|
Unless otherwise specified, poems
should be read in the Oxford editions. Exceptions: read The Prelude
in the Norton edition (our standard text of the poem for this class
is the 1805 version)
| Class 1 (Sept. 25) |
Introduction |
- John Donne, "A
Valediction: Forbidding Mourning" (1633)
- Samuel Taylor Coleridge, "To
the River Otter" (1796)
- William Wordsworth, "Composed
Upon Westminster Bridge" (1802/1803)
- John Constable, The
Lock at Dedham (1824), Tree
Trunks
- J. M. W. Turner, Slave
Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon
coming On) (1840)
- Richard Long's art
"made by walking in landscapes"
- Landsat 7 images
Secondary Readings:
- W. K. Wimsatt, Jr., "The Structure of Romantic
Nature Imagery" (1954) (in Bloom)
Optional Reading:
- Ernest Hemingway, "Big
Two-Hearted River"
|
| Class 2 (Oct. 2) |
The Idea of "Locodescription" |
- William Wordsworth
- An Evening Walk (1788-89)
- from Descriptive
Sketches (1791-92) (read lines 589-670)
- Salisbury Plain (1793-94)
- John Denham, "Cooper's Hill" (1642)
- Alexander Pope, "Windsor Forest" (1713)
- James Thomson, "Celadon and Amelia" episode
from "Summer" in The Seasons (1727)
- Dorothy Wordsworth, from Grasmere Journals
(1800-1802)
Secondary Readings:
- Alan Liu, "The Locodescriptive Moment,"
from Wordsworth: The Sense of History (1989), pp.
115-28
|
| Class 3 (Oct. 9) |
The Problem of the
Picturesque |
- Pictures byThomas
Gainsborough, Richard
Wilson, William
Gilpin, Thomas
Hearne, Thomas
Girtin, John
Robert Cozens, John
Sell Cotman, John
Crome, John
Glover, Paul
Sandby, Francis
Towne, Joseph
Wright of Derby, John
Constable, J.M.W.
Turner, and other 18th-19th century British artists
(plus pictures from Orthodox,
Italian Renaissance, and 17th-century French, Italian, and
Netherlandish
art for historical context—including Claude
Lorrain, Nicolas
Poussin, Gaspard
Dughet, Salvator
Rosa) [browse these artists in the course online
picture gallery]
- Thomas Gray, Letter to Wharton (1 Oct. 1769), from
Gray's Journal of Lakes Tour
- William Gilpin, from Observations, Relative
Chiefly to Picturesque Beauty, Made in the Year 1772, On
Several Parts of England; Particularly the Mountains and
Lakes of Cumberland, and Westmoreland (1786)
- Uvedale Price, from Essays on the Picturesque
(1810)
- Richard Payne Knight, from "The
Landscape, A Didactic Poem"
Secondary Readings:
- Stephen Copley and Peter Garside, "Introduction"
to The Politics of the Picturesque: Literature, Landscape
and Aesthetics Since 1770 (1994)
- Sidney K. Robinson, Inquiry into the Picturesque
(1991), pp. 1-27, 119-50
- Alan Liu, "Classic Repose," "The
Baron's Window," and "Supervision of the Picturesque,"
from Wordsworth: The Sense of History (1989), pp.
65-95
 |
| Class 4 (Oct. 16) |
Wordsworth and Coleridge:
Imagining Landscape
(I)The Invention of "Imagery" |
- William Wordsworth
- The Ruined Cottage (1797-98)
- Transcriptions from MS. B of Ruined Cottage:
(a) beginning of poem; (b) drafts for a "moral
addendum"
- Samuel Taylor Coleridge
- "This Lime-Tree Bower My Prison" (1797)
- "Frost at Midnight" (1798)
Secondary Readings:
- W. K. Wimsatt, Jr., "The Structure of Romantic
Nature Imagery" (1954) (in Bloom; reread)
- Paul de Man, "Intentional Structure of the
Romantic image" (1960) (in Bloom; translations of passages
in French and German are in the reader)
|
| Class 5 (Oct. 23) |
Wordsworth and Coleridge:
Imagining Landscape
(II) Scenes of Reanimation |
- William Wordsworth
- "The Thorn" (1798)
- "Lines Written a Few Miles Above Tintern Abbey"
(1798)
- "The Two April Mornings" (1798-99)
- "A Slumber Did My Spirit Seal" (1798-99)
- "It Is a Beauteous Evening, Calm and Free"
(1802)
- "September, 1802" (1802)
- "Ode: Intimations of Immortality" (1802-1804)
- "Elegiac Stanzas" (1806) (see also Sir George
Beaumont's painting, Peele
Castle)
- Preface to Lyrical Ballads (1802)
- Samuel Taylor Coleridge
- "The Eolian Harp" (1795)
- "The Rime of the Ancient Mariner" (1797-98
/ 1817)
- "The Nightingale: A Conversation Poem" (1798)
- "Kubla Khan" (1798)
- "Lines Written in the Album at Elbingerode, in
the Hartz Forest" (1799)
- "Dejection: An Ode" (1802)
- Dorothy Wordsworth, reread selections from Grasmere
Journals
Secondary Readings:
- M. H. Abrams, "Structure and Style in the
Greater Romantic Lyric" (1965) (in Bloom)
- Geoffrey H. Hartman, "Wordsworth, Inscriptions,
and Romantic Nature Poetry" (1965)
|
| Class 6 (Oct. 30) |
Sublime Theory |
- Longinus, from Peri Hypsous (1st century
A.D.)
