 15 November 1888 to the Arts and Crafts Society, reviewed as ‘Printing and Printers’ by Oscar Wilde in the Pall Mall Gazette, 16 Nov 1888, in The Ideal Book, Appendix B, 324-333 Morris, William, ‘The Ideal Book’, delivered on 19 June 1893 at the Bibliographical Society in London and published in Transactions of the Bibliographical Society (1893), rpt in The Ideal Book: Essays and Lectures on the Arts of the Book, ed. by William S. Peterson (Berkeley: University of California Press, 1986) http://www.marxists.org/archive/morris/works/1893/ideal.htm Morris, William, A Note by William Morris on His Aims in Founding the Kelmscott Press. Hammersmith: Kelmscott Press, 1898 http://ebooks.adelaide.edu.au/k/kelmscott-press/note-by-william-morris/ Analysis of one volume published by the Kelmscott Press (eg. Coleridge, Keats, Morris’s Earthly Love...) Kelmscott Press Facsimiles: http://ebooks.adelaide.edu.au/k/kelmscott-press/ Further Reading Ruskin, John, Ariadne Florentina: Six Lectures on Wood and Metal Engraving, with Appendix, Given before the University of Oxford in Michaelmas Term 1872 (London: George Allen, 1890) Arscott, Caroline, ‘William Morris: Decoration and Materialism’, in Andrew Hemingway, ed., Marxism and the History of Art: from William Morris to the New Left (London and Ann Arbor, MI: Pluto Press, 2006), pp. 9-27 Dreyfus, John, ‘Emery Walker’s 1888 Lecture on ‘Letterpress Printing’: A Reconstruction and a Reconsideration’, Craft History, 1 (1988), 118-30 Maxwell, Richard, ed., The Victorian Illustrated Book (Charlottesville: University 44 Press of Virginia, 2002) 10. A Treated Victorian Novel: Tom Phillips’s Humument (1970-) Tom Phillips’s The Humument has been altering W.H.Mallock’s Human Document (1892) since 1966, when the ‘objet trouvé’ became a changing palimpsest for a ‘Gesamtkunstwerk in small format’. A first volume published as a box of ten silk screened prints by Tetrad Press in 1970, followed by ten more ‘volumes’ printed as a limited edition of one hundred copies, the first private press instantiation of the work was completed and shown at the ICA in 1973, and subsequently published as a commercial book in five editions (1980, 1987, 1997, 2005, 2012), now also available as an Ipad and Iphone app. Applying William Burrough’s ‘cut up’ technique, Phillips’s ‘Scribe art of the hand’ (1997, p. 7) turns each page into an artwork, which obliterates most of the letterpress apart from selected islands and rivers of words. The text thus obtained becomes a script for changing performances of concrete poetry, variations in the manner of ‘exercises in style’ (Raymond Queneau), a ‘Journal of Secret Scribing and Hiding’ (1997, p. 6). Fragments have migrated to other works from the libretto for the opera Irma to Dante’s Inferno, and his illustrations of Cicero for the Folio Society. Phillips, Tom, A Humument: A Treated Victorian Novel (London, 1980, 1987, 1997, 2005, 2012) http://humument.com/ Further Reading Artists’ Books: A Critical Anthology and Sourcebook, ed. Joan Lyons (Rochester, NY: Visual Studies Workshop Press, 1985) Caws, M.A., ‘Tom Phillips: Treating and Translating’, Mosaic 34:3 (September 2001), 19-33 Greenberg, Clement, ‘Modernist Painting’ (1960; Clement Greenberg: The Collected Essays and Criticism, ed. by John O’Brien (1993), IV, on moodle Hubert, R. R. and J. D., The Cutting Edge of Reading: Artists’ Books (New York: Granary Books, 2001) King, Andrew David, ‘ “Were there but world enough and time”: Tom Phillips on A Humument’, Kenyon Review (September 2012), http://www.kenyonreview.org/2012/09/tom-phillips-interview/ Knickerbocker, C., ‘William Burroughs: An Interview’, The Paris Review, 35 (1965), http://www.theparisreview.org/interviews/4424/the-art-of-fiction-no-36-williams-burroughs Phillips, T., Tom Phillips: Works and Texts, intr. by Huston Paschal (London: Thames and Hudson, 1992) 11. Artists’ Books The Artist Book is a form that questions the book as a commodity, by intervening on its material form thus calling the reader’s attention to the materiality of form. Inaugurated by the ‘Livre d’artiste’, or ‘Artist’s Book’ as a deluxe edition, the artist’s book took a new shape with Ed Ruscha’s photobook Twenty-six Gasoline Stations (1962), distributed through commercial book circuits. This class concentrates on the work of late 20C and early 21C book artists using an 45 eighteenth and a nineteenth-century book as a starting point for an artist’s book. The Life and Opinions of Tristram Shandy, Gentleman by Laurence Sterne, with 39 photo-collage illustrations by John Baldessari (San Francisco: Arion Press, 1988) National Art Gallery, Special Collections, shelfmark: X900175 380 419 900 30066 Robert Louis Stevenson, The Strange Case of Dr Jekyll and Mr Hyde (1886), an artist book by Linda Toigo, http://www.lindatoigo.com/lindatoigo.com/jh.html Further Reading Melvyn New, 'William Hogarth and John Baldessari: ornamenting Sterne's 'Tristram Shandy', Word & Image, 11:2 (1995) Drucker, Johanna, A Century of Artists’ Books (New York: Granary Books, 1995), pp. 1-19 Renée Riese Hubert and Judd David Hubert, The Cutting Edge of Reading: Artists’ Books (New York: Granary Books, 2001) 46 Death in Victorian Culture Module Code: AREN119S7 Spring Term: Monday, 7.30-9.00pm Module Convenor: Dr David McAllister This module offers you the chance to explore the extraordinary and distinctive culture that grew up around the subject of death in the Victorian period. In a series of seminars and student-led presentations we will cover a huge range of topics, from the vast, landscaped garden cemeteries which opened up on the fringes of cities, replacing the often obscenely overcrowded parish churchyards which had been the focal point of grief and community for centuries, to the opening of Julia’s Bureau, the West End office in which W.T. Stead sought to ‘bridge the abyss between the Two Worlds’ of the living and the dead. We will examine the rich material culture which developed around death in the period, studying the significance of the death masks, mourning jewellery and other memento mori they fashioned, and the businesses that developed to serve the lucrative market for ostentatious displays of commemoration and mourning. You will be encouraged to explore the intersections between this material archive and the representation of death, grief and loss in the literature that was shaped by, and in turn helped to shape, this culture. There will also be an optional field trip to one of London’s Victorian cemeteries. Week 1: Introduction. Primary Reading: tbc Week 2: Burying the dead This session will look at the scandals surrounding Victorian burial grounds, the rise and fall of the landscaped Garden Cemtery, and the sanitary reform movement that Primary Reading: G.A. Walker, Burial-Ground Incendiarism: the Last Fire at the BoneHouse in the Spa-Fields Golgotha (1846); John Claudius Loudon, On the Laying Out, Planting, and Managing of Cemeteries (1843); John Strang, Necropolis Glasguensis (1831); Edwin Chadwick Supplementary Report… (1843); various images of garden cemeteries. Week 3: Public deaths This seminar will focus on two mid-century funerals: the famous state funeral of the Duke of Wellington in 1852, which is often identified as the culminating point of the elaborate Victorian funeral and, perhaps less familiarly, the burial of bare-knuckle prize fighter Tom Sayers, whose riotous interment at Highgate drew a crowd of 100,000 mostly working-class mourners onto the streets of North London in 1865. Primary Reading: various textual and visual accounts of the funerals from contemporary sources. Week 4: Private grief This session will focus on Coventry Patmore’s The Unknown Eros, a collection of elegies written for his wife (who had earlier been the subject of his notorious The Angel in the House). We will discuss the purpose of consolatory verse, using Freud’s Mourning and Melancholia. Primary Reading: Sigmund Freud, Mourning and Melancholia; Coventry Patmore, The Unknown Eros; extract from The English Elegy by Peter Sacks. Week 5: Mourning and the marketplace: 47 Students will be asked to find and discuss examples of the commodification of Victorian death culture. These might be advertisements for the huge mourning warehouses that met demand for bombazeen and crepe, prospectuses for investors in the joint-stock companies which ran cemeteries at a profit, or accounts of acquisitive and crooked undertakers, who were routinely believed to prey on the vulnerable in order to turn a profit from death. Week 7: Talking to the dead This session will examine the birth of Victorian spiritualism. We will consider the gender and class implications of a movement which typically placed working-class female mediums in close physical proximity to middle- and upper-class men, and explore the links between the paranormal and the birth of new technologies such as the radio, the telephone and the telegraph. Week 8: Picturing the dead In this session we will continue our exploration of the connections between new technologies and Victorian death culture by looking at the practices of post-mortem and spirit photography. We will look at how these connect to wider Victorian discourses of sentimentalism, and will discuss how the representational strategies of the postmortem photographers can be read in the context of the evolving relationship between living and dead, past and present, absent and present. Primary Reading: various visual material; John Troyer, ‘Embalmed Vision’, Mortality, 12.1 (2007), 22-47. Week 9: Death and Display: The Paris Morgue in the Victorian Imagination The Paris morgue, which stood on the banks of the Seine, displayed bodies which had been found in the city’s streets ,or hauled from the river itself, in a highly public and compellingly theatrical style in the hope that the dead would be recognised and claimed by someone among the crowds who flocked to see the latest exhibits. The morgue was a regular haunt of British travellers, and this session will focus on visual representations of the morgue and Dickens’s various accounts of his compulsive desire to visit whenever he was in Paris. Primary Reading: Charles Dickens, ‘Railway Dreaming’, ‘Some Recollections of Mortality’; various visual material. Week 10. Psychical Research This session will focus on the Psychical Research movement, which sought to establish a scientific basis for a belief in the existence of life after death. We will consider the various phenomena that the psychical researchers investigated, from automatic writing to telepathy, and will look in detail at W.T. Stead’s formation of ‘Julia’s Bureau’, a WestEnd office that was designed to ‘bridge the abyss’ between the living and the dead, and in which the dead took on a managerial role in the running of the office. Primary Reading: tbc Week 11: The crowd of the dead We will read conclude by reading Margaret Oliphant’s short novel A Beleaguered City and considering the effects of the growth in the number of the dead as an inverted form of nineteenth-century fears over population. We will consider how urbanisation and population growth contributed to each of the aspects of the Victorian culture of death considered thus far on the module. Primary Reading: Margaret Oliphant, A Beleagured City; extract from Benedict Anderson, Imagined Communities; extract from Elias Canetti, Crowds and Power. Secondary bibliography 48 This bibliography is general and indicative, and offers some useful introductory reading. It will be supplemented by more specific bibliographies for each individual seminar on the module. Ariès, Philippe. Western Attitudes Toward Death: From the Middle Ages to the Present. Baltimore: The Johns Hopkins University Press, 1974. –––. The Hour of Our Death. London: Allen Lane, 1981. Brooks, Chris. Mortal Remains: The History and Present State of the Victorian and Edwardian Cemetery. Exeter: Wheaton, 1989. Cecil, Robert. The Masks of Death: Changing Attitudes in the Nineteenth Century. Lewes: The Book Guild, 1991. Curl, James Stevens. The Victorian Celebration of Death. Stroud: Sutton Publishing, 2000. Gallagher, Catherine. The Body Economic: Life, Death, and Sensation in Political Economy and the Victorian Novel. Princeton, NJ.: Princeton University Press, 2006. Goodwin, Sarah Webster and Elizabeth Bronsfen eds. Death and Representation. Baltimore: The Johns Hopkins University Press, 1993. Hotz, Mary Elizabeth. Literary Remains: Representations of Death and Burial in Victorian England. Albany, NY.: SUNY Press, 2009. Jalland, Pat. Death in the Victorian Family. Oxford: Oxford University Press, 1996. Levinas, Emmanuel. God, Death, and Time. Stanford, CA.: Stanford University Press, 2000. Matthews, Samantha. Poetical Remains: Poets' Graves, Bodies, and Books in the Nineteenth Century. Oxford: Oxford University Press, 2004. Harrison, Robert Pogue. The Dominion of the Dead Chicago: Chicago University Press, 2003. McManners, John. Death and the Enlightenment. Oxford: Oxford University Press, 1981. (Looks at an earlier period but has an excellent introduction, and is well worth reading). Prioreschi, Plinio. A History of Human Responses to Death: Mythologies, Rituals, and Ethics. Lewiston, NY.: The Edwin Mellen Press, 1990. Richardson, Ruth. "Why Was Death So Big in Victorian Britain?" In Death, Ritual, and Bereavement, edited by Ralph Houlbrooke, 105-17. London: Routledge, 1989. –––. Death, Dissection and the Destitute. Chicago: Chicago University Press, 1987. Rosenberg, John D. Elegy for an Age: The Presence of the Past in Victorian Literature. London: Anthem Press, 2005. Schor, Esther. Bearing the Dead: The British Culture of Mourning From the Enlightenment to Victoria. Princeton, NJ: Princeton University Press, 1994. Strange, Julie-Marie, Death, Grief and Poverty in Britain, 1870-1914. Cambridge: Cambridge University Press, 2005. Wheeler, Michael. Death and the Future Life in Victorian Literature and Theology. Cambridge: Cambridge University Press, 1990. Wolffe, John. Great Deaths: Grieving, Religion, and Nationhood in Victorian and Edwardian Britain. Oxford: The British Academy, 2000. Wolfreys, Julian. Victorian Hauntings: Spectrality, Gothic, the Uncanny and Literature. Basingstoke: Palgrave, 2001. 49 Victorian Emotions Module Code: AREN002S7 Spring Term: Tuesday 6.00-7.20pm Module Convenor: Dr Carolyn Burdett EMOTION (OED) 1. A moving out, migration, transference from one place to another. Obs. 2. A moving, stirring, agitation, perturbation (in physical sense). Obs. 3. A political or social agitation; a tumult, popular disturbance. Obs. 4. a. fig. Any agitation or disturbance of mind, feeling, passion; any vehement or excited mental state. b. Psychology. A mental ‘feeling’ or ‘affection’ (e.g. of pleasure or pain, desire or aversion, surprise, hope or fear, etc.), as distinguished from cognitive or volitional states of consciousness. Also abstr. ‘feeling’ as distinguished from the other classes of mental phenomena. 