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Continuum 18314 Teaching, Learning and the Curricula of Modernism Steven Barfield Chapter Overview Introduction 1 Geographical Variation 2 Periodisation 2 Novels and Novelists 3 Poetry and Poets 5 Drama and Dramatists 8 Specialist Modules, Interdisciplinarity and Internationalism 9 Critical, Secondary Sources 10 Learning and Teaching Methods 10 Comparing Curriculum Structure and Assessment in North American and Britain 11 Conclusion 12 Sources for Further Research 12 Introduction This section of the handbook considers the texts typically studied on modern- ist courses, the themes most frequently discussed, and moreover outlines typical approaches to learning, teaching and assessment methods. The data is derived from reviewing a selected 50 undergraduate courses concerned principally with modernism, from various universities in British and North American university English departments, offering a series of snapshots of the principles and trends in the modernist undergraduate curriculum. © Steven Barfield 2009, The Modernism Handbook, www.continuumbooks.com 1 The Modernism Handbook Geographical Variation One key issue revealed by the survey is the differences on courses according to the geographical variation of the universities, with for instance overwhelm- ingly T.S. Eliot’s The Waste Land being adopted in both Britain or North America, while specifically British-based introductory courses are much less likely than their North American counterparts to include either American poets such as William Carlos Williams and Gertrude Stein or their American novelists such as William Faulkner, Ernest Hemingway or the writers of the Harlem Renaissance that their American counterparts. This attests to the complexity inherent in the fact that Anglo-American modernism, as the hyphen suggests, is the first ‘period’ of English literature in which British and American literature courses to a large extent converge (and which would not be the case in most other area of literary study). Certain key continental European texts occur in British and American courses on modernism – the Futurist manifestos, Brecht and Baudelaire with some frequency – but they do so most usually in translation and perhaps primarily serve as contextual sources to help understand Anglo-American modernism, rather than being considered equally as texts within their own right. Periodization Another issue relevant to course selection is that of periodization and the scope of texts examined. There has been a notable critical attempt in recent years to problematicise any approach that equates modernism with a series of canonical texts that occupy a specific historical and aesthetic moment (some- times called ‘high modernism’) from typically about 1910 to the late 1920s. Certain texts from the 1930s for instance may not be included in a classic modernist course, since in terms of periodization they might be regarded by some as problematic, and therefore be considered elsewhere on the curric- ulum such as courses focusing on the 1930s as a decade. Other texts may be included on courses structured around a general survey of twentieth-century writing, which fall outside the scope of the data collected for this study. Generally is conceded by university English staff teaching this field that modernist texts presuppose an idea of the ‘difficulty’ of interpretation for their readers and that this can be taken as a prime index of their value within the subject of English literature. It is also important that this is how modern- ism was regarded when it first entered the university curriculum as an object of study after World War II. Such an emphasis on difficulty and the process of teaching students how to interpret such difficult texts ensures that in an average module over the period of a semester often little time remains for foregrounding much apart from key modernist texts, how they can be read 2 Teaching, Learning and the Curricula of Modernism and how such texts relate to wider cultural and political concerns. In practice approaches such as new historicism have struggled to make inroads in the structure or inflection of modernist courses. Novels and Novelists Among other genres introductory courses dealing with modernism typically feature key modernist novels, most particularly three novels and novelists commonly studied. Virgina Woolf’s novels were represented in all of the courses examined apart from two and her most popular novel for adoption by a large margin was Mrs Dalloway, featuring three times more than To the Lighthouse, although The Waves did find occasional favour (seven instances). Woolf’s essays in Three Guineas were reasonably popular and at least nine of the courses surveyed used some of her short stories. Almost equally popular is James Joyce’s work and again virtually all courses, bar one, featured some of his work, with an almost equal balance between courses which used Dubliners or Portrait of the Artist as a Young Man and those that offered Ulysses. North American universities were not only more likely to offer single author courses on Joyce, but much more likely to use Joyce’s earlier texts on introduc- tory courses to modernism instead of Ulysses when compared to their British counterparts. Joyce and Ulysses have been increasingly seen as central to modernism in the past two decades, but the difficulties and length of the text means that it just as commonly taught in terms of individual chapters than as a whole text (the choice of chapters seem to vary considerably or are not specified in the available course materials). Many degree courses that did not include Ulysses in their initial introductory modernism courses, but settled for his earlier and more accessible texts, nevertheless had specific follow-on courses on modernist novels or on Joyce alone which included this text in its entirety. The third novelist who is almost as commonly taught as Woolf and Joyce is Joseph Conrad, though only by means of one novella, Heart of Darkness. His other novels are seldom used on introductory modernist courses, although they do occur in more specialist courses concerned with the modernist novel. The approach to using novels is therefore highly canonical on introductory undergraduate courses to modernism, with very few courses that do not include a novel by Woolf, Joyce or Conrad. It is however worth saying that none of these authors would have been unknown a generation ago nor regarded as being marginal to the modernist canon, so the solidification or re- centring of the new teaching canon around these writers has occurred at the expense of various other novelists such as D.H. Lawrence and E.M. Forster who typified the study of modernism until the 1990s. Currently the texts chosen (perhaps with the exception of Ulysses) also seem determined by the 3 The Modernism Handbook needs of student accessibility and their ability to open up modernism into wider historical and thematic contexts, as well as to provide criteria for defining the concept. While Mrs Dalloway might not be considered a thor- oughgoing modernist text by some and more a text that is transitional to modernism, its popularity probably lies in both its accessibility to students as a whole text due to its short length, its relevance to historically locating mod- ernism in terms of the aftermath of World War I and its account of a distinct- ively gendered and metropolitan experience. In the case of Joyce one suspects that the difficulty of doing Ulysses both in terms of its length and it thorough- going modernist experimentation in prose, has led to some courses choosing his earlier and more accessible work, while others have felt it is essential to do at least part of Ulysses, if not indeed to try to do the whole novel. Conrad’s Heart of Darkness (which is also short) equally offers accessibility for students and demonstrates the transition between realism and modernism, while in this case allows explicit linkages to questions of the representation of ethnicity (in the book’s terms ‘race’) and the processes of imperialism and European colonization that may be otherwise difficult to explore with many modernist texts. Despite recent expansion of the modernist canon by criticism to include a number of previously marginalized novels and writers, teachers of modern- ism are still more or less concentrating on a re-centered if familiar canon, rather than offering any wholesale transformation of it to students and this canon seems more determined by the need to explain modernism as a cultural and aesthetic movement to students than it is a list of great modernist writers. After the ‘big three’ novelists and in the secondary rankings one finds a considerable amount of variation in novels and novelists taught on intro- ductory modernist courses suggesting that the teaching canon of modernist fiction is more determined at the centre rather than elsewhere. E.M. Forster is less common than one might have imagined with A Passage to India and Howard’s End placing him in only fourth position with a considerable gap in frequency from the primary three novelists, though the former text may now have been largely taken over by courses that do not centre on modernism and which explore issues of colonialism and Empire, so this may explain the result. D.H. Lawrence is also less common than one might have expected even though he is in joint fifth position overall, though Women in Love and Sons and Lovers when combined do appear on about 30 per cent of introductory mod- ernist courses. This may be because Lawrence has fallen out of fashion for his alleged reactionary views on women, although it is worth noting that he usually appears on more specialist modernist novel courses and is the subject of several single author courses. William Faulkner is almost as popular as Lawrence, his selected texts being The Sound and The Fury or As I Lay Dying, and interestingly in many British modernist courses he is the sole example of a modernist American writer.
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