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Course Criteria
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3.00 Credits
A critical inquiry concerning what it meant to write and read poetry after the great scientific revolution of the 17th century and before the Romantic elevation of the "creative imagination" ironically narrowed poetry's truth claims.
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3.00 Credits
How satire reflected life in 18th Century England.
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3.00 Credits
What nexi, if any, exist between Pope and Swift.
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3.00 Credits
An exploration of poetry and theories of poetry from late Dryden to early Blake.
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3.00 Credits
One of the conventional stereotypes about British romanticism involves its alleged failure to produce significant drama. With stage flops, vapidly sensationalist quadruped entertainments, and unperformable "closet dramas" littering romanticism's theatrical landscape, it seems that lyrical drama like Shelley's Prometheus Unbound emerged as the period's sole achievement in dramatic form. Yet if Beddoes's vision of a "haunted ruin" characterized the era's anxiousness about the state of its drama, Blackwood's championship of a teeming "dramatic genius" tapped into a counter vein of enthusiasm for the age's theatrical fecundity. Recent historicist scholarship, alert to the problematics of staging meaningful drama in the romantic era, has also begun to recover the prolific richness of the period's stage life while demonstrating the political importance, especially for women dramatists and actors, of the public theater. The cultural significance of the drama has thus become one of the more compelling new topics in studies of romanticism, inspiring special conferences, journal issues, and book collections. Our seminar springs from these new developments with the aim of joining the burgeoning critical effort to relocate the drama and the social life of the theater within the centers of romantic era culture. Focal points of this enterprise will include: the material history of stage performance and state censorship; archival work on prompt books, pantomimes, licensing documents, and theatrical criticism; the relationship between so-called "closet drama" and stage plays; the politics of gender, empire, and abolition as manifested in the public theater. Readings will address major figures like Wordsworth, Coleridge, Shelley, and Byron but we will also engage with a number of lesser known dramatists, many of them women, who achieved prominence in their time: Joanna Baillie, Matthew Lewis, Elizabeth Inchbald, Thomas Beddoes, Maria Edgeworth, Frances Burney, Ann Yearsley, Hannah Cowley, Sophia Lee, Jane West, Felicia Hemans. We will also read the theatrical criticism of Hazlitt, Coleridge, Lamb, and Hunt, as well as contemporary theater theory. Students will produce a book review, a substantial research paper, and, possibly, stage entertainments of their own.
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3.00 Credits
One of the conventional stereotypes about British romanticism involves its alleged failure to produce significant drama. With stage flops, vapidly sensationalist quadruped entertainments, and unperformable "closet dramas" littering romanticism's theatrical landscape, it seems that lyrical drama like Shelley's Prometheus Unbound emerged as the period's sole achievement in dramatic form. Yet if Beddoes's vision of a 'haunted ruin' characterized the era's anxiousness about the state of its drama, Blackwood's championship of a teeming, dramatic genius, tapped into a counter vein of enthusiasm for the age's theatrical fecundity. Recent historicist scholarship, alert to the problematics of staging meaningful drama in the romantic era, has also begun to recover the prolific richness of the period's stage life while demonstrating the political importance, especially for women dramatists and actors, of the public theater. The cultural significance of the drama has thus become one of the more compelling new topics in studies of romanticism, inspiring special conferences, journal issues, and book collections. Our seminar springs from these new developments with the aim of joining the burgeoning critical effort to relocate the drama and the social life of the theater within the centers of romantic era culture. Focal points of this enterprise will include: the material history of stage performance and state censorship; archival work on prompt books, pantomimes, licensing documents, and theatrical criticism; the relationship between so-called 'closet drama' and stage plays; the politics of gender, empire, and abolition as manifested in the public theater. Readings will address major figures like Wordsworth, Coleridge, Shelley, and Byron but we will also engage with a number of lesser known dramatists, many of them women, who achieved prominence in their time: Joanna Baillie, Matthew Lewis, Elizabeth Inchbald, Thomas Beddoes, Maria Edgeworth, Frances Burney, Ann Yearsley, Hannah Cowley, Sophia Lee, Jane West, Felicia Hemans. We will also read the theatrical criticism of Hazlitt, Coleridge, Lamb, and Hunt, as well as contemporary theater theory. Students will produce a book review, a substantial research paper, and, possibly, stage entertainments of their own.
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3.00 Credits
In-depth study of three major Romantic poets.
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3.00 Credits
The distinctive feature of the long eighteenth century lay partly in the rediscovery of classical values, but above all in the impetus created by a series of revolutions--scientific, religious, political, social and economic. We will explore representations of these revolutions in writers from Dryden to Burke.
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3.00 Credits
This course explores the representation of selected British women writers active between 1680-1750, including Aphra Behn, Jane Barker, Elizabeth Singer Rowe, Delarivier Manley, Mary Barber and Laetitia Pilkington. Its focus will be on autobiography and biography, examined in relation to other literary genres and relevant cultural and political contexts. Students will read a selection of modern biographies as well as a range of early eighteenth- century texts to inform our discussion of changing gender assumptions and patterns.
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3.00 Credits
How 19th Century British novelists explored and "exploited" notions of "property".
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