5. attrib. and Comb. a. attrib., as emotion-marker, reaction. b. objective and obj. gen., as emotionarousing, -provoking adjs. c. instrumental, as emotion-charged, -shaken adjs. This course will explore a range of ways in which emotions are important in studying the Victorian period. It will consider the extent to which emotions are historical: what evidence is there that emotions are experienced, discussed, or represented in historically specific ways? What are the languages of feeling which the Victorians inherit, and how are these languages transformed? How are key terms like sentiment and sympathy deployed and discussed? How do the processes of secularization taking place during the nineteenth century shape ideas about and experiences of feeling? How do Darwinian and other forms of scientific thought affect the ways in which emotions are understood? For the Victorians, as for us, cultural forms are often the means through which emotions are given shape and made communicable. The course also investigates the diverse ways in which the Victorians articulated and shared emotional experience, as both producers and consumers of culture. In examining the Victorians’ emotional responses we will also need to consider what methodologies of reading or viewing are at work when studying emotions, including the effects of our own emotional responses. Extracts from non-fictional materials will either be downloadable, or made available as photocopies) 50 Week 1 Introducing emotion Thomas Dixon, ‘”Emotion”: The History of a Keyword in Crisis’, Emotion Review, 4, 4 (2012), 1-7. Barbara H. Rosenwein, ‘Worrying about Emotions in History’, The American Historical Review, 107, 3 (2002), 821-45. Week 2 Dickensian sentimentality and social reform Dickens is a key figure for thinking about Victorian sentiment and sentimentality. In order that we can discuss a range of key scenes, we will look at some famous ‘sentimental’ scenes (as extracts). We’ll also look at examples of contemporary response to Dickens’s sentimentalism as well as a longer, more considered estimate of Dickens’s writing , with interesting things to say about emotion and art. Charles Dickens, Chp 71, The Old Curiosity Shop (1840-1); A Christmas Carol (1843) [try to read the whole story, especially if you don’t know it – but, at the least, Stave 4]; Chp 47 ‘Jo’s Will’, Bleak House (1852-3). [Stephen] Unsigned review of the Library Edition of Dickens's Works, Saturday Review, 8 May 1858 [access via ‘British Periodicals’, BBK elibrary]. George Henry Lewes, ‘Dickens in Relation to Criticism’, Fortnightly Review 11, 62 (Feb 1872), 141-54 [access via ‘British Periodicals’, BBK elibrary]. Secondary reading To help begin thinking about the issues raised by Victorian sentimentality, see the following: Philip Davis, ‘Victorian Realist Prose and Sentimentality’, in Alice Jenkins and Juliet John (eds), Rereading Victorian Fiction (Basingstoke: Palgrave, 2000), 13-28. Fred Kaplan, Sacred Tears: Sentimentality in Victorian Fiction (Princeton: Princeton University Press, 1987). Introduction and any/all of the essays included in 19: Interdisciplinary Studies in the Long Nineteenth Century, Issue 4, Rethinking Victorian Sentimentality, ed. by Nicola Bown (April 2007). See also the additional secondary reading below. Week 3 Viewing sentiment This week we’ll consider two further instances of sentiment and sentimentalism. 1. First, we’ll take a look one of the most cited critical attacks on sentimentalism : James Fitzjames Stephen, ‘Sentimentalism’, Cornhill Magazine, 10 (July 1864), 65-75 [access via ‘British Periodicals’, BBK elibrary]. 2. We’ll then move on to look at some sentimental pictures from the period, in order to think about how ‘emotion’ is visually suggested or manifested, and where emotion resides (is it in the viewer, or in the picture, or in both?) You can prepare by looking at a web survey of the V&A’s ‘A Show of Emotion’ exhibition (which you can find here: http://www.vam.ac.uk/collections/prints_books/past_displays/victorian_sentiment/index. html) Secondary reading Nicola Bown, ‘Tender Beauty: Victorian Painting and the Problem of Sentimentality’, Journal of Victorian Culture, 16, 2 (2011), 214-225. Sonia Solicari, 'Selling Sentiment: the Commodification of Emotion in Victorian Visual Culture', 19: Interdisciplinary Studies in the Long Nineteenth Century, Issue 4, Rethinking Victorian Sentimentality, ed by Nicola Bown (April 2007). 51 Week 4 Evolving emotion As Victorian science sought to understand mind in terms of the material and naturalistic categories, emotions were re-theorised and increasingly seen in terms of evolutionary developments. We read extracts from Darwin’s work on this topic. Charles Darwin, The Expression of the Emotions in Man and Animals (1872) [extracts]. Week 5 What is an emotion? science, psychology, feeling As psychology developed as a distinct discipline, separate from theology, philosophy, medicine and literature, physiological perspective dominated. Many writers, nevertheless, worked hard to retain categories such as the will or aesthetic responses – often as exemplary of evolved and ‘civilized’ subjectivity. Frances Power Cobbe, ‘Unconscious Cerebration’, from Darwinism in Morals and Other Essays (1872) and William Benjamin Carpenter, ‘The Power of the Will over Mental Action’, extract from Principles of Mental Physiology (2nd edn; 1874), both in Embodied Selves: An Anthology of Psychological Texts 1830-1890 (Oxford: Clarendon, 1998), pp. 93-5; 95-101. [All of the excerpts in the section ‘Associationism and Physiological Psychology’ from this Reader are useful]. William James, ‘What Is an Emotion?’, Mind, Vol. 9, No. 34. (April 1884), pp. 188-205 [you can access Mind via JStor or direct from this url: http://web.mac.com/cludwig/Site/Philosophie_de_lesprit_files/james.pdf] Week 6 READING WEEK Week 7 Feeling and ethics: the case of sympathy For the next two weeks, we will use George Eliot’s final novel, Daniel Deronda, as a focus for exploring a range of issues which emerged in the 1870s and 80s, about the nature of mind and morality, emotions, will and physiology. We will consider Eliot’s earlier configurations of sympathy and see how this, her final novel, problematizes them. To begin, we also read one of the classic eighteenth-century texts on sympathy, Adam Smith’s Theory of Moral Sentiments. George Eliot, Daniel Deronda (1876) [any good edition] Adam Smith, Part 1, Section 1, The Theory of Moral Sentiments (1759) Week 8 George Eliot, Daniel Deronda Plus extracts from Charles Darwin, The Descent of Man (1871); Leslie Stephen, The Science of Ethics (1882) plus others. Week 9 Non-human animals: vivisection and the communality of suffering Wilkie Collins, Heart and Science (1883) [The Broadview Press edn (ed Steve Farmer, 1996) includes much of the additional reading from the vivisection debates. Try to get hold of the novel in this edition.] In addition to Collins’s novel we will read a selection of extracts from the vivisection debates of the 1870s and 80s. We will consider both the extent to which earlier sentimental tropes and images are still powerful, and the ways in which ‘emotion’ and scientific ‘objectivity’ were constructed as hostile antagonists. The gendered qualities of the debate will also be our focus. 52 Frances Power Cobbe, 'Vivisection and Its Two-Faced Advocates', Contemporary Review 41 (April 1882), 610-26 [this is available to download via the 'British journals' link on the Birkbeck library page, and also in Heart and Science above]. Gerald F.Yeo, letter to the editor, responding to Cobbe's 'Vivisection and Its Two-Faced Advocates', Contemporary Review, 41, (May 1882), 897-98. George Hoggan, ‘Letter to the Editor’, Morning Post, rpt Spectator, Feb 6 1875. ‘Our Object’, Animal World 1 (1869), 8. Punch pieces (various: provided as photocopy). Week 10 Educating emotions This week we read Cobbe again – this time in relation to ideas of emotional education. Although much attention was focused on understanding the origin and function of emotion, Cobbe picks up on another tradition that views emotions as impersonal and contagious. We’ll also look at some extracts about crowd psychology and, time permitting, some of the ideas about altruism that Cobbe criticises. Frances Power Cobbe, 'The Education of the Emotions', Fortnightly Review, 43 (February 1888), 223-236. Week 11 Late-Victorian fear and horror There is an extensive secondary literature on Victorian fear and terror, although it rarely approaches the issue from the perspective of thinking about emotions and their historical form. We’ll consider how these texts explore taboo feelings, and assess what has changed in relation to earlier Victorian treatment of sentiment and sympathy. Roger Luckhurst (ed), Late Victorian Gothic Tales (Oxford: Oxford University Press, 2005). Secondary bibliography This bibliography is intended to indicate areas of further reading, some very closely connected to the work of the seminars, and some suggesting how you might develop your own interests. I have occasionally included works on specific areas but, more often, I have tried to indicate one or two key texts which contain excellent bibliographic suggestions for you to pursue. You will, of course, also need to make your own literature searches, using electronic and other data-bases. Important secondary texts which introduce the field Thomas Dixon, From Passions to Emotions: The Creation of a Secular Psychological Category (Cambridge: Cambridge University Press, 2003). Cheshire Calhoun and Robert C Solomon (eds) What Is An Emotion?: Classical Readings in Philosophical Psychology (Oxford: Oxford University Press, 1984) William Reddy, The Navigation of Feeling: A Framework for the History of the Emotions (Cambridge: Cambridge University Press, 2001). The Eighteenth Century The literature on eighteenth-century sentiment is vast: you may find it helpful to consult one or two of the following when thinking about the continuities and differences for the Victorians. Ildiko Csengei, ‘”I Will Not Weep”: Reading Through the Tears of Henry Mackenzie’s Man of Feeling’, Modern Languages Review, 103 (2008), 952-69. 53 Jonathan Lamb, The Evolution of Sympathy in the Long Eighteenth Century (London: Pickering & Chatto, 2009) John Mullan, Sentiment and Sociability: The Language of Feeling in the Eighteenth Century (Oxford: Clarendon, 1990) Adela Pinch, Strange Fits of Passion: Epistemologies of Emotion: Hume to Austen (Stanford: Stanford University Press, 1996). Sentimentality 19: Interdisciplinary Studies in the Long Nineteenth Century, Issue 4, Rethinking Victorian Sentimentality, ed by Nicola Bown (April 2007) [Contains an excellent introduction by Bown, as well as articles on Dickens by Ledger, Mason and Tilley]. Miriam Bailin, ‘”Dismal Pleasure”: Victorian sentimentality and the Pathos of the Parvenu’, ELH, 66, 4 (Winter 1999), 1015-32. --‘Seeing is Believing in Enoch Arden’, in Victorian Literature and the Victorian Visual Imagination, eds. Carol Christ and John Jordan (Berkeley: University of California Press, 1995). Michael Bell, Sentimentalism, Ethics and the Culture of Feeling (Basingstoke: Palgrave, 2000) Carolyn Burdett (ed), ‘Sentimentalities’, New Agenda Journal of Victorian Culture, 16, 2 (2011). ‘Dickens and Feeling’, ed Bethan Carney and Catherine Waters, 19: Interdisciplinary Studies in the Long Nineteenth Century, 14 (2012). Philip Collins, From Manly Tear to Stiff Upper Lip: The Victorians and Pathos (Wellington, NZ: Victorian University Press, 1974) Philip Davis, ‘Victorian Realist Prose and Sentimentality’, in Alice Jenkins and Juliet John (eds), Rereading Victorian Fiction (Basingstoke: Palgrave, 2000), 13-28. Howard W. Fulweiler, “Here a Captive Heart Busted”: Studies in the Sentimental Journey of Modern Literature (New York: Fordham University Press, 1993) [contains chapters on Tennyson and Hopkins, Bleak House and Jude] Fred Kaplan, Sacred Tears: Sentimentality in Victorian Fiction (Princeton: Princeton University Press, 1987) John Irving, ‘In Defence of Sentimentality’, The New York Times Book Review (25 December 1979) – accessed here: http://www.nytimes.com/books/97/06/15/lifetimes/irving-sentimentality.html Mary Lenard, ‘”Mr Popular Sentiment”: Dickens and the Gender Politics Of Sentimentalism and Social Reform Literature’, Dickens Studies Annual, 27 (1998), 4568. Shirley Samuels (ed.), The Culture of Sentiment: Race, Gender and Sentimentality in Nineteenth-Century America, (New York and Oxford: Oxford University Press, 1992). Paul Schlicke, ‘Sentiment’, in Oxford Reader's Companion to Dickens (Oxford: Oxford UP, 1999), 511-513. Robert Solomon, In Defense of Sentimentality (Oxford: Oxford University Press, 2004). Nancy Yousef, ‘The Poverty of Charity: Dickensian Sympathy’, in Contemporary Dickens ed Elaine Gillooly and Deidre David (Columbus: Ohio State University Press, 2009), 53-74 [excellent on C18 antecedents; detailed reading of Bleak House]. You can pursue some of the issues raised in studying Dickens and sentimentality by looking more closely at melodrama. An excellent starting point, which provides a full bibliography and account of Victorian melodrama, is Juliet John, ‘Melodrama and its Criticism: An Essay in Memory of Sally Ledger’, 19: Interdisciplinary Studies in the Long Nineteenth Century, Issue 8, Victorian Theatricalities (April 2009) 54 Sympathy Rachel Ablow, The Marriage of Minds: Reading Sympathy in the Victorian Marriage Plot (Stanford: Stanford University Press, 2007). [Chps on David Copperfield, Wuthering Heights, Mill on the Floss, The Woman in White and He Knew He Was Right.] Rae D. Greiner, ‘Thinking of Me Thinking of You: Sympathy versus Empathy in the Realist Novel’, Victorian Studies, 53, 3 (Spring 2011), 417-426. Rae Greiner, Sympathetic Realism in Nineteenth-Century British Fiction (Johns Hopkins University Press, 2012). Audrey Jaffe, Scenes of Sympathy: Identity and Representation in Victorian Fiction (Ithaca and London: Cornell University Press, 2000) [Discusses Dickens’ A Christmas Carol, Conan Doyle, Mayhew, Gaskell’s Ruth, East Lynne, Daniel Deronda and Dorian Gray. The general thesis indicts the novel, and sympathy, as consolidating relations of power]. Brigid Lowe, Victorian Fiction and the Insights of Sympathy: An Alternative to the Hermeneutics of Suspicion (London: Anthem, 2007) [looks at novels by Dickens, Gaskell, Eliot, Charlotte Bronte, Charlotte Yonge and Dinah Craik, arguing against literary critical orthodoxies that sympathy should be a guiding principle for literary criticism] Sophie Ratcliffe, On Sympathy (Oxford: Oxford University Press, 2008) [Complex and dense but an interesting discussion of sympathy and literary allusion. There’s also extended discussion of Browning and the dramatic monologue]. Daniel Deronda Elizabeth Deeds Ermarth, ‘George Eliot's Conception of Sympathy’, Nineteenth-Century Fiction, 40, 1 (1985), 23-42. Carole Jones, 'Introduction', George Eliot, Daniel Deronda (London: Wordsworth, 2003) [this discussion includes ideas of sympathy and empathy in the novel; it's also got a useful bibliography] Jill L. Matus, Shock, Memory and the Unconscious in Victorian Fiction (Cambridge: Cambridge University Press, 2009) [chp on Daniel Deronda plus v interesting material on feeling and shock in C19 novels] Adela Pinch, Thinking About Other People in Nineteenth-Century British Writing (Cambridge: Cambridge University Press, 2010) [contains a chp on Daniel Deronda as well as other topics of interest). Vanessa L Ryan, Thinking Without Thinking in the Victorian Novel (Johns Hopkins University Press, 2012). Pamela Thurschwell, 'George Eliot's Prophecies: Coercive Second Sight and Everyday Thought Reading', in Nicola Bown, Carolyn Burdett, Pamela Thurschwell (eds), The Victorian Supernatural (Cambridge: Cambridge University press, 2004), 87-108. Other Victorian studies on emotions (incl poetry) Kirstie Blair, Victorian Poetry and the Culture of the Heart (Oxford: Oxford University Press, 2006). [Ildiko Csengei has a forthcoming study on the heart: not exclusively Victorian – keep an eye out for it.] Elizabeth Jay, The Religion of the Heart: Anglican Evangelicalism and the 19th Century Novel (Oxford: Clarendon press, 1979) Emma Mason, Women Poets of the Nineteenth Century (Horndon: Northcote House, 2006) 55 Gesa Stedman, Stemming the Torrent: Expression and Control in the Victorian Discourses on Emotions, 1830-1872 (Hampshire: Ashgate, 2002) There are ‘special issues’ on emotions: Victorian Studies, 50, 