Welcome to the English Department and the Master’s in Pan-Romanticisms Programme!

We hope this handbook will give you useful information about our optional modules and procedures. While we regard our course plans as final, we may have to make modifications in cases of illness or other unforeseen circumstances. Please consult relevant officers (listed below) and/or your Personal Tutor if you have questions about any matters related to your course.

MA Contacts

MA Convenor/ Prof Jackie Labbe Room 024 76 573092 [email protected] Personal Tutor 523

MA website: http://www2.warwick.ac.uk/fac/arts/english/postgrad/current/masters/panromanticisms

1 IMPORTANT DATES 2008-2009 AUTUMN TERM

Monday 29 September 2008 Beginning of Autumn Term. Monday 29 September Introductory Meeting of all M.A. students in Room TBA at 6.00 pm. Wine to follow in H502. Wednesday 1 October All module choices to be finalised. Hand in to Reception completed option-choice forms Monday 3rd November All Bibliography Exercises to be submitted (week 6) to the English Office (H506) by 12.00 noon.

Saturday 6 December End of Autumn Term. (week 10) SPRING TERM Monday 5 January 2009 Beginning of Spring Term. Monday 9th February Introduction to Pan Romanticisms essay to be submitted by 12.00 noon (week 6) Monday 16 February Dissertation plan due in. (week 7)

Saturday 14 March

SUMMER TERM

Monday 20 April Beginning of Summer Term.

Saturday 27 June End of Summer Term. ***** Tuesday 1st September Submit all remaining option essays and the Dissertation by 12.00 noon

Friday 23 October 2009 Taught M.A. Examination Board

NOTE: All deadlines are final. No late work will be accepted without the written permission of the MA Convenor, which shall not normally be given without documented medical evidence or equivalently serious cause. It is

2 expected that students in difficulty will request an extension which can only be granted by the MA Convenor, who can be contacted directly. A medical note will be required in case of illness. Work which is late without permission will be penalised by 3 marks a day. All assessed work must conform to the stated maximum word lengths. The maximum word lengths are inclusive of quotations and footnotes but not of bibliography. You will be asked to provide a word count of your essays on the cover sheet which you complete when the work is submitted. We allow a stated margin of up to 10% over or under-length for flexibility. Essays that are 10- 25% over/under-length will incur a penalty of 3 marks. Essays that are more than 25% over/under-length will be refused.

ASSESSMENT INFORMATION Bibliography Exercise - 2 short exercises are due in Term 1, Monday 3rd November (week 6).

Essay Titles - The topics and titles of essays should be agreed with the relevant module tutor as she/he directs. Once this has been agreed with your tutor, you must submit the Agreed Essay Title form to the Graduate Secretary within one week of finalizing your title.

Draft Essays – Provided draft essays are submitted to English Department tutors well before the deadline (normally 6 weeks in advance; check with your tutor to determine her/his requirements), feedback but not projected marks will be available. Only one draft essay per module will be read. Please check with tutors from other departments before preparing a draft.

Tutor availability - Tutors will not generally be available during vacations; however, they may agree to consultations by arrangement. If you need to consult your tutors outside of term time, you may email them to arrange an appointment. However, please be aware that many tutors are not easily contactable during vacation times.

Marks for essays – Marks are provisional until confirmed by the External Examiner and the Board of Examiners.

Module Deadlines - Essay deadlines are those set by the tutor of each individual module. Essay length is always 5000 words; if module information specifies something different you must discuss your requirements as a student on the MA in Pan-Romanticisms with the tutor. If any tutor remains unclear about your MA requirements, please ask him/her to contact Professor Jackie Labbe (English), the MA Convenor.

3 Returning Essays Essays will be returned by tutors during their normal office hours or by other arrangements made by the tutor. If you would like your essay returned by post please include an SAE (with sufficient postage) when you submit your essays.

