{"id":1480,"date":"2019-12-06T17:35:22","date_gmt":"2019-12-06T17:35:22","guid":{"rendered":"http:\/\/ieas-szeged.hu\/downtherabbithole\/?page_id=1480"},"modified":"2021-05-23T15:46:00","modified_gmt":"2021-05-23T15:46:00","slug":"romanticism-and-victorianism-in-english-literature","status":"publish","type":"page","link":"http:\/\/ieas-szeged.hu\/downtherabbithole\/rolam\/oktatas\/eloadasaim\/romanticism-and-victorianism-in-english-literature\/","title":{"rendered":"Romanticism and Victorianism in English Literature"},"content":{"rendered":"

COURSE DESCRIPTION<\/strong><\/p>\n

The objective of the course is to provide a survey of English literature in the Romantic (1798-1832) and the Victorian (1832-1901) periods. Focusing on the most significant concepts, themes and genres, as well as the key texts both in verse and prose by the major writers of the Romantic period (Blake, Wordsworth, Coleridge, Byron, Shelley, Keats, Jane Austen, Mary Shelley) and the Victorian period (Tennyson, the Brownings, the Rossettis, Dickens, Thackeray, the Bront\u00ebs, George Eliot, Thomas Hardy, Oscar Wilde, George MacDonald, Lewis Carroll) the course aims at an understanding of the cultural terms \u2019Romanticism\u2019 and \u2019Victorianism\u2019 in English literature.<\/p>\n

Schedule of classes<\/strong><\/p>\n

1. Introduction to Romanticism<\/p>\n

2.\u00a0 The Gothic novel: Mary Shelley\u2019s Frankenstein<\/em><\/p>\n

3. Romantic image-text: The art and life of William Blake, poet, prophet, painter, printmaker<\/p>\n

4. Lake Poets and Lyrical Ballads<\/em>: Wordsworth & Coleridge’s creative collaboration<\/p>\n

5. The second generation of Romantic poetry: Revolution and Imagination in Byron\u2019s, Shelley\u2019s, and Keats\u2019 work<\/p>\n

6. Introduction to the cultural and historical context of the Victorian period<\/p>\n

7. Victorian Poetry: Tennyson, Browning, Elizabeth B. Browning, D.G. Rossetti, Christina Rossetti, the Pre-Raphaelite Brotherhood<\/p>\n

8. The novel in transition (novel of manners, novel of sensibility, sentimental novel, social satire, historical novel) Jane Austen, Walter Scott, William Thackeray, George Eliot<\/p>\n

9. The Victorian Novel: the serialized Bildungsroman fusing sentimentality and realism: Charles Dickens<\/p>\n

10. The Victorian Novel: Gothic Romanticism: The Bront\u00eb Sisters<\/p>\n

11. The Victorian Novel: Regionalism, Naturalism, Existentialism: Thomas Hardy Aestheticism, Symbolism: Oscar Wilde<\/p>\n

12.\u00a0 Victorian Fantastic Fiction: Sensation Novel,\u00a0 Adventure Novel, Gothic novel: Bram Stoker, RL Stevenson, Wilkie Collins, Children\u2019s Literature for all ages: George MacDonald, Lewis Carroll, Charles Kingsley<\/p>\n

E-COURSEBOOK CHAPTERS & PPTS (click on the titles below to download them –Units 1-6 should be downloaded from SZTE ETA website where the hyperlinks will take you)
\n<\/strong><\/p>\n

Unit 1. Introduction to Romanticism<\/a><\/p>\n

Unit 2. Gothic Fiction<\/a><\/p>\n

Unit 3. William Blake’s Poetry<\/a><\/p>\n

Unit 4. Lake poets and lyrical ballads: Wordsworth and Coleridge’s literary friendship and creative collaboration<\/a><\/p>\n

Unit 5. The second generation of Romantic poetry: revolution and imagination in Byron’s, Shelley’s, Keats’ oeuvre<\/a><\/p>\n

Unit 6. Introduction to the cultural and historical context of the Victorian period<\/a><\/p>\n

Unit 7.\u00a0Victorian poetry from Tennyson to the Pre-Raphaelite Brotherhood<\/a><\/p>\n

Unit 8. The novel in transition: Jane Austen, Walter Scott, William Thackeray, George Eliot<\/a><\/p>\n