3 (2008); Isis, 100, 4 (December 2009) [science]; Textual Practice, 22, 1 (2008). Historical and scientific contexts (including medical and psychological) Isis, 100, 4 (December 2009) [a special issue on emotions and science; see especially the pieces by Paul White] Fay Bound Alberti (ed), Medicine, Emotion and Disease, 1700-1950 (Basingstoke: Palgrave Macmillan, 2006) Jenny Bourne Taylor and Sally Shuttleworth (eds), Embodied Selves: An Anthology of Psychological Texts 1830-19-1890 (Oxford: Clarendon, 1998). Janet Browne, ‘Darwin and the Expression of the Emotions’, in The Darwinian Heritage, ed David Kohn (Princeton: Princeton University Press, 1985), 307-26. William F. Bynum and Roy Porter (eds), Medicine and the Five Senses (Cambridge: Cambridge University Press, 1993 Kurt Danziger, Naming the Mind: How Psychology Found Its Language (London: Sage, 1997) Thomas Dixon, From Passions to Emotions: The Creation of a Secular Psychological Category (Cambridge: Cambridge University Press, 2003). Thomas Dixon, The Invention of Altruism: Making Moral Meanings in Victorian Britain (Oxford: Oxford University Press, 2008) [More directly about moral debate, but with great relevance to thinking about emotions, this traces the influence of Comtean positivism and the ways in which Comte’s term ‘altruism’ was contested and assimilated]. Jim Endersby, ‘Sympathetic Science: Charles Darwin, Joseph Hooker, and the Passions of Victorian Naturalists’, Victorian Studies Volume 51, Number 2, (Winter 2009), 299-320 Gerald Geison, Michael Foster and the Cambridge School of Physiology (Princeton: Princeton University Press, 1978) Robert G. Frank, Jr., 'The Telltale Heart: Physiological Instruments, Graphic Methods, and Clinical Hopes 1854-1914', in William Coleman and Frederick L.Holmes (eds), The Investigative Enterprise: Experimental Physiology in 19th-Century Medicine (Berkely: University of California press, 1988), 211-290. Lucy Hartley, Physiognomy and the Meaning of Expression (Cambridge: Cambridge University press, 2001) Rick Rylance, Victorian Psychology and British Culture 1850-1880 (Oxford: Oxford University Press, 2000). Paul White, 'The Face of Physiology', 19: Interdisciplinary Studies in the Long Nineteenth Century, 7 (2008) Vivisection Richard French, Antivivisection and Medical Science in Victorian Society (Princeton: Princeton University Press, 1975) Susan Hamilton (ed), Animal Welfare and Anti-Vivisection 1870-1910: 19th-Century Woman's Mission, 3 vols (London and New York: Routledge, 2004) [an extensive collection of primary resources, focused on the work of Frances Power Cobbe. It's available at the British Library] 56 Jed Mayer, ‘The Expression of the Emotions in Man and Laboratory Animals’, Victorian Studies, 50, 3 (2008), 399-417. Laura Otis, ‘Howled out of the Country: Wilkie Collins and H. G. Wells Retry David Farrier’, in Neurology and Literature, 1860–1920, edited by Anne Stiles (Basingstoke and New York: Palgrave Macmillan, 2007), pp. Rob Preece, Darwinism, Christianity, and the Great Vivisection Debate’, Journal of the History of Ideas, 64, 3 (2003), 399-419. Paul White, 'Sympathy under the Knife: Experimentation and Emotion in Late Victorian Medicine', in Fay Bound Alberti (ed), Medicine, Emotion and Disease, 1700-1950 (Basingstoke: Palgrave Macmillan, 2006), 100-124. Stuart Richards, 'Drawing the Life-Blood of Physiology: Vivisection and the Physiologists’ Dilemma, 1870-1900', Annals of Science, 43 (1986), 27-56. Harriet Ritvo, The Animal Estate: the English and Other Creatures in the Victorian Age (Cambridge, Mass.: Harvard University press, 1987) James Turner, Reckoning with the Beast: Animals, Pain, and Humanity in the Victorian Mind (Baltimore: Johns Hopkins University press, 1980) Nicholaas A Rupke (Ed), Vivisection in Historical Perspective (London: Croom Helm, 1987) Other (not necessarily Victorian) relevant works, including philosophical and historical studies of the emotions Isobel Armstrong, The Radical Aesthetic (Oxford: Blackwell, 2000). Teresa Brennan, The Transmission of Affect (Ithaca and London: Cornell University Press, 2004) Antonio Damasio, Descartes' Error (1994, London: Vintage 2006) Philip Fisher, The Vehement Passions (Princeton and Oxford: Princeton University Press, 2002) [a study of anger, fear, grief, shame...] Daniel M Gross, The Secret History of Emotion: From Aristotle’s Rhetoric to Modern Brain Science (Chicago: Chicago and London, 2006). Suzanne Keen, Empathy and the Novel (Oxford: Oxford University Press, 2007) [an investigation of the question of whether novel-reading cultivates empathy and, if so, whether this leads to better human relationships and actions] Adam Phillips and Barbara Taylor, On Kindness (London: Hamish Hamilton, 2009) [Short but useful historical section before a psychoanalytic interpretation of kindness: quick to read and provocative] Nancy Snow, ‘Compassion’, American Philosophical Quarterly, 28, 3 (1991), 195-205. Robert Solomon, The Passions: Emotions and the Meaning of Life (Indianapolis: Hackett, 1976) Richard Sorabji, Emotion and Peace of Mind: From Stoic Agitation to Christian Temptation (Oxford: Oxford University Press, 2000). 57 Romantic Studies Internship Module Code: AREN161S7 Learning Aims and Outcomes Research and contextualise a practical task or event in terms of current academic debates and museum policy Critically appraise the conjunction of museum theory and practice Reflect upon the historical and contemporary display and representation of Romantic Objects Understand the constraints and opportunities involved in professional museum work (e.g. economic, political, ideological) To learn how to fuse original research with critical writing and contextual information Apply relevant theoretical models to a practical event or task Analytically compare empirical with theoretical material Evaluate research in relation to practice Devise well informed solutions to practical problems To continue to develop the ability to read critically and analyse primary and secondary literature To continue to develop the ability to construct and present their arguments orally, in writing and electronically Module Description The internship is the intellectual and practical application of the MA’s focus on the multisensorial and material aspects of culture at the centre of the Core Course ‘Romantic Objects’. The aim of the Romantic Studies Internship is to allow you to develop an expertise in an institution that holds important Romantic period materials and to develop a historical and interdisciplinary grasp of Romantic period culture, collections, and collecting practices. Working within a museum, gallery, or archive offers you empirical, practical, and experiential skill development. Working within a museum, gallery, or archive will introduce you to a range of disciplinary practices and ways of thinking, giving you a chance to apply historical and theoretical study to practical tasks, and to test the limits of academic learning through practice. You will develop information-gathering, bibliographic, archival and writing skills. Assessment Assignment Description Weighting Portfolio of Examples of work produced during the 10% Practical Work internship + 1000 word reflective log Assessed Essay 5,000 Words 90% NB: The Romantic Studies internship is subject to an application form and selection process. Please contact the Programme Director for further details. 58 Directed Reading in Romantic Studies Module Code: AREN155S7 This module allows you to work closely with a member of staff, using her advice to guide an independent research and writing project. The aim is to cater to specialist research needs in subject areas not catered to by the module offerings, allowing students to delve into a well-defined research project involving specialist skills and primary materials (e.g. manuscript materials, official documents, etc.). Assessment Assignment Indicative Bibliography Assessed Essay Description Weighting 1,500-2,000 Words 10% 5,000 Words 90% NB: this module is available in exceptional circumstances as deemed appropriate by the Programme Director and MA team. Please contact the Programme Director if you would like to discuss this option. 59 Summer Term Activities The summer term is dedicated to personal research as well as reading around more wide-ranging explorations in Romantic period topics. In addition to the training sessions listed above, student led reading group sessions are booked before or after the training sessions (see below). There will be a range of lectures and panels during Birkbeck Arts Week (usually scheduled in week 5 of the Summer Term), and a Romantic studies conference: Week 1 Monday 28 April, 7.40-9.00 Student Led Romantic Reading Group Week 2 Wednesday 7 May, 6.00-7.20 Student Led Romantic Reading Group Week 3 Monday 12 May, 7.40-9.00 Student Led Romantic Reading Group Week 3 Wednesday 14 May, 7.40-9.00 Student Led Romantic Reading Group Week 5: Birkbeck Arts Week 18-19 July 2014: 2-day conference on Blake and the Flaxman Circle Further events will be announced during the academic year. 60 Coursework Presentation and Plagiarism Coursework Presentation Research essays must conform to the MHRA Style Guide (London: Modern Humanities Research Association, 2008), which should be consulted for further explanation. Libraries hold copies of this style guide, and you can buy it in good bookshops (including Waterstones, Gower Street). It can also be downloaded for personal use from: http://www.mhra.org.uk/Publications/Books/StyleGuide/download.shtml Notes on the Presentation of Essays and Dissertations 1. Essays and dissertations must be typed or word-processed rather than hand-written, double spaced on one side of A4 paper, with suitable margins to enable markers to comment on your work. Your work should be submitted electronically, via Turnitin and a second copy retain for yourself (this ensures your work should be recoverable if an essay happens to go astray). 2. It is difficult to be prescriptive about the style and scope of the essays and dissertations. Individual topics will often broadly determine the approach you are going to take, how much primary and how much secondary reading you need to attempt and so forth. Certainly, if you fell at all uneasy about how to tackle a particular topic, you should seek tutorial advice. Some general observations, however, may be offered about the standard expected. We are looking for a developed critical argument within your essays. This does not mean that you have to be strikingly original (though that is always welcome) but it does mean that the essay should show a thoughtful assimilation and assessment of the material you are dealing with – whether of a Renaissance text or of secondary material. Bland surveys of scholarship should be avoided. The view of one or two modern writers should not be presented as though they possess infallible ‘textbook’ status. This does not imply that you cannot accept the arguments of a writer you agree with, but you need to show evidence of having come to that agreement after reading widely around the topic. You should keep in mind the following when preparing your essays and dissertation: A. Depth and extent of reading. You should try to achieve a balance between these two. Some people prefer to concentrate on close and precise reading of one or two texts or to argue closely on a narrowly focused topic. There is nothing wrong with this, provided you remember also that it is essential to establish a context for the argument. Others like to build arguments based on a large number of wide-ranging texts or to detail a great mass of critical contributions. Again, this is fine, provided that the material presented is germane to the chosen focus of the essay. If you are going to concentrate on a small number of texts – e.g. Petrarch’s Sonnets – you should try to give some indication what position they occupy in the Petrarch canon or, if adopting a generic approach, how Petrarch’s sonnets compare with others of his period or later. In contrast, if you are discussing a very broad topic – e.g. humanistic education – discuss at length some representative examples and avoid making the discussion so diffuse that you cannot offer anything more than commonplaces. 61 B. Recent scholarship. You should give some indication that you are acquainted with recent scholarship and critical arguments (i.e. that published within the last decade). Clearly, you are not expected to read everything that may have been written on your topic, nor should you necessarily agree with the dominant directions taken by recent criticism, but you must reveal some knowledge of the most important directions. There is little point for instance in only recording accounts of Venice written during the 1950s and 1960s, and from these constructing an argument about the relationship between aristocracy and confraternities when scholarship since 1975 has completely reformulated the nature of that relation. Similarly, to try to argue a view of Shakespeare based on Tillyard’s influential Elizabethan World Picture (1943) when most recent critics disagree completely with the book is to invite disaster. Part of the task in preparing your essays and especially the dissertation is discovering what has been written about your topic. It is important that you learn how to use libraries to discover what has been done and to learn how to sift large amounts of information to discover what is important for your discussion. The study skills sessions will help you with advice on this. C. Documentation. References within your essay and the bibliography should be full, consistent and properly presented. You are expected to consult and follow the MHRA Style Book where a much fuller discussion of presentation is to be found. It can be downloaded from the School of English and Humanities website: http://www.mhra.org.uk/Publications/Books/StyleGuide/download.shtml. Essays for options run by departments other than English and Humanities should, however, follow their documentation guidelines. While minor lapses (e.g. commas out of place, forgetting to mention the translator of a work in the bibliography) may be ignored if they are infrequent, you will be penalized for sloppy and inaccurate documentation. While doing your preparatory reading, it is important to take full and accurate references so as to avoid spending a great deal of time hunting back through works to find page numbers etc. Often MA students underestimate the time it takes to prepare a successful essay. This is not only because of the extent of the reading required, but because constructing a carefully-documented piece, and dealing with a larger body of primary and secondary materials than you are likely to have experienced in writing undergraduate essays, is a time-consuming process. No matter how long you spend on doing the preparatory reading, leave yourself plenty of time to write your piece. D. Presentation. 1. Editions Wherever possible, standard editions should be used, especially for passages essential to the argument of the essay. References to the same work should be to the same edition, unless differences between editions are relevant to the argument of the essay. 2. Quotations Quotations must be accurate and should be checked carefully before the essay is submitted. 62 Prose quotations up to about three lines and verse quotations up to one full line should be incorporated into the body of the text. Longer quotations should be inset, in which case inverted commas are not needed. Once the source of quotation has been clearly identified in a footnote, quotations from the same text and edition can be identified by page number (or line number, or act, scene and line number etc., as appropriate) in parentheses immediately after the quotations, thus avoiding unnecessary footnotes. 