(see also section
7 of Longinus)
- Edmund Burke, from A Philosophical Enquiry into
the Origin of Our Ideas of the Sublime and Beautiful
(1757), Part I; Part II, Sections 1-9; Part 4, Sections
1-20
- Immanuel Kant, from Critique of Judgment
(1790)
Painters
- Richard Wilson, The
Destruction of Niobe's Children
- John Martin, paintings
Secondary Readings:
- Thomas Weiskel, from The Romantic Sublime: Studies
in the Structure and Psychology of Transcendence (1976),
pp. xi-xv, 22-33
|
| Class 7 (Nov. 6) |
Wordsworth: "Possible
Sublimity" |
- William Wordsworth
- The Two-Part Prelude (1799) (also quickly read
the 1805 Prelude, Books 1-2 and Book 11, ll.
257-388)
- The Prelude (1805), Books 4-6 and Book 13,
lines 1-122)
Secondary Readings:
- Geoffrey H. Hartman, from The Unmediated Vision
(1954) and Wordsworth's Poetry, 1787-1814 (1964)
(excerpted together as "The Romance of Nature and the
Negative Way," in Bloom)
|
| Class 8 (Nov. 13) |
Constable |
- John Constable
- Paintings, sketches, and studies, including the six-footer
series (The
White Horse, Stratford
Mill, The
Hay-Wain, View
on the Stour, Boat
Passing on a Lock, The
Leaping Horse), Hadleigh
Castle, Salisbury
Cathedral from Meadows, and cloud
studies. (Browse Constable
in course image gallery; also see Constable
photos)
Secondary Readings:
- Ann Bermingham, from Landscape and Ideology:
The English Rustic Tradition, 1740-1860 (1986), pp.
87-116, 126-47
|
- Joseph Mallord William Turner
- Paintings, watercolors, and studies, including Fishermen
at Sea (1796), Calais
Pier (1803), The
Shipwreck (1805), Snowstorm:
Hannibal and His Army Crossing the Alps (1812),
Frosty
Morning (1813), Dido
Building Carthage (1815), Regulus
(1828-29), Ulysses
Deriding Polyphemus (1829), The
Evening Star (1830), Life-Boat
and Manby Apparatus (1831), Burning
of Houses of Parliament (1834), Interior
at Petworth (c. 1837), Norham
Castle, Sunrise (c. 1835-40), Rough
Sea with Wreckage (c. 1840-45), Slavers
Throwing Overboard the Dead and Dying—Typhoon Coming
On (1840), Peace
- Burial at Sea (1841), Snow
Storm - Steam-Boat off a Harbour's Mouth (1842),
The
Sun of Venice Going to Sea (1843), Shade
and Darkness: The Evening of the Deluge (1843),
Light
and Colour (Goethe's Theory): The Morning After the
Deluge (1843), Rain,
Steam, and Speed—The Great Western Railway
(1844), The
Angel Standing in the Sun (1846) (Browse Turner
in the course image gallery)
Secondary Readings
- John Walker, from introduction to Joseph Mallord
William Turner (1976), pp. 13-38
- Ronald Paulson, "Turner's Graffiti: The Sun
and Its Glosses" (1978)
|
| Class 10 (Nov. 27) |
From the Picturesque
and Sublime to Contemporary "Land Art": Andy
Goldsworth |
- Andy Goldsworthy, Introduction
to A Collaboration with Nature (1990)
- Andy Goldsworthy's Land Art (password-protected
study
gallery and related portfolios)
- Contemporary Land Artists (password-protected study
portfolio): including Robert Smithson, Micheal Heizer,
Nancy Holt, Mary Miss, James Turrell, Michael Singer, Richard
Long
Secondary Readings
- Robert Rosenblum, "Abstract Expressionism,"
in his Modern Painting and the Northern Romantic Tradition:
Friedrich to Rothko (1975)
- Dennis Costanzo, "Beyond Landscape Painting:
Recent Tendencies in the Visual Arts" (1994)
- Sidney K. Robinson, Inquiry into the Picturesque
(1991), pp. 1-27, 119-50
(reread)
- Walter Benjamin, "The
Work of Art in the Age of Mechanical Reproduction"
(1936)
- Jean-François Lyotard, "Answering the
Question: What is Postmodernism?" from The Postmodern
Condition" A Report on Knowledge (1979)
|
| Class 11 (Dec. 4) |
Alternative Approaches
to Landscape (Biocultural, Ecocritical, and Technological) |
- Jay Appleton, from The Experience of Landscape
(1996), pp. 62-72, 76-95
- Yi-Fu Tuan, "Ambience and Sight" from
Segmented Worlds and Self: Group Life and Individual
Consciousness (1982)
- Jonathan Bate, "A Language That Is Ever Green,"
from Romantic Ecology: Wordsworth and the Environmental
Tradition (1991)
- Wolfgang Schivelbusch, "The Machine Ensemble,"
"Railroad Space and Railroad Time," and "Panoramic
Travel," from The Railway Journey: The Industrialization
of Time and Space in the 19th Century (1977)
- Landsat 7 images
- Geological Modeling and Visualization: Geological
Images from U. Montana Computer Science Dept.
|
| Assignment Due: Essay
(10-12 pp., due Friday, Dec. 7 in instructor's mailbox) |
|
