If your syllabus looks anything like mine, at least once a semester you’re dusting off your Tennyson and Browning skills and teaching the dramatic monologue. My personal favourites to teach are “My Last Duchess” and “Porphyria’s Lover” (Day One) and then “Tithonous,” “Ulysses,” and “St Simeon Stylites” (Day Two).
One of my Digital Humanities classes is working on a digital archive of A Christmas Carol. In addition to encoding and annotating each stave, they will be creating introductions to the text, to John Leech’s illustrations, and to a few key early 20th-century adaptations (from the first film version (1901), to Edison’s adaptation (1910), and Orson Welles and Lionel Barrymore’s radio play (1939) to a TV version narrated by Vincent Price (1949). I will spare you the rationale for these particular choices (“why no Victorian theatre adaptations?” you ask, to which I say “is there no copyright? Are there no license fees?”) and will zip right along).
I have given many Victorian Studies lectures in Digital Humanities classes. I am a Victorianist by training and passion, and while Digital Humanities classes tend to focus on digital methods and building as a methodology, they rely on a deeply humanist engagement with the material and cultural past. In short, the humanities part of Digital Humanities mandates that DH projects, while D, must be about and through H. This time ‘round, I decided to give the students a contextual lecture about class, the workhouse, and early Victorian childhood, with a little excursus on early-Victorian Christmas traditions (or lack of them—Cratchit and his daughter Martha only get to pick their employers’ pockets, as Scrooge put it, on the 25th of December and not on the day before or after, as they might have 100 years on). Not all my students have a background in Victorian literature and culture, or even in English, but the child Dickens, Tiny Tim, and indeed, even junior Scrooge, make for very sympathetic lecture material, so all went well. Continue reading “Close Reading Christmas Comedy”→
“There is something wonderful about naming a species. To bring a thing that is wild, and rare, and hitherto unobserved under the net of human observation and human language…” – William Adamson, “Morpho Eugenia”
In one of her first postings for the Floating Academy, Tara MacDonald discussed her experiences teaching Alasdair Gray’s neo-Victorian novel, Poor Things (1992), in an introductory-level literature class. This year I decided to teach Angels & Insects (published the same year as Gray’s) in an upper-year undergraduate class, bookending the term with Byatt’s pair of novellas. Our department’s program offers a couple of classes on the Victorian novel, and devotes another two to the study of poetry and prose from the period. In my experience, the latter courses require a much more careful hand in the selection and curation of materials. I felt Byatt’s novellas, composed as they are from fragments of Victorian texts and glimpses of historical perspectives, offered a creative example of the kind of collage we were undertaking as a class. Continue reading “Insects & Undergrads: Neo-Victorian Novels in the Classroom”→
I’ll be teaching a new MA course on Sensation and Gothic fiction at the University of Amsterdam next year, and I would love to hear suggestions about what Victorian novels I should include. I am also hoping the course will help me answer some of the questions I have about the differences between these two genres. A key difference seems to be setting, as sensation novels typically take place in England, with Gothic fiction more often adopting a foreign setting; yet the urban gothic novels of the late-nineteenth century (novels like Dracula, for instance) seem to blur these lines. Is it the element of the supernatural or fantastic that defines a novel as gothic vs. sensationalist?
I’m putting together a syllabus for a general course on the Victorian novel, and am finding it difficult to decide what 5 or 6 novels to include. This syllabus is for a job application, so it is a course that I’d like to teach someday, rather than one that I will actually be teaching soon. I need to keep it general, but have decided to include a broad focus on representations of the family, especially alternative families (surrogate parents, siblings living with in-laws, adults living with parents, etc). Continue reading “An Embarrassment of Riches…”→