3. Footnotes Footnotes should be succinct; they should not become miniature essays. There are good grounds for restricting footnotes to: i) The identification of quotations and other essential documentation. ii) Undeveloped references to other relevant material: ‘see also…’ Documenting footnotes should follow the sequences: a) Printed books: author, title (underlined); editor’s name (if appropriate, preceded by ‘ed.’); place and date of publication (in parentheses); volume, and/or page number(s). b) Periodical articles: author, title of article (within single inverted commas); title of periodical (underlined); volume number; date of publication (in parentheses); page number(s). Sample footnotes: (1) G. R. Hibbard, Thomas Nashe: A Critical Introduction (London: Routledge and Kegan Paul, 1962), p.24 (2) Hibbard, pp. 25-6 [a following reference to the same book] (3) John Dryden, Annus Mirabilis, lines 25-6 (Poems, ed. J. Kinsley, Oxford: OUP, 1958), I, 53 (4) Lois Whitney, ‘English primitavistic theories of epic origins’, MP, 21 (1924), 337 or MP, xxi (1924), 337 4. List of Sources At the end of the essay should be listed all the works, including editions of the texts discussed, that have been consulted in its preparation. The list should be in alphabetical order of author. The conventional sequences are as follows: printed books: author (surname first), title (underlined); editor (if appropriate); number of volumes (if more than one); place of publication [colon] publisher [comma] year of publication articles: author (surname first); title in single inverted commas; title of periodical (underlined); volume number; date (in parentheses); numbers of first and last pages of article. 5. Acknowledgements 63 In footnotes and list of sources the student must make clear acknowledgement of ALL works, reports and sources from the internet used in writing the essay and should not descend to plagiarism or collusion. S/he should carefully note the University of London General Regulations for Internal Students, 9.5: Where the regulations for any qualification provide for part of an examination to consist of ‘take-away’ papers, essays or other work written in a candidate’s own time, course-work assessment or any similar form of text, the work submitted by the candidate must be his own, and any quotation from the published or unpublished works of other persons must be duly acknowledged. Plagiarism is the quotation, verbatim or virtually verbatim, of other people’s work, published or unpublished, without acknowledgement. Plagiarism carries severe penalties and may even warrant exclusion from the course. If in doubt about the protocols of acknowledgement, ask. Plagiarism Plagiarism, the act of taking somebody else's work and presenting it as your own, is an act of academic dishonesty, and Birkbeck takes it very seriously. Examples of plagiarism include (but are not restricted to): copying the whole or substantial parts of a paper from a source text (e.g. a web site, journal article, book or encyclopaedia), without proper acknowledgement paraphrasing another's piece of work closely, with minor changes but with the essential meaning, form and/or progression of ideas maintained piecing together sections of the work of others into a new whole procuring a paper from a company or essay bank (including Internet sites) submitting another student's work, with or without that student's knowledge submitting a paper written by someone else (e.g. a peer or relative) and passing it off as one's own representing a piece of joint or group work as one's own. If you knowingly assist another student to plagiarise (for example, by willingly giving them your own work to copy from), you are committing an examination offence. What happens if plagiarism is suspected? In October 2008, the College introduced a new three stage policy for dealing with assessment offences. The first stage allows for a very rapid and local determination for first or minor and uncontested offences. Stage Two allows for a formal Department investigation, where a student wishes to contest the allegation or penalty, where there is an allegation of a repeat offence or for more serious cases. Stage Three involves a centrally convened panel for third and serious offences, dealt with under the code of Student Discipline. What if I am worried that I’m not referencing correctly? Please see your module lecturer or contact a member of the learning support team as soon as possible. Ignorance to Birkbeck’s commitment to student standards will not be accepted as an excuse in a plagiarism hearing. The following links from Birkbeck’s Registry provide some helpful information, but are not intended to replace any guidelines or tuition provided by the academic staff. 64 General Guidelines http://www.bbk.ac.uk/mybirkbeck/services/facilities/support/plagiarism Plagiarism http://pps05.cryst.bbk.ac.uk/notice/bkplag.htm– Written for Birkbeck’s Registry. Plagiarism FAQ http://turnitin.com/research_site/e_faqs.html – Frequently Asked Questions from Turn It In. 65 Coursework Submission (This information is also included in Appendix B) Please use the School of Arts coversheet for coursework submission and fill in all the relevant details, including your name and/or student number, the module title and code (all listed on your student profile), and the title of the assignment as set out on the list of essay topics. You should also sign the declaration that you are submitting your own, original own work. Major pieces of work (worth 30%, or more, of the marks for a given module) should normally be submitted anonymously, but you will be told explicitly if you are expected to do this, and you may, in any case, choose to submit your work anonymously (ie using your student number, and not your name, including for the declaration). All work should normally be computer-generated (using a format compatible with Microsoft Word, and not a pdf or similar) unless you are told explicitly that an assignment may be hand-written. All work should be submitted double-spaced. Please note that the word count should include footnotes but excludes the bibliography. Ensure your name and the name of the course at the top of the essay, and include the title of the essay as set out on the list of essay topics. Your work should normally be submitted electronically, via Turnitin by 12 noon on the day of the deadline (or, exceptionally, in case of difficulty with this system, by email to the lecturer concerned).Your coversheet should be cut and pasted, in Word format only, into the front of the document you submit (your “signature” may consist of your typed name or your student number). You may, exceptionally, also be asked to leave a paper copy in the coursework box in the entrance hall of 43 Gordon Square. You should also retain a copy yourself. In no circumstances should essays be handed directly to the lecturer or seminar leader. Paper copies of coursework should be stapled in the top left-hand corner, with your completed coversheet forming the top page. It should be placed in an envelope which is clearly marked with the name of the lecturer and the module title. Please do not put them in a folder or plastic sleeve: markers prefer to receive work simply stapled. The Coursework Cover Sheet is available on this link http://www.bbk.ac.uk/arts/coversheets-for-coursework-submission (or via your department’s website, and paper copies are available from the entrance hall of 43 Gordon Square). For further information and instructions on how to submit coursework using Turnitin please see the appendices or visit the ITS Help Desk. Return of Coursework Coursework will normally be marked and returned electronically within 6 weeks from the stated submission date or the date of handing in, whichever is later. Larger modules and modules with numerous seminar groups, such as core modules, could take longer due to the number of students involved. There may also be a delay if the college is closed or if there are extended holidays during that 6-week period. If you feel that you 66 need feedback about your work sooner due to other impending work, please contact the lecturer directly to make an appointment to visit within their office hours. Essays are never sent back to students by post. If online submission/return has not been used, your lecturer will advise the method by which your work will be returned – normally via the student pigeonholes at 43 Gordon Square. Please do not phone/e-mail to ask whether your essay has been marked unless the marking periods as above have elapsed. College Assessment Policy It may also be useful to familiarise yourself with the official college assessment policy. Please see the following link: http://www.qaa.ac.uk/academicinfrastructure/codeOfPractice/section6/COP_AOS.pdf Late Submission of work for assessment College policy dictates how Schools will treat work that is due for assessment but is submitted after the published deadline. From 2008/9 any work that is submitted for formal assessment after the published deadline is given two marks: a penalty mark of 50% for postgraduate students, assuming it is of a pass standard, and the ‘real’ mark that would have been awarded if the work had not been late. Both marks are given to the student on a cover sheet. If the work is not of a pass standard a single mark is given. If you submit late work that is to be considered for assessment then you should provide written documentation, medical or otherwise, to explain why the work was submitted late. You will need to complete a standard mitigating circumstances pro-forma and submit it, with documentary evidence as appropriate, to your Tutor or Programme Director. The case will then be considered by the appropriate sub-board or delegated panel. If no case is made then the penalty mark will stand. If a case is made and accepted then the examination board may allow the ‘real” mark to stand. Please note: If you are taking an option within another School please note that you will need to adhere to the deadline/ extension policy of the School in which the option course is based. You should submit your essays to the Postgraduate Administrator within English & Humanities, who will forward it on to the relevant administrator in the host department. 67 Research Ethics All research involving human participants and confidential materials, carried out by students in the School of Arts is subject to an ethics approval process. This is to ensure that the rights of participants and researchers alike are protected at all times, and to underline our commitment to excellence in research across a wide range of subjects. If you are undertaking any such research work for a dissertation, project, thesis etc. please complete the form ‘Proposal for Ethical Review template’ and pass this to your academic supervisor. The proposal will be reviewed and assessed as ‘routine’ or ‘nonroutine’. In most cases it is envisaged that such work will be routine, and your supervisor will inform you of the outcome. In a small number of cases, the proposal may be referred to the School’s Ethics Committee for further consideration. Again, you will be informed of any outcome. The proposal form is available through our departmental web pages (current students). If you have any queries, please speak to your supervisor in the first instance. Further guidelines are available on the MyBirkbeck website at http://www.bbk.ac.uk/mybirkbeck/services/facilities/support/researchethics 68 Grade-Related Criteria 80-100% High Distinction Possesses all the qualities of work of distinction level, but performed to an exceptional standard in most areas Demonstrates the potential for publication 70-79% Distinction Shows a sophisticated understanding of the topic, presenting a highly persuasive and original response Displays an outstandingly perceptive knowledge of the relevant primary evidence, making creative, incisive and/or subtle use of that evidence Presents an elegantly structured argument that displays sustained critical independence and cogent analysis Engages critically and imaginatively with secondary and, where relevant, theoretical literature, moving well beyond the material presented in classes and positioning its own argument within academic debates Deploys a lively and sophisticated prose style with precision Demonstrates an advanced command of critical vocabulary and the rules of grammar, syntax, spelling and punctuation Referencing (including quotations, footnotes and bibliography) immaculately presented according to the course handbook 60-69% Merit Shows a sound understanding of the topic, presenting a perceptive and relevant response Displays detailed knowledge of the relevant primary evidence, making sustained, specific and often thoughtful use of that evidence Presents a lucid and well-structured argument that displays critical independence and effective analysis Engages critically with secondary and, where relevant, theoretical literature and/or material from classes, doing so in the service of an independent argument Deploys a lucid and fluent prose style Demonstrates an accurate command of critical vocabulary and the rules of grammar, syntax, spelling and punctuation Referencing (including quotations, footnotes and bibliography) presented according to the course handbook 50-59% Shows some understanding of the topic, and presents a 69 Pass largely relevant response Displays adequate knowledge of the relevant primary evidence under discussion, making appropriate use of that evidence Attempts a structured argument, but may be prone to the general, the arbitrary, the derivative, the incomplete and/or the descriptive Makes use of secondary and, where relevant, theoretical literature (whether critical, theoretical or historical) and material from lectures and seminars, but not always in the service of an independent argument Deploys a fairly fluent prose style Demonstrates an adequate command of critical vocabulary and the rules of grammar, syntax, spelling and punctuation Referencing (including quotations, footnotes and bibliography) largely presented according to departmental criteria 0-49% Fail Shows a limited or scant understanding of the topic and presents a less than competent response that lacks focus Displays a barely adequate or erroneous knowledge of the primary evidence Either fails to present an argument or presents one that is incoherent, incomplete and/or flawed Makes little or no use of secondary or theoretical literature or uses it inappropriately and derivatively; is heavily reliant on material derived from classes without evidence of independent assimilation or understanding of it. Deploys an inaccurate and unclear prose style Demonstrates an insecure command of critical vocabulary and the rules of grammar, syntax, spelling and punctuation Referencing (including quotations, footnotes and bibliography) poorly presented according to departmental criteria Notes: The above table is designed to give an indication of the qualities that are required in the different MA classifications, and to show the factors that are taken into account when marking MA work. Frequently, essays do not fall neatly into any one band. For example, an essay might have the ‘lucid and well-structured argument’ of a Merit while deploying the ‘fairly fluent prose style’ of a Pass. In such cases the marker has to weigh these qualities against each other and strike a balance in the final mark and classification. These criteria will be applied when assessing the work of disabled students (including those with dyslexia), on the assumption that they receive prior learning support. Students who think they might qualify for support should refer to the Disability Statement in this handbook for further information. 