Unit 9. The novel in transition: fusing sentimentality and social criticism in Charles Dickens\u2019s fiction<\/a><\/p>\n

Unit 10. Gothic romanticism in the novels of the Bront\u00eb Sisters<\/a><\/p>\n

Unit 11.\u00a0Regional realism and moral philosophy in Thomas Hardy\u2019s work<\/a><\/p>\n

Unit 12.\u00a0Symbolism, sensation, adventure, and high fantasy in the Victorian novel : from Oscar Wilde to Bram Stoker<\/a><\/p>\n

Unit 13. Victorian children’s literature for all ages<\/a><\/p>\n

LIST OF KEY TERMS<\/u><\/strong><\/p>\n

Romanticism terms <\/a><\/strong><\/p>\n

Victorianism terms <\/a><\/strong><\/p>\n

COMPULSORY READING LIST
\n<\/u><\/strong><\/p>\n

Novels:<\/u><\/strong><\/p>\n

Mary Shelley. <\/a>Frankenstein<\/a><\/em><\/p>\n

Jane Austen.<\/a> Pride And Prejudice<\/a><\/em><\/p>\n

Charles Dickens,<\/a> Great Expectations <\/a><\/em><\/p>\n

Emily Bronte: <\/a>Wuthering Heights<\/a><\/em><\/p>\n

Thomas Hardy<\/a>. Tess of the D’Urbervilles<\/a><\/em><\/p>\n

Lewis Carroll. <\/a>Alice’s Adventures in Wonderland<\/a><\/em><\/p>\n

Poems<\/u><\/strong><\/p>\n

William Blake<\/a>: The Lamb, The Tyger, The Sick Rose, The Chimney Sweeper<\/em><\/p>\n

William Wordsworth<\/a>: Tintern Abbey, I Wandered Lonely as a Cloud, We are Seven, Preface to the Lyrical Ballads (extracts)<\/em><\/p>\n

Samuel Taylor Coleridge<\/a>: Kubla Khan, The Rime of the Ancient Mariner, Biographia Literaria (extracts)<\/em><\/p>\n

Percy Bysshe Shelley<\/a>: To a Skylark, Mont Blanc, Ode to the West Wind<\/em><\/p>\n

John Keats<\/a>: La Belle Dame<\/em> Sans Merci, Ode to a Nightingale, Ode on a Grecian Urn, To Autumn<\/em><\/p>\n

Lord George Gordon Byron<\/a>: Darkness, Beppo<\/em><\/p>\n

Dante Gabriel Rossetti<\/a>: The Blessed Damozel<\/em><\/p>\n

Christina Rossetti<\/a>: Goblin Market<\/em><\/p>\n

Robert Browning<\/a>: My Last Duchess, Two in the Campagna<\/em><\/p>\n

Lord Alfred Tennyson<\/a>: The Lady of Shalott, Ulysses<\/em><\/p>\n

Algernon Charles Swinburne<\/a>: Faustine<\/em><\/p>\n

Matthew Arnold<\/a>: Dover Beach<\/em><\/p>\n

Grading<\/strong><\/p>\n

A thorough familiarity with the primary texts (preferably in English) is the most important requirement.\u00a0 A written exam will take place in the examination period. You must show up on at least one exam in order to be able to sit for a rewrite (UV). You\u2019ll need 51% for a pass. In the exam you will be invited to define key concepts, recognise and analyse excerpts from primary texts, and produce brief argumentative essays.<\/p>\n

Note<\/strong>: To complete the course you cannot miss more than 6 lecture sessions. If you are absent from more than 50% of the sessions (6 occasions) you qualify on Neptun as \u201eNem \u00e9rt\u00e9kelhet\u0151.\u201d At the beginning of each lecture you will sign an attendance sheet. On a few random occasions I will check if the list of names is identical with the persons attending the lecture. The forgery of a signature is an offense punishable by failure in the class and may have further, legal administrative consequences.<\/p>\n

A few recommended readings. All available at the local University Library (TIK)<\/u><\/strong><\/p>\n

Altrick, Daniel. Victorian People and Ideas<\/em>. W.W. Norton, 1974.<\/p>\n

Armstrong, Isobel. Victorian Poetry: Poetry, Poetics and Politics<\/em>. London, NY: Routledge, 1993<\/p>\n

Craton, Lillian. The Victorian freak show. <\/em>Amherst: Cambria Press, 2009.<\/p>\n