4 COURSE STRUCTURE

This course is aimed at students with an interest in the period 1770-1830 who wish to explore in more detail than is possible at undergraduate level the literary migration of ideas and texts at that time, especially across western Europe. This MA is unique in that it offers a wide range of modern language modules, and is currently the only UK- based MA to emphasize European Romantic writing both in translation and the original language. For this reason, a reading knowledge of one of French, German or Italian is desirable, although not necessary for successful completion of the course. Students will be based in the Department of English and Comparative Literary Studies but will be required to take at least one of their modules from another department. This is a taught MA with a significant research component in the form of a compulsory dissertation, and so may be especially suited to students who are interested in pursuing PhD work in the field of comparative literatures. All tutors on the MA would welcome interested and suitably qualified students to follow their MA with PhD study at the University of Warwick.

THE COURSE The MA in Pan-Romanticisms may be taken either full-time or part-time. The part- time option is offered over two years; students taking the MA part-time are required to take the Core Module and Research Methods in their first year. The MA may be studied in the following ways:

Term 1: Either Core Module (Introduction to Pan Romanticisms – see page 8) Research Methods (see page 7) Or Core Module (Introduction to Pan Romanticisms – see page 8) Research Methods (see page 7) Option Term 2: Either Option Option Or Option Term 3 and summer: Dissertation

For each option students will write an essay of 5000 words (Research methods is assessed by an extended bibliographical exercise). The Dissertation is planned over Terms 1 and 2 and written in Term 3 and the summer vacation. Supervisors will be assigned by the end of Term 1 and supervision continues through the end of Term 3. Students use the summer for final revisions and writing up.

The Options All students are homed in the Department of English and Comparative Literary Studies and take the Department’s Research Methods module (not including Critical

5 Theory). In addition, all students take the MA’s core module, Introduction to Pan Romanticisms. Remember that at least one option must be taken outside the English Department.

The Dissertation The MA Dissertation allows students to undertake and complete a sustained research project (approximately 20,000 words) on a topic of special interest. The topic of the dissertation does not have to be directly related to any of the taught modules. However, topics must fall within the competence and interests of one member of the teaching staff and must be feasible in terms of resources to be accepted. During the Autumn Term a series of workshops will be held to help students shape their general ideas into an appropriate and feasible proposal. Attendance at these workshops is mandatory. Students will also be expected to meet once with their potential supervisor. Full proposals will be submitted by Week 6 of Term 1. The Dissertation Plan must be given to your supervisor by the end of Week 7 of the Spring Term (AT THE LATEST).

Thereafter, you should see your supervisor on a basis arranged between the two of you. Your supervisor may require you to submit written work regularly and will recommend reading as well as assisting you in structuring your project. Direct dissertation supervision finishes in Week 11 of the Summer Term, bywhich time you should have completed your research, finalized your structure and written drafts of the majority of chapters. The writing up period is undertaken during the Summer Vacation with final submission in early September.

MA Modules

The MA modules listed in the following pages will be offered whenever possible. However, in any one year, due to staffing and other considerations, certain modules may not run.

Attendance at all classes is obligatory. If students are unable to attend a particular seminar they should contact the tutor in advance to explain their absence.

Part-time students following the MA course are normally expected to take the Core Module and Research Methods in Term 1 and a module in Term 2 in their first year. In their second year they normally take 1 option in term 1 and concentrate on their dissertation subsequently. They should attend the dissertation workshops in their second year.

Students are reminded that MA work is demanding, and that normally they should not attempt more than two option modules in any one term, full-time, or one module, part-time. You will be asked to indicate an alternative module for each term, as it may not be possible to accommodate every first choice.

6 ALL STUDENTS MUST TAKE INTRODUCTION TO RESEARCH METHODS

Introduction to Research Methods (Dr Michel John Kooy and Mr. Peter Larkin)

This will take place in weeks 2-8 of the Autumn Term. All sessions are on Wednesday afternoons from 1.00-3.00. A supplementary sheet giving precise details and locations of sessions will be provided at the beginning of term. (Weeks 2,5,7,8 will take place in H1.48 first floor of Humanities Building)

This module is compulsory for all MA students, and for all first-year PhD students who have not previously completed an MA at Warwick. The award of an MA is contingent upon successful completion of the assessment for this course. PhD students must attend, but the assessment is optional in their case.

This module introduces the basic issues and procedures of literary research, including electronic research. Sessions are conducted by English Department staff members and by the subject librarian, Mr Peter Larkin (in EN003 student computer cluster in basement of Library). Topics will be as follows:

Week 2: Bibliography, Style and the Book [Dr Kooy]

Week 3: Resources in Research (i) [Mr Peter Larkin] Practice sessions and exercises on resources in research based upon the Library’s web-based teaching course.