70 Assessment All assessed essays are double-marked; a set of comments and a mark are returned to the student. These marks remain provisional until ratified by the external examiner at the Board of Examiners’ meeting in November of the following year. Marking Scale 70-100 Pass with distinction 60-69 Pass with merit 50-59 Pass Marks below 50 constitute a ‘fail’. Criteria To be awarded a PASS at MA level the essay or dissertation should normally: Present a reasonably clear argument with some level of detail; Show a fair ability to marshal evidence for the argument, even if this is not sustained throughout the essay; Display a reasonably thorough knowledge of the relevant sources and texts and the ability to analyse them in some detail; Demonstrate a fair grasp of a reasonable range of critical literature relevant to the essay topic; Use appropriate scholarly conventions relating to presentation; Keep within the word limit; Be adequately documented, with footnotes or endnotes, and a bibliography that reveals engagement with relevant primary and secondary texts. To be awarded a MERIT at MA level the essay or dissertation should normally: Present a clear and detailed argument; Marshal a body of evidence for the argument confidently and clearly throughout the essay; Display a good knowledge of the relevant sources and texts and a critical confidence in analysing them in close detail; Demonstrate a good grasp of a range of critical literature relevant to the essay topic, including recent work in the field, and be able to engage with, as well as rehearse, debates on the topic in hand; Be well written throughout; Be presented in a proper scholarly fashion throughout; Keep within the word limit; Be well documented, with footnotes or endnotes, and a full bibliography that reveals engagement with relevant primary and secondary texts. To be awarded a DISTINCTION at MA level the essay or dissertation should normally: Fulfil all the criteria of a MERIT essay and, additionally: 71 Show a level of intellectual ambition beyond what is required for a MERIT mark; Display some evidence of originality in the selection and/or interpretation of sources and texts and the capacity to intervene actively in a chosen field; Have a wide range of reference, beyond what is required for a MERIT mark. Substantially extend the understanding of the topic discussed. Criteria for Award of Degree The Dissertation counts for 33%. The remaining essays (Core, and three Options) count for 67%. Dissertation Advice The dissertation should be between 14,000 and 15,000 words. This excludes titles, diagrams, and bibliography. It must be securely bound (heat-bound or spiral-bound. Please submit two hard copies and submit the electronic copy via Moodle. Please remember to keep a copy for yourself. A dissertation proposal form, to be submitted to the Course Director by 16 th March, is at the end of this Handbook. The outline is not ‘official’ and may well change. If you have any difficulties about meeting the deadline contact the course director. Dissertation research skills classes will be held in the first three weeks of Term 3. Dissertation supervisors will read up to 3,000 words of the dissertation submitted by 28 June 2014. Degree Regulations 72 Undergraduate and Postgraduate Study The majority of Birkbeck’s programmes are offered as part of the College’s Common Award Scheme (CAS). Programmes will therefore have common regulations, and a common structure. This will help to ensure greater consistency of practice amongst programmes and will also make it possible for you to take modules from Departments across the College which are outside of your normal programme (subject to programme regulations and timetable constraints). Some areas covered by CAS Regulations include: Degree Structure Degree Classification Module Weighting Marking Scheme Failure and Re-Assessment Plagiarism and Academic Offences Mitigating Circumstances. You are strongly encouraged to read the information provided below, and Appendix D/E at the end of this handbook. Hard copies are available on request in the School Administrative Office at 43 Gordon Square. Further details on programme regulation and areas of interest are available on the Common Awards Scheme website: http://www.bbk.ac.uk/reg/regs/cas Research Ethics All research involving human participants and confidential materials, carried out by students in the School of Arts is subject to an ethics approval process. This is to ensure that the rights of participants and researchers alike are protected at all times, and to underline our commitment to excellence in research across a wide range of subjects. If you are undertaking any such research work for a dissertation, project, thesis etc. please complete the form ‘Proposal for Ethical Review template’ and pass this to your academic supervisor. The proposal will be reviewed and assessed as ‘routine’ or ‘nonroutine’. In most cases it is envisaged that such work will be routine, and your supervisor will inform you of the outcome. In a small number of cases, the proposal may be referred to the School’s Ethics Committee for further consideration. Again, you will be informed of any outcome. The proposal form is available through our departmental web pages (current students). If you have any queries, please speak to your supervisor in the first instance. Further guidelines are available on the MyBirkbeck website at http://www.bbk.ac.uk/mybirkbeck/services/facilities/support/research-ethics. 73 Disability Statement At Birkbeck there are students with a wide range of disabilities including dyslexia, visual or hearing impairments, mobility difficulties, mental health needs, medical conditions, respiratory conditions. Many of them have benefited from the advice and support provided by the College’s Disability Office. The Disability Office The College has a Disability Office located in room G12 on the ground floor of the Malet Street building. We have a Disability Service Manager, Mark Pimm, a Disability Administrator, John Muya and a Mental Health Advisor, Elizabeth Hughes. We will shortly be appointing an SpLD Advisor. All enquiries should come to the Disability office, who will determine the appropriate referral to specialist staff. They can provide advice and support on travel and parking, physical access, the Disabled Students Allowance, special equipment, personal support, examination arrangements etc. If you have a disability or dyslexia, we recommend you come to our drop in session where we can discuss support and make follow up appointments as necessary. The drop-in sessions are between 4pm and 6pm Monday to Thursday. The Disability Office can also complete an Individual Student Support Agreement form with you, confirming your support requirements and send this to your School and relevant Departments at the College so they are informed of your needs. Access at Birkbeck Birkbeck's main buildings have wheelchair access, accessible lifts and toilets, our reception desks have induction loops for people with hearing impairments and we have large print and tactile signage. Disabled parking, lockers, specialist seating in lectures and seminars and portable induction loops can all be arranged by the Disability Office. The Disabled Students Allowance UK and most EU students with disabilities on undergraduate and postgraduate courses are eligible to apply for the Disabled Students' Allowance (DSA). The DSA usually provides thousands of pounds worth of support and all the evidence shows that students who receive it are more likely to complete their courses successfully. The Disability Office can provide further information on the DSA and can assist you in applying to Student Finance England for this support. The Personal Assistance Scheme Some students need a personal assistant to provide support on their course, for example a note-taker, sign language interpreter, reader, personal assistant, disability mentor or dyslexia support tutor. Birkbeck uses a specialist agency to recruit Personal Assistants and they can assist you with recruiting, training and paying your personal assistant. Please contact the Disability Office for information on this scheme. 74 Support in your School The provision which can be made for students with disabilities by Schools is set out in the Procedures for Students with Disabilities. This is available from the Disability Office and on the disability website (see below). As mentioned above your School will receive a copy of your Individual Student Support Agreement from the Disability Office. This will make specific recommendations about the support you should receive from the School. Whilst we anticipate that this support will be provided by the Programme Director, tutors and School Administrator in the School of Arts also has a Student Disability Liaison Officer. If you experience any difficulties or require additional support from the School then they may also be able to assist you. They may be contacted through the School Office or the Disability Office. Support in IT Services and Library Services There is a comprehensive range of specialist equipment for students with disabilities in IT Services. This includes software packages for dyslexic students (e.g. Claroread and Inspiration), screen reading and character enhancing software for students with visual impairments, specialist scanning software, large monitors, ergonomic mice and keyboards, specialist orthopaedic chairs etc. For advice and assistance please contact Disability IT Support. There is also a range of specialist equipment in the Library including a CCTV reading machine for visually impaired students as well as specialist orthopaedic chairs and writing slopes. The Disability Office refers all students with disabilities to the Library Access Support service who provides a comprehensive range of services for students with disabilities. Specific Learning Difficulties (Dyslexia) Mature students who experienced problems at school are often unaware that these problems may result from their being dyslexic. Whilst dyslexia cannot be cured, you can learn strategies, which make studying significantly easier. If you think you may be dyslexic you should contact the Disability Office who can screen you and where appropriate refer you to an Educational Psychologist for a dyslexia assessment. These assessments cost £225. Some students can receive assistance in meeting this cost from their employer. In exceptional cases students may receive assistance from the Access to Learning Fund. Examinations Students with disabilities and dyslexia may be eligible for special arrangements for examinations e.g. extra time, use of a word processor, amanuensis, enlarged examination papers etc. In order to receive special arrangements a student must provide medical evidence of their disability (or an Educational Psychologists report if you are dyslexic) to the Disability Office. For School examinations you should contact your Programme Director to request special arrangements at least 2 weeks before the examination. For main College summer examinations you are given the opportunity to declare that you require special provision on your assessment entry form. Students who require provision should then attend an appointment with the Disability Office to discuss 75 and formalise the appropriate arrangements. The closing date for making special examination arrangements in College examinations is the 15 th March and beyond this date consideration will only be given to emergency cases. Further information Full information on disability support can be found at: http://www.bbk.ac.uk/mybirkbeck/services/facilities/disability For further information or to make an appointment to see the Disability office, please call the Student Centre on 020 7631 6316 or email [email protected]. Alternatively you can go to the Disability Office in room G12 between 4pm and 6pm Monday – Thursday for during their drop-in hours. 76 Student Support and Available Resources Student Support Study Skills Programmes Every Department within the School of Arts has a provision for student support and the programmes vary as they are targeted at specific degree requirements. Please contact your administrator if you are having any difficulties in completing your coursework. There is help available to you at every point in your degree, and we are more than happy to point you in the right direction. Learning Support Adviser for the School of Arts, Dr Fleur Rothschild As Learning Support Adviser, I supplement the help offered by the Departments in the School of Arts to students in their first year of study. My support takes the form of a programme of Workshops which continue throughout the academic year and which are open to all first-year students in the School. These events will provide you with additional guidance on how to improve specific skills relevant to studying the Arts and Humanities. For details of the programme, please visit my website: http://www.bbk.ac.uk/arts/depts-staff/study-skills-and-learning-support-adviser In consultation with Subject Directors and students’ Personal Tutors, I also extend help to individual firstyear students through an appointment system for one-to-one meetings in my office (Room 210). I look forward to meeting and introducing myself to you at School of Arts pre-sessional and Induction events. Birkbeck College Resources Birkbeck Library The College Library (http://www.bbk.ac/lib/) has a solid and growing core of books, journals and reference. It is primarily an undergraduate library, but through a careful acquisitions policy we try to provide general resources for MA students (although we cannot guarantee that the library covers all areas of interest and work). Most of our material is for three week loan, but we also have material that is one week loan, one day loan and some material (marked Reference) cannot be borrowed at all. The long opening hours allow you to borrow books after classes. There is an e-mail and telephone enquiry, online reservation and online renewal service, an online catalogue and the eLibrary gives access to electronic resources such as electronic journals (ejournals), databases and past exam papers. Should you have any questions about library provision, please contact the Department’s Library Liaison Representative or the Department’s Subject Librarian. The Library has a separate periodicals, A/V and “Reading Room Collection”. The latter consists of photocopies of articles and essential books which have been placed there at a lecturer’s request and are for reference use only within the Library. Information about the layout, collections and services, the Library catalogue and access to the Library’s extensive range of electronic resources is via the Library web site http://www.bbk.ac.uk/lib/ It is very important to familiarise yourself with this site. Detailed information about the Library’s resources can be found in the online Subject Guide. An introduction to the Library and bibliographical skills is timetabled at the start of your course at which you will meet the Subject Librarian who looks after the collection. They 77 will introduce you to the Library and its electronic resources. In addition, the Library has an online tutorial called LIFE (Library Induction for Everyone) which is always available: http://www.bbk.ac.uk/lib/life/ which has a module in it on ‘Researching a topic’. eLibrary As well as its physical holdings, the Library has a comprehensive range of e-resources including bibliographic databases (which tell you what has been written on a topic), and electronic journals. Most of the