Brookner, Anita. Romanticism and its discontents. <\/em>New York: Farrar, Straus and Giroux, 2000.<\/p>\n

Day, Aidan. Romanticism<\/em>. New York: Routledge, 1996.<\/p>\n

De Man, Paul. The Rhetoric of Romanticism<\/em>. New York \u00a0Columbia University Press, 1984.<\/p>\n

Ford, Boris, ed. From Dickens to Hardy<\/em>. New Pelican Guide to Eng Lit. Vol.6. NY:Penguin, 1982.<\/p>\n

Frye, Northrop. A study of English romanticism<\/em>. Brighton : Sussex Harvester P VI, 1983.<\/p>\n

Gilmour, Robin. The Victorian Period. The Intellectual and Cultural Context of English Literature. 1830-1890<\/em>. London: Longman, 1993. \u00a0The idea of the gentleman in the Victorian novel<\/em>, 1981.<\/p>\n

Harrison, John Fletcher. Early Victorian Britain : 1832-51<\/em> London : Fontana P., 1988.<\/p>\n

—. Late Victorian Britain : 1875-1901<\/em>. London : Routledge, 2000<\/p>\n

Houghton, Walter Edwards. The Victorian frame of mind: 1830-1870<\/em>. New Haven: Yale UP, 1959.<\/p>\n

Johnson, Patricia. Hidden hands : working-class women and Victorian social-problem fiction<\/em>. Ohio, 2001<\/p>\n

Lerner, Laurence. The Victorians<\/em>. London: Methuen, 1978.<\/p>\n

Miller, J. Hillis. The form of Victorian fiction. <\/em>Notre Dame: University of Notre Dame Press, 1968.<\/p>\n

P\u00e9ter \u00c1gnes. Keats vil\u00e1ga<\/em>. Eur\u00f3pa K\u00f6nyvkiad\u00f3, Budapest, 1989.<\/p>\n

Prickett, Stephen. Victorian fantasy<\/em>. Waco: Baylor University Press, 2005.<\/p>\n

Reynolds, Kimberley. Victorian heroines: Representations of Femininity in Nineteenth-century Literature and Art. <\/em>London, NY: Harvester Wheatseaf, 1993<\/p>\n

Szegedy-Masz\u00e1k Mih\u00e1ly. Kubla K\u00e1n \u00e9s Pickwick \u00far. Romantika \u00e9s realizmus az angol irodalomban<\/em>. 1986.<\/p>\n

T\u00f3tfalusi Istv\u00e1n. Byron vil\u00e1ga<\/em>. Eur\u00f3pa K\u00f6nyvkiad\u00f3, Budapest, 1975.<\/p>\n

T\u00f3tfalusi Istv\u00e1n. Shelley vil\u00e1ga<\/em>. Eur\u00f3pa K\u00f6nyvkiad\u00f3, Budapest, 1971.<\/p>\n

Tucker, Herbert F, ed. A companion to Victorian literature and culture<\/em>. Oxford : Blackwell, 1999.<\/p>\n

Vicinus, Martha, ed. Suffer and be Still : Women in the Victorian Age.<\/em>Bloomington: Indiana UP, 1973.<\/p>\n

Wu, Duncan, ed. Romanticism. A Critical Reader<\/em>. 1998. + Romanticism. An Anthology<\/em>. 1994.<\/p>\n

Youngquist, Paul. Monstrosities Bodies and British Romanticism<\/em>. Minneapolis: UP Minnesota, 2003.<\/p>\n","protected":false},"excerpt":{"rendered":"

COURSE DESCRIPTION The objective of the course is to provide a survey of English literature in the Romantic (1798-1832) and the Victorian (1832-1901) periods. Focusing on the most significant concepts, themes and genres, as well as the key texts both in verse and prose by the major writers of the Romantic period (Blake, Wordsworth, Coleridge, […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":205,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1480","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/pages\/1480","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/comments?post=1480"}],"version-history":[{"count":19,"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/pages\/1480\/revisions"}],"predecessor-version":[{"id":1737,"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/pages\/1480\/revisions\/1737"}],"up":[{"embeddable":true,"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/pages\/205"}],"wp:attachment":[{"href":"http:\/\/ieas-szeged.hu\/downtherabbithole\/wp-json\/wp\/v2\/media?parent=1480"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}