Week 4: Resources in Research (ii) [Mr Peter Larkin] Further practice sessions and exercises.

Week 5: Victorian Periodicals [Dr Emma Francis]

Week 6: no meeting

Week 7: Editing and Other Aspects of Authorship [Professor Jeremy Treglown]

Week 8: Uses of History in Literary Criticism [Professor Karen O’Brien]

Assessment: Students will be required to complete a short two-part exercise. Part I will consist of a bibliographical exercise, and part II of the results of a number of advanced electronic search exercises. The paper must be submitted in duplicate to the English Graduate Secretary by the beginning of Week 6 (Monday 3rd November)

7 MODULE DESCRIPTIONS

(note: if no time/day is listed, please check the MA website in late summer for information for 2008/09)

INTRODUCTION TO PAN ROMANTICISMS

Introduction to Pan-Romanticisms Prof. Jackie Labbe (English), Dr. James Hodkinson (German), Dr. Kate Astbury (French), Dr. Loredana Polezzi (Italian) Time/Day: Weeks 1-4: Tuesday 10-12; Weeks 5-10: tbc

Learning Outcomes: By the end of this module you should be able to  Discuss elements of British and European Romanticism knowledgeably  Identify key aspects of national literary identities  Display a broad understanding of the place of Romantic writing in a European context

Module Description: This module aims to introduce students to types and styles of writing of the Romantic period both in Britain and abroad; to introduce students to key texts of the period from a transnational perspective; to provide students with a grounding in key tropes, images and contexts of the Romantic period; and to encourage students to see ‘Romanticism’ as a global (ie European) phenomenon. We will read examples of Romantic-period writing from four major locales: England, Germany, France, and Italy. All non-English texts will be available in translation, although students are encouraged to make use of any language skills they may have and read, whenever possible, in the original.

Teaching Methods 1. one 2-hour seminar per week (including Reading Week) 2. one 5000-word essay, topic decided in consultation with tutor(s)

Module Requirements 1. Attend seminars, having prepared material in advance 2. Make regular contributions to discussion 3. Deliver at least one in-class presentation of approximately 20 minutes 4. Submit one essay of 5000 words

Selected Secondary Texts The Cambridge Companion to British Romanticism (CUP, 1993) A Companion to European Romanticism, ed. Michael Ferber (Blackwell, 2005) British Romanticism and Continental Influences, Peter Mortensen (Palgrave, 2004) The Reading Nation in the Romantic Period, William St. Clair (CUP, 2004) The Birth of European Romanticism, John Claiborne Isbell (CUP, 1994) Romanticism, Aesthetics, and Nationalism, David Aram Kaiser (CUP, 2005) Romanticism in National Context, ed. Roy Porter (CUP, 1988)

8 Imperfect Histories: The elusive past and the legacy of Romantic historicism. Ann Rigney (Cornell UP, 2001) Le romantisme libéral en France, 1815-1830: la représentation souveraine, Corinne Pelta (L’Harmattan, 2001) The young romantics: writers and liaisons, Paris 1827-37, Linda Kelly (Starhaven, 2003) German Aesthetic and literary criticism. The Romantic Ironists and Goethe, ed. Kathleen Wheeler (CUP, 1984) German Romantic Literary Theory, Ernst Behler (CUP, 1993) The Languages of Italy, G. Devoto, (University of Chicago Press, 1978) The Reasonable Romantic: Essays on Alessandro Manzoni, S. Matteo and L. H. Peer (eds), (Peter Lang, 1986)