electronic resources can be accessed from outside the College using your IT Services username and password. If you did not receive this upon enrolment, please ask for them at IT Services reception (Malet Street). LAMP The LAMP Service (LibrAry Materials by Post) is a subscription based service which enables you to have books and photocopies of articles posted to your home address. You may find it particularly useful if you are not able to visit the library frequently. Birkbeck students with disabilities may be able to join the service for free on the recommendation of the College Disability Officer, Mark Pimm. If you think you may be eligible for free membership, please first contact Mark Pimm in the Disability Office. Interlibrary loans The College Library also runs an interlibrary loan service to enable you to obtain copies of books and articles not held in its own collections. As it can take a couple of weeks to obtain copies of requested materials, you are advised to plan ahead in your general reading and essay preparation so as to make use of this facility. Please note: a charge of £1 will be made for each interlibrary loan request received and there is a limit of 10 requests in progress at any one time. Further information and help If a book you need is not available in the Library or you require any help using the resources or finding information, please ask at the enquiry desk (020 7631 6063). University of London Library Senate House, Malet Street, London WC1E 7HU Situated next door to Birkbeck, on the fourth floor of Senate House, this is an excellent research library with a very good collection of up to date critical material and with essential journals for research on the Renaissance. It also has a fairly good collection of early modern English texts in the palaeography room (4th floor). Membership of this library is vital for your MA. British Library 96 Euston Road, St. Pancras London WC1E 7HU A copyright library, it receives all new books published in Britain and orders patchily from Europe and the USA. It has an unrivalled collection on early modern books. These can be read in the room labelled “Rare Books and Manuscripts”. It also has a map library and many other resources. Membership is free, and important. To obtain membership, the current regulations require that you give evidence of needing texts not available elsewhere. 78 Warburg Institute Library Woburn Square, London WC1HOAB An excellent and fascinating Renaissance collection with much material not available elsewhere. Students from the Renaissance MA are admitted to the library. You may need to show a letter from the Postgraduate Administrator. Institute of Historical Research Situated on the ground floor of the North Wing of Senate House, the IHR is an excellent resource for reference and many other materials for the study of early modern Europe and beyond. In order to join, take your Birkbeck College card to reception and join. “Connections”, the IHR booklet, will indicate the excellent range of seminars run through the year. University College Library University College is on Gower Street, close to Birkbeck. Students from Birkbeck are admitted to the library as reference users (no borrowing). It has good collections in the Renaissance area and some unexpected archives. Check with the library for any revised visiting arrangements. Make sure you have your Birkbeck College card and a photograph when you first visit the library. Wellcome Institute Library The Wellcome Building, 183 Euston Road, London NW1 2BE The Wellcome Institute has a huge collection of literature on medicine and the body. They also have a museum. Courtauld Institute of Art Library Somerset House, The Strand, London WC2R 0RN The Courtauld Institute specialises in Art History. It has excellent literature collections and an image library. St Bride Printing Library Bride Lane, Fleet Street, London EC4Y 5EE Material on print. Guildhall Library Aldermanbury, London, EC2Y 8DS Material on London, print and manuscript. Guilds, shows, etc., Electronic Resources You should familiarise yourself with the ECCO resource (Eighteenth-Century Collections Online), which is available through the electronic databases offered by the 79 University of London Library at Senate House. This phenomenal resource includes scanned versions of almost all eighteenth-century books in English. This phenomenal resource enables you to follow up and check references to eighteenth-century books easily, to read, but also browse and become familiar with texts that you might not necessarily have the time to read in detail. Even if you are not keen on reading large amounts of text from a computer screen, this is a resource that you should try to use. Once you have joined the Senate House Library you will be able to access it from home or anywhere you are provided you have your Senate House library username and barcode. Other electronic resources, such as electronic journals through JSTOR and Project Muse, the Oxford Dictionary of National Biography and the Oxford English Dictionary are available through the Birkbeck Library (you will need your ITS username and password). Other Resources and Organisations Birkbeck Student Union You are automatically a member of the Birkbeck Students’ Union, the University of London Union and NUS upon taking up the offer of a place to study at Birkbeck. NUS cards are available online (NUS Extra) or from the Union Office, Malet Street. Application can be made to become a member of the International Students’ Association by completing a form that can also be obtained from their shop. Location and Telephone: Offices on the 4th Floor of the extension building in Malet Street. General Union Office is in Room 456, Tel: 020 7631 6335. Enquiries: [email protected] Visit the website at http://www.birkbeckunion.org/ Counselling The Students’ Union offers counselling free of charge. Birkbeck Evening Nursery Birkbeck College has an Evening Nursery, which is available for students and current members of staff and accepts children aged 2-10 years. In exceptional circumstances, children up to 12 will be accepted. However, Nursery Staff reserve the right not to accept older children if they are disruptive. Full details, including opening times, may be found at: http://www.bbk.ac.uk/mybirkbeck/services/facilities/nursery Career Development - Information, Advice, Workshops & Courses Full information about Careers support for Birkbeck students is available online at http://www.bbk.ac.uk/mybirkbeck/services/facilities/careers 1:1 careers coaching is available on Wednesday afternoons from 2-6pm. Usually these appointments take place at the Malet Street Campus in Talk Room 7 (located on the 4th floor, next to the Student Union). To book an appointment, please call 020 7863 6030. The office is open from 9.30am-5pm. Bookings are only taken during the week of the appointment, so please call on the Monday, Tuesday or Wednesday morning of the week that you would like to see a Careers Consultant. Please note that it is best to call us on Monday morning as appointments do get booked up quite quickly. 80 A number of Careers workshops are available to Birkbeck students on subjects such as: Managing your Career Writing Effective CVs Completing Job Applications and Preparing for Interviews. For more information about these (and to book a place) please go to: http://www.bbk.ac.uk/mybirkbeck/services/facilities/careers/careers-workshops-1 C2 Education, part of The Careers Group, University of London, offers great expertise and experience in working with students and graduates of all ages and at all stages of career development. They offer online careers resources which all students may access: Online Careers Resources: http://www.careerstagged.co.uk/ C2 Education website: http://www.thecareersgroup.co.uk/ 81 Other Graduate Activities We have a large postgraduate community, and there are many other arenas you might wish to participate in. We circulate information by email about interesting and relevant events taking place in London, and beyond: conferences, readings, exhibitions. MA Thursday Evening Lectures Programme We aim to stimulate cross-fertilisation between MA programmes by putting on a series of lectures by guest speakers, and panels with staff and current graduates, on Thursday evenings from 7:30. A full programme of speakers should be available from October and advertised on the department’s website. Birkbeck Day Conferences The Department of English & Humanities frequently arrange day conferences (recent conferences include ‘Remembering the 1990s’, ‘The Inhuman’, ‘Ghosts’, ‘Gendering the Millennium’, ‘Death by Technology’, ‘Magical Thinking’, ‘Narratives in Transition’, ‘Money Talks’, ‘Occasional Music’). Look out for publicity materials in the School. MA students are very welcome to attend such events. The Centre for English Studies The Centre for English Studies is located on the third floor of Senate House, and provides a structured sequence of seminars, lectures from distinguished speakers, day conferences and graduate seminars. Many of these are held during the day, but there are also weekend conferences and late afternoon meetings if you are able to attend. The Centre releases a batch of material at the beginning of each term, announcing the programme for the coming weeks: we will normally email you about relevant events. The Institute for Romance Studies, also located in Senate House, often puts on lectures and conferences which may be relevant to your studies. Information is available at Senate House, and also advertised on the notice-board. 82 Academic Contacts – all staff located at 43 Gordon Square Dr Anthony Bale Dr Nicola Bown Dr Joseph Brooker Dr Carolyn Burdett Dr Luisa Calè Dr Stephen Clucas Dr Isabel Davis Prof Alison Finlay Dr Anna Hartnell Prof Esther Leslie Dr Ann Lewis Dr Roger Luckhurst Dr Kate McLoughlin Dr David McAllister Kate Retford Dr Fleur Rothschild Dr Laura Salisbury Dr Emily Senior Silke Arnold de Simine Dr Ana Parejo Vadillo Dr Carol Watts Dr Joanne Winning Prof Sue Wiseman [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] 0207 361 6167 0203 073 8406 0203 073 8415 0203 073 8416 0203 073 8412 0203 073 8421 0203 073 8414 0203 073 8417 0203 073 8413 0203 073 8401 0207631 6178 0203 073 8419 0203 073 8420 0207631 6198 0207 631 6114 0203 073 8411 0203 073 8409 0207 631 6100 0207631 6150 0203 073 8403 0203 073 8410 0203 073 8418 0203 073 8408 For further contact information and information concerning research interests of our academic staff please see our website at www.bbk.ac.uk/eh where you can find up-to-date information on our staff page. Please check office hours with individual staff members. We ask you visit offices only when you have made an appointment. Please ring or e-mail in advance. Staff members are available for tutorials at other times by appointment. Staffing is subject to change and listing in this booklet is not a guarantee that a specific staff member will be with the Department in the 2013-2014 academic year. There is a research leave policy in the College, which means that all members of academic staff are entitled to one term’s research leave every three years. In addition, members of staff are regularly awarded externally funded research leave, by organisations such as the Leverhulme Trust and the Arts and Humanities Research Council. Therefore, not all academic staff will be present at all times. On such occasions the Department will arrange replacement cover and advise the affected students. Please see our website for queries regarding academic staff’s research interests and Departmental responsibilities. 83 Appendix A: Term Dates and Deadlines Autumn Term Monday 30 September to Friday 13 December 2013 Week 1 30-Sept-13 Week 2 7-Oct-13 Week 3 14-Oct-13 Week 4 21-Oct-13 Week 5 28-Oct-13 Week 6 4-Nov-13 Week 7 11-Nov-13 Week 8 18-Nov-13 Week 9 25-Nov-13 Week 10 2-Dec-13 Week 11 9-Dec-13 Most services will be unavailable from 5pm on Friday 20 December 2013, re-opening at 9am on Thursday, 2 January 2014 Spring Term Monday 6 January to Friday 21 March 2014 Week 1 6-Jan-14 Week 2 13-Jan-14 Week 3 20-Jan-14 Week 4 27-Jan-14 Week 5 3-Feb-14 Week 6 10-Feb-14 Week 7 17-Feb-14 Week 8 24-Feb-14 Week 9 3-Mar-14 Week 10 10-Mar-14 Week 11 17-Mar-14 Most services will be unavailable from 6pm on Wednesday 16 April 2014 to Tuesday, 22 April 2013. Normal services will resume from 9am on Wednesday, 23 April 2014. Summer Term Monday 28 April to Friday 11 July 2014 Week 1 28-Apr-14 Week 2 5-May-14 Week 3 12-May-14 Week 4 19-May-14 Week 5 26-May-14 Week 6 2-Jun-14 Week 7 9-Jun-14 Week 8 16-Jun-14 Week 9 23-Jun-14 Week 10 30-Jun-14 Week 11 7-Jul-14 Most services will be unavailable on Monday 5 May & Monday 27 May 2014 Please see http://www.bbk.ac.uk/about-us/term-dates/#term-dates-2013 for full term dates and holiday closures. Students are reminded that it is inadvisable to take holidays during term time. Exams may be held at any point from May-June and times may not be confirmed until the Summer Term. 84 Appendix B Policy on Essays and Dissertations for all MA Programmes in the Department. Essays Essays should be 5,000 words long (with the exception of MA Creative Writing components; word length for each as stated in course literature). Please note that excessively over- or under-length essays will be penalised. Also, please be aware of the university regulations against plagiarism and duplication of your own work (i.e. there should be no overlap between this essay and material presented for assessment elsewhere in this course or in another module). Please ensure that your essay follows the style of referencing outlined in the MHRA stylebook. This is available on the web at: http://mhra.org.uk/publications/books/styleguide/styleguideV1.pdf. Please use the School of Arts coversheet for coursework submission and fill in all the relevant details, including your name and/or student number, the module title and code (all listed on your student profile), and the title of the assignment as set out on the list of essay topics. You should also sign the declaration that you are submitting your own, original own work. All work should be submitted double-spaced. Your work should be submitted electronically, via Turnitin (or, exceptionally, in case of difficulty with this system, by email to the lecturer concerned). Your coversheet should be cut and pasted, in Word format only, into the front of the document you submit (your “signature” may consist of your typed name or your student number). You may, exceptionally, also be asked to leave a paper copy in the coursework box in the entrance hall of 43 Gordon Square. You should also retain a copy yourself. Paper copies of coursework should be stapled in the top left-hand corner, with your completed coversheet forming the top page. It should be placed in an envelope which is clearly marked with the name of the lecturer and the module title. Please do not put them in a folder or plastic sleeve: markers prefer to receive work simply stapled. For further information and instructions on how to submit coursework using Turnitin please see the appendices or visit the ITS Help Desk. Essays are never sent back to students by post. If online submission/return has not been used, your lecturer will advise the method by which your work will be returned – normally via the student pigeonholes at 43 Gordon Square. Late Submission of work for assessment College policy dictates how Schools will treat work that is due for assessment but is submitted after the published deadline. From 2008/9 any work that is submitted for formal assessment after the published deadline is given two marks: a penalty mark of 50% for postgraduate students, assuming it is of a pass standard, and the ‘real’ mark that would have been awarded if 85 the work had not been late. Both marks are given to the student on a cover sheet. If the work is not of a pass standard a single mark is given. If you submit late work that is to be considered for assessment then you should provide written documentation, medical or otherwise, to explain why the work was submitted late. You will need to complete a standard mitigating circumstances pro-forma and submit it, with documentary evidence as appropriate, to your Tutor or Programme Director. The case will then be considered by the appropriate sub-board or delegated panel. If no case is made then the penalty mark will stand. If a case is made and accepted then the examination board may allow the ‘real” mark to stand. Please note: If you are taking an option within another School please note that you will need to adhere to the deadline/ extension policy of the School in which the option course is based. You should submit your essays to the Postgraduate Administrator within English & Humanities, who will forward it on to the relevant administrator in the host department. 86 Appendix C: Getting Started with Moodle Logging in and getting started All modules within the School of Arts will be using Moodle for coursework submission. To log in to the VLE you will need your ITS username and password, a computer with a connection to the internet and a web browser such as Internet Explorer or Firefox. If you are having login problems, but your password is working for other services, please change your password via the online form at http://www.bbk.ac.uk/its/password (allow one hour after completing this form, and then log in to the VLE again). If this hasn't resolved the problem please contact the ITS Helpdesk via email ([email protected]), telephone (020 7631 6543), or in person (Malet St building, next to the entrance to the Library). There is support information available in Moodle if you click on the Support menu and select ‘Moodle Support for Students’. Contact ITS: You can contact the ITS Helpdesk via email ([email protected]), telephone (020 7631 6543), or in person (Malet St building, next to the entrance to the Library). 87 Appendix D: Programme Structures and Regulations (Undergraduate) Birkbeck, University of London Common Awards Scheme Undergraduate Programmes Introduction 1. The majority of Birkbeck’s undergraduate programmes are offered as part of the College’s Common Awards Scheme. Programmes within the Scheme have common regulations, and a common structure, and this makes it possible for you to take modules from programmes across the College which are outside of your normal programme (subject to programme regulations and timetable constraints). 2. This is a brief introduction to the Common Awards Scheme. Further details on programme regulation and areas of interest are available on the Registry website: http://www.bbk.ac.uk/mybirkbeck/services/rules Structure of Programmes 3. All programmes offered as part of the Common Awards Scheme consist of modules, each of which is “credit-rated”. In order to achieve your award you will need to gain at least the following, and meet the requirements outlined in your programme specification: Qualification Credits Minimum at upper Maximum at lower Number of needed level level Birkbeck modules Honours Degree 360 120 level 6 120 at level 4 (level 4 modules are not included in the calculation for the final classification) 30 level 5 (120 credit Diplomas only) 12 modules Graduate Diploma 90 level 6 Graduate Certificate 90 (some Birkbeck Graduate Diplomas require 120 credits) 60 45 level 6 15 level 5 2 modules Foundation Degree 240 90 level 5 120 at level 4 8 modules Diploma of Higher Education 240 90 level 5 120 at level 4 8 modules Certificate of Higher Education 120 90 level 4 30 at A Level or NVQ level 3 4 modules Certificate of Continuing Education 60 60 level 4 60 level 4 2 modules 4. 5. 3/4 modules Each undergraduate degree programme has three levels – level 4 (certificate), level 5 (intermediate) and level 6 (honours). The Common Awards Scheme offers, for undergraduate programmes, half modules (15 credits), modules (30 credits) or double modules (60 modules). The detailed requirements for each programme are published in the relevant programme specification. Each module on a programme is designated as one of the following: core the module must be taken and passed to allow the student to complete the degree compulsory the module must be taken, and Programme Regulations must stipulate the minimum assessment that must be attempted 88 option students may choose a stipulated number of modules from a range made available to them. Option modules are clearly identified in Programme Regulations. elective students may replace an option module with modules from another programme, subject to approval of Programme Directors, availability of places and timetable requirements. Modules may also be designated as pre-requisite modules, meaning they must be taken and passed to allow for progression to a specified follow-up module. Degree Classification 6. An honours classification may only be awarded for undergraduate honours programmes (single, joint and major/minor) once the programme requirements have been fulfilled. The degree classification formula is as follows: a) Module results at Level 4 DO NOT contribute to the determination of classification. b) Each module has a weighting (w) - level 5 modules have a weighting of 1, and level 6 modules have a weighting of 2. c) Each module has a value (v), where v= one thirtieth of the credit value of the module. d) Each module has a result (m), assigned by the relevant board of examiners e) The weighted average result will be calculated by the sum of the products (w*v*m) for all level 5 and 6 modules, divided by the sum of the products (w*v) f) The final degree classification is decided by the relevant board of examiners – as a guide, results are usually in line with the following: First: 70% or above for the average weighted module results Upper Second: 60% or above for the average weighted module results Lower Second: 50% or above for the average weighted module results Third: 40% or above for the average weighted module results 7. If you have accumulated 300 credits and passed all the prescribed core modules, but have not fulfilled the requirements for honours then you may be eligible for a pass degree. 8. Certificates of Higher Education and Diplomas of Higher Education may be awarded with Distinction, usually where the weighted average of the modules taken exceeds 70%. Full details on how an award of distinction may be made are available in the Regulations for Taught Programmes of Study. 9. Graduate Certificates and Graduate Diplomas may be awarded with Merit or with Distinction. A Merit is usually awarded where a student has achieved an average result of between 60% and 70% for modules taken at level 6, while a Distinction is usually awarded where a student has achieved an average result of over 70% for modules taken at level 6. Full details are available in the Regulations for Taught Programmes of Study. Failure and Re-assessment of a Module 10. The Regulations for Taught Programmes of Study outline how a Sub-board of Examiners should treat a failed module when considering progression and awards. However, each Sub-board of eExaminers is responsible for judging, within these regulations, whether a fail can be “compensated” (ie whether you can be awarded credit for that module even if you have not actually passed), whether you will need to re-take the module (see paragraph 11) or whether you will be able to attempt a re-assessment (see 12) 11. For any module on an undergraduate programme, if you fail to pass a module at your first attempt then you may be “re-assessed” or you may be required to “re-take”. Re-assessment is where a student will re-attempt a failed element of a failed module; it does not require attendance at lectures and seminars. A re-take requires attendance at the module’s lectures and seminars as well as another attempt at the assessment. A decision on whether you will be permitted to be reassessed in one or more elements of a module that has not been passed is at the discretion of the sub-board of examiners. 12. A Sub-board of Examiners may offer an alternative form of assessment for failed elements as part of a re-assessment regime. 13. The timing of any re-assessment will be at the discretion of the Sub-board of Examiners; this will normally be either at the next normal assessment opportunity or in some instances before the beginning of the next academic year. 14. You will normally be offered three attempts at passing a module (the original attempt plus two further attempts, each of which will either be a re-assessment or a re-take). After this, if the module has not been passed it will be classed either as a “compensated fail” (see 15) or a fail. In 89 15. some cases this will mean that it will not be possible for you to gain the award that you have registered for; in such cases, your registration will normally be terminated. If your module result is between 30 and 39% your Board of Examiners may award a “compensated fail”. This will mean that you retain the module result, but are awarded credit for that module. A Foundation Degree may be awarded to a student carrying no more than 30 credits as compensated fail, and a BA / BSc may be awarded to a student carrying no more than 60 credits as compensated fail. A core module may not be treated as a compensated fail; core modules must be passed in order to gain the award. 90 Common Award Scheme Policies 1. As part of the introduction of the Common Awards Scheme, the College has implemented a number of College-wide policies. The full policies can be seen at http://www.bbk.ac.uk/mybirkbeck/services/rules Some brief details on key policies are included here: Late Submission of work for assessment 2. College policy dictates how Schools will treat work that is due for assessment but is submitted after the published deadline. Any work that is submitted for formal assessment after the published deadline is given two marks: a penalty mark of 40% for undergraduate students, assuming it is of a pass standard, and the ‘real’ mark that would have been awarded if the work had not been late. Both marks are given to the student on a cover sheet. If the work is not of a pass standard a single mark is given. 3. If you submit late work that is to be considered for assessment then you should provide written documentation, medical or otherwise, to explain why the work was submitted late. You will need to complete a standard pro-forma and submit it, with documentary evidence as appropriate, to your Lecturer or Programme Director. The case will then be considered by the appropriate subboard or delegated panel. 4. If no case is made then the penalty mark will stand. If a case is made and accepted then the examination board may allow the ‘real” mark to stand. Assessment Offences 5. 6. 7. The College Policy on Assessment Offences incorporates the College policy on plagiarism. The policy describes two stages in the process for dealing with assessment offences (which include plagiarism, collusion, examination offences and other offences). The first stage allows for a formal school investigation, of an allegation; Stage 2 involves a centrally convened panel for serious offences, dealt with under the Code of Student Discipline. The College treats all assessment offences seriously. It makes strenuous efforts to detect plagiarism, including using web-based software that can provide clear evidence. If you are in any doubt as to what constitutes acceptable conduct you should consult your personal tutor or another member of academic staff. The College has a wide range of sanctions that it may apply in cases of plagiarism, including the termination of a student’s registration in the most serious cases. Mitigating Circumstances 8. 9. 10. 11 12. The College Policy on Mitigating Circumstances determines how Sub-boards of examiners will treat assessment that has been affected by adverse circumstances. Mitigating Circumstances are defined as unforeseen, unpreventable circumstances that significantly disrupt your performance in assessment. This should not be confused with long term issues such as medical conditions, for which the College can make adjustments before assessment (for guidance on how arrangements can be made in these cases please see the College’s Procedures for Dealing with Special Examination Arrangements). A Mitigating Circumstances claim should be submitted if valid detrimental circumstances result in: a) the late or non-submission of assessment; b) non-attendance at examination(s); c) poor performance in assessment. For a claim to be accepted you must produce independent documentary evidence to show that the circumstances: a) have detrimentally affected your performance or will do so, with respect to 9a, 9b and 9c above; b) were unforeseen; c) were out of your control and could not have been prevented; d) relate directly to the timing of the assessment affected. Documentation should be presented, wherever possible, on the official headed paper of the issuing body, and should normally include the dates of the period in which the circumstances applied. Copies of documentary evidence will not normally be accepted. If you need an original document for another purpose, you should bring the original into the Departmental Office so that a copy can be made by a member of College staff. (Where a photocopy is made by a member of staff they should indicate on the copy that they have seen the original). Discussing your claim with a member of staff does not constitute a submission of a claim of mitigating circumstances. 91 13. 14. 15. You are encouraged to submit your claim for mitigating circumstances in advance and at the earliest opportunity. The final deadline for submission of a claim is normally 1 week after the final examination unless otherwise stated by your Department. Where possible, claims should be submitted using the standard College Mitigating Circumstances claim form (available from your Department office) which should be submitted in accordance with the procedure for submission published by your Department. Claims should always be supported by appropriate documentary evidence. You should be aware that individual marks will almost never be changed in the light of mitigating circumstances. Assessment is designed to test your achievement rather than your potential; it is not normally possible to gauge what you would have achieved had mitigating circumstances not arisen. Where mitigating circumstances are accepted, and it is judged by an examination board that these circumstances were sufficiently severe to have affected your performance in assessment the usual response will be to offer you another opportunity for assessment without penalty, at the next available opportunity. Guidance on what may constitute acceptable mitigating circumstances is available as an appendix to the policy, available from http://www.bbk.ac.uk/mybirkbeck/services/rules or your Departmental office; you should note that this is not an exhaustive list, and that each case will be treated on its merits by the relevant sub-board or delegated body. Break-in-Studies Policy 16. The Common Awards Scheme regulations allow you to suspend studies for a maximum of two years in total during your programme of study. This may be for one period of two years, or for non-consecutive shorter periods (see 17) that add up to a total of two years or less. 17. Any break-in-studies on an undergraduate programme would normally be for a minimum of one year; breaks may also be permitted for a period of one or two terms, dependent on the structure of the programme. 18. Any application for a break-in-studies should be made in writing to your programme director or personal tutor. If you are applying for an approved break-in-studies, you should give details of the length of the proposed break and the reasons for the application. 19. You will not be liable for fees while on an approved break-in-studies. If you have attended for part of a term you will normally be liable for the fees due in that term. 20. If you are on a break-in-studies you will not have access to the Library or ITS unless you make an application and pay the appropriate fee to use these facilities. Applications must be made directly to the Library and/or ITS. 21. If you do not re-enrol after having completed two years of break-in-studies you will be deemed to have withdrawn from your programme. If you wish to resume your programme after having been withdrawn, you will normally be required to re-apply for admission. Other Policies 22. In addition to the policies above, other College academic-related policies include: Accredited Prior Learning Termination of Registration Procedures for Dealing with Special Examination Arrangements Suspension of Regulations The Operation of Boards and Sub-Boards of Examiners The Role of External & Intercollegiate Examiners Marking and Moderation Feedback on Assessment To see these policies, please see the Common Awards Scheme website: http://www.bbk.ac.uk/reg/regs 23. The College also operates a Procedure for Appeals Against Decisions of Boards of Examiners; this is also available from this website. May 2011 92 Appendix E: Programme Structures and Regulations Postgraduate Birkbeck, University of London Common Awards Scheme Postgraduate Programmes Introduction 1. The majority of Birkbeck’s postgraduate programmes are offered as part of the College’s Common Awards Scheme. Programmes within the Scheme have common regulations, and a common structure, and this makes it possible for you to take modules from other programmes across the College (subject to programme regulations and timetable constraints). 2. This paper gives a brief introduction to the Common Awards Scheme. Further details on regulations and policies that form the Common Awards Scheme can be accessed via: http://www.bbk.ac.uk/mybirkbeck/services/rules Structure of Programmes 3. All programmes offered as part of the Common Awards Scheme consist of modules, each of which are “credit-rated”. In order to achieve your award you will need to gain at least the following, and meet the requirements outlined in your programme specification: Qualification Credits Min at Max at lower Birkbeck needed upper level level common awards schemes Masters Degree 180 150 level 7 30 level 6 (not 4 modules plus included in dissertation calculation of classification) Postgraduate 120 90 level 7 30 level 6 (not 4 modules Diploma included in calculation of classification) Postgraduate 60 60 level 7 n/a 2 modules Certificate 4. The Common Awards Scheme offers, for postgraduate programmes, half modules (15 credits), modules (30 credits), double modules (60 credits), or exceptionally triple modules (90 credits) and quadruple modules (120 credits – normally for MRes dissertations) 5. The detailed requirements for each programme are published in the relevant programme specification. Each module on a programme is designated as one of the following: core the module must be taken and passed to allow the student to complete the degree compulsory the module must be taken, and Programme Regulations must stipulate the minimum assessment that must be attempted option students may choose a stipulated number of modules from a range made available to them. Option modules are clearly identified in Programme Regulations. elective students may replace an option module with modules from another programme, subject to approval of Programme Directors, availability of places and timetable requirements. Modules may also be designated as pre-requisite modules, meaning they must be taken and passed to allow for progression to a specified follow-up module. Degree Classification 6. Postgraduate awards may be made with Merit or Distinction. Distinctions are normally awarded to students who achieve an average result of 70% or more, including a mark of 70 or over in their dissertation, for all level 7 modules on their programme. A Merit is normally awarded to students who achieve an average result of 60% or more, but less than 70% for all level 7 modules. Level 6 modules included as part of the programme are not included in the calculation for degree classification for postgraduate programmes. 93 Failure and Re-assessment of a Module 7. The Regulations for Taught Programmes of Study outline how an examination board should treat a failed module when considering progression and awards. However, each examination board is responsible for judging, within these regulations, whether a fail can be “compensated” (ie whether you can be awarded credit for that module even if you have not actually passed), whether you will need to re-take the module (see paragraph 8) or whether you will be able to attempt a reassessment (see paragraph 9) 8. For any module on a postgraduate programme, if you fail to pass at the first attempt then any subsequent attempt will either be a “re-take” or a “re-assessment”. A re-take requires attendance at the module’s lectures and seminars as well as another attempt at the assessment, whereas “re-assessment” is where a student attempts only the failed element(s) of a failed module. The decision on whether you will be offered a re-take or re-assessment will be made by your subboard of examiners. 9. A Sub-board of Examiners may offer an alternative form of assessment for failed elements as part of a re-assessment regime. 10. The timing of any re-assessment will be at the discretion of the Sub-board of Examiners; this will normally be either at the next normal assessment opportunity or in some instances before the beginning of the next academic year. 11. You will normally be offered two attempts at passing a module (the original attempt plus one further attempt which will either be a re-assessment or a re-take). After this, if the module has not been passed it will be classed either as a “compensated fail” (see 12) or a fail. In some cases this will mean that it will not be possible for you to gain the award that you have registered for; in such cases, your registration will normally be terminated. 12. If your module result is between 40 and 49% your Sub-board of Examiners may award a “compensated fail”. This will mean that you retain the module result, but are awarded credit for that module. An MA or MSc may be awarded to a student carrying no more than 30 credits as compensated fail. A core module may not be treated as a compensated fail; core modules must be passed in order to gain the award. The awards of MRes, Postgraduate Diploma or Postgraduate Certificate do not normally permit the inclusion of compensated fail results in the calculation of classification Common Award Scheme Policies 1. As part of the introduction of the Common Awards Scheme, the College has implemented a number of College-wide policies. The full policies can be seen at http://www.bbk.ac.uk/mybirkbeck/services/rules Some brief details on key policies are included here: Late Submission of work for assessment 2. College policy dictates how Schools will treat work that is due for assessment but is submitted after the published deadline. Any work that is submitted for formal assessment after the published deadline is given two marks: a penalty mark of 50% for postgraduate students, assuming it is of a pass standard, and the ‘real’ mark that would have been awarded if the work had not been late. Both marks are given to the student on a cover sheet. If the work is not of a pass standard a single mark is given. 3. If you submit late work that is to be considered for assessment then you should provide written documentation, medical or otherwise, to explain why the work was submitted late. You will need to complete a standard pro-forma and submit it, with documentary evidence as appropriate, to your Lecturer or Programme Director. The case will then be considered by the appropriate subboard or delegated panel. 4. If no case is made then the penalty mark will stand. If the case is made and accepted then the examination board may allow the ‘real” mark to stand. Assessment Offences 5. 6. 7. The College Policy on Assessment Offences incorporates the College policy on plagiarism. The policy describes two stages in the process for dealing with assessment offences (which include plagiarism, collusion, examination offences and other offences). The first stage allows for a formal school investigation into the alleged offence. Stage 2 involves a centrally convened panel for more serious offences, dealt with under the Code of Student Discipline. The College treats all assessment offences seriously. It makes strenuous efforts to detect plagiarism, including using web-based software that can provide clear evidence. If you are in any doubt as to what constitutes acceptable conduct you should consult your personal tutor or 94 another member of academic staff. The College has a wide range of sanctions that it may apply in cases of plagiarism, including the termination of a student’s registration in the most serious cases. Mitigating Circumstances 8. 9. The College Policy on Mitigating Circumstances determines how Sub-boards of Examiners will treat assessment that has been affected by adverse circumstances. Mitigating Circumstances are defined as unforeseen, unpreventable circumstances that significantly disrupt your performance in assessment. This should not be confused with long term issues such as medical conditions, for which the College can make adjustments before assessment (for guidance on how arrangements can be made in these cases please see the College’s Procedures for Dealing with Special Examination Arrangements). A Mitigating Circumstances claim should be submitted if valid detrimental circumstances result in: a) the late or non-submission of assessment; b) non-attendance at examination(s); c) poor performance in assessment. 10. For a claim to be accepted you must produce independent documentary evidence to show that the circumstances: a) have detrimentally affected your performance or will do so, with respect to 9a, 9b and 9c above; b) were unforeseen; c) were out of your control and could not have been prevented; d) relate directly to the timing of the assessment affected. 11 Documentation should be presented, wherever possible, on the official headed paper of the issuing body, and should normally include the dates of the period in which the circumstances applied. Copies of documentary evidence will not normally be accepted. If you need an original document for another purpose, you should bring the original into the Departmental Office so that a copy can be made by a member of College staff. (Where a photocopy is made by a member of staff they should indicate on the copy that they have seen the original). 12. Discussing your claim with a member of staff does not constitute a submission of a claim of mitigating circumstances. 13. You are encouraged to submit your claim for mitigating circumstances in advance and at the earliest opportunity. The final deadline for submission of a claim is normally 1 week after the final examination unless otherwise stated by your Department. Where possible, claims should be submitted using the standard College Mitigating Circumstances claim form (available from your Departmental office) which should be submitted in accordance with the procedure for submission published by your Department. Claims should always be supported by appropriate documentary evidence. 14. You should be aware that individual marks will almost never be changed in the light of mitigating circumstances. Assessment is designed to test your achievement rather than your potential; it is not normally possible to gauge what you would have achieved had mitigating circumstances not arisen. Where mitigating circumstances are accepted, and it is judged by an Sub-board of Examiners that these circumstances were sufficiently severe to have affected your performance in assessment the usual response will be to offer you another opportunity for assessment without penalty, at the next available opportunity. 15. Guidance on what may constitute acceptable mitigating circumstances is available as an appendix to the policy, available from http://www.bbk.ac.uk/mybirkbeck/services/rules or your Departmental office; you should note that this is not an exhaustive list, and that each case will be treated on its merits by the relevant sub-board or delegated body. 16. You should note that decisions on mitigating circumstances are the responsibility of the sub-board for your programme. Where you are taking an elective or other module offered by another department or school, any application for mitigating circumstances should be to your “home” department. Break-in-Studies Policy 17. The Common Awards Scheme regulations allow you to suspend studies for a maximum of two years in total during your programme of study. This may be for one period of two years or for nonconsecutive shorter periods (see 18) that add up to a total of two years or less. 18. Any break-in-studies on a postgraduate programme would normally be for a minimum of one year; breaks may also be permitted for a period of one or two terms, dependent on the structure of the programme. 95 19. Any application for a break-in-studies should be made in writing to your programme director or personal tutor. If you are applying for an approved break-in-studies, you should give details of the length of the proposed break and the reasons for the application. 20. You will not be liable for fees while on an approved break-in-studies. If you have attended for part of a term you will normally be liable for the fees due in that term, unless there are mitigating circumstances. 21. If you are on a break-in-studies you will not have access to the Library or ITS unless you make an application and pay the appropriate fee to use these facilities. Applications must be made directly to the Library and/or ITS. 22. If you do not re-enrol after having completed two years of break-in-studies you will be deemed to have withdrawn from your programme. If you wish to resume your programme after having been withdrawn, you will normally be required to re-apply for admission. Other Policies 22. In addition to the policies above, other College academic-related policies include: Accredited Prior Learning Termination of Registration Procedures for Dealing with Special Examination Arrangements Suspension of Regulations The Operation of Boards and Sub-Boards of Examiners The Role of External & Intercollegiate Examiners Marking and Moderation Feedback on Assessment To see these policies, please see the Common Awards Scheme website: http://www.bbk.ac.uk/mybirkbeck/services/rules 23. The College also operates a Procedure for Appeals Against Decisions of Boards of Examiners; this is also available from this website. May 2011 96 Appendix F: Campus Map http://www.bbk.ac.uk/maps/centrallondon.pdf 97 MA ROMANTIC STUDIES PROGRAMME 2013-14 DISSERTATION PROPOSAL FORM This form must be returned to Annmarie Shadie Postgraduate Administrator by Friday 31st January 2014 Name: Supervisor: __________________________________ __________________________________ Telephone: _______________________ E-mail: _______________________ Proposed topic: Brief Outline/ Abstract Continue over page (if necessary) 98 Brief indicative reading list/sources to be used 99