Syllabus  Week 1-4: British Romanticism and its Locales Week 1: British Romanticism, 1780-1800: selections from: Edmund Burke, Reflections on the Revolution in France; Mary Wollstonecraft, Vindication of the Rights of Men; Charlotte Smith, selections from Elegiac Sonnets; Mary Robinson, ‘Ode to Melancholy’ and ‘Ode to the Nightingale’; William Wordsworth, ‘Tintern Abbey’; S.T. Coleridge, ‘Frost at Midnight’ and ‘This Lime-Tree Bower my Prison’ Week 2: British Romanticism, 1800-1830: Walter Scott, ‘The Lay of the Last Minstrel’; John Keats, ‘Ode to a Nightingale’ and ‘Ode on Melancholy’; Felicia Hemans, Records of Woman; Lord Byron, Manfred Week 3: India and the East: William Jones, ‘A Hymn to Indra’, ‘A Hymn to Na’ra’yena’, ‘A Hymn to Su’rya’, ‘A Hymn to the Night’, from The Yarjurveda; Letitia Landon, The Zenana: An Eastern Tale; Lord Byron, The Giaour Week 4: Britons and Italy: Percy Shelley, ‘Lines Written among the Euganean Hills, October 1818’; Letitia Landon, The Venetian Bracelet; Lord Byron, from Childe Harold’s Pilgrimage: Canto 4, ‘Venice’

 Weeks 5-10: European Romanticism (all texts provided in translation and tbc) Week 5: Germany I: German responses to the Enlightenment: ‘Die Welt muß wieder romantisiert werden’: Novalis Heinrich von Ofterdingen (1802) Week 6: Germany II: Romantic literary theory in Germany: Selections from: Friedrich Schlegel and August Wilhelm von Schlegel and other supplementary texts Week 7: France I: Chateaubriand, René and Mme de Stael, extracts from Delphine Week 8: France II: Stendhal, Racine and Shakespeare, and Hugo, Preface to Cromwell Week 9: Italy I: A.Manzoni, I promessi sposi (extracts) Week 10: Italy II: G. Leopardi, 'Ultimo canto di Saffo', A.Verri, Le avventure di Saffo

9 RIVALRIES AND COUPLINGS IN BRITISH ROMANTIC LITERATURE

Tutor: Jackie Labbe SpringTerm: Monday 10-12

Learning Outcomes By the end of this module you should:  Be familiar with some of the key texts of the Romantic period  Demonstrate a broad knowledge of key writers of the Romantic period, and be able to discuss different modes of influence and cultural cross-fertilization  Be able to posit other forms of literary and cultural pairings, both in the Romantic period and other periods  Acquire a more sophisticated understanding of the stereotype of the solitary genius in the Romantic period  Be able to work individually and as a member of a small team to investigate questions of literary partnership  Be able to construct credible theses about the cultural rationale and impact of literary partnership and express them plausibly in both oral and written forms  Recognize historical imperatives affecting literary representations

Module Description This module premises that the Romantic period saw an explosion of literary pairings, both positive and negative. It aims to build on students' awareness of the famous Wordsworth/Coleridge partnership, arguing that creative cross-influencing characterizes the period as a whole. To this end, students will read a variety of texts and genres to investigate and contextualize the notion of Romantic partnerships. The overall aim of the module will be to offer students an enlarged and enhanced understanding of literary and social interaction during the Romantic period through in-depth study of both canonical and unfamiliar texts and authors.

Teaching Methods 1. Seminars (weekly, 2 hours) 2. Essay (8000 words, topic decided in consultation with tutor)

Module Requirements 1. Attend seminars, having prepared material in advance 2. Make regular contributions to discussion 3. Deliver at least one in-class presentation of approximately 20 minutes, and prepare and distribute a bibliography of 3-5 key texts 4. Submit one essay of 8000 words

Texts to buy Romanticism: An Anthology, ed. Duncan Wu (Blackwells, 3rd edition) Mary Robinson: Selected Poems, ed. Judith Pascoe (Broadview, 2000) Ann Radcliffe, The Italian (OUP) Matthew Lewis, The Monk (Broadview or OUP) Mary Wollstonecraft, The Vindication of the Rights of Woman (Broadview, 1997)

10 William Godwin, Memoirs of the Author of A Vindication of the Rights of Woman (Broadview, 2001) Mary Shelley, Mathilda (Penguin Classics; ebook at http://www.gutenberg.org/etext/15238; also in Volume 2 of Novels and Selected Works of Mary Shelley, PR5397.A1, in Learning Grid))

Selected secondary texts ‘Romantic Couplings’: special issue of Romanticism on the Net 18 (May 2000) ’Chamber Music: essays on the life-writings of Wollestonecraft, Godwin, and May Shelley’ (website Romantic Circles: www.rc.umd.edu/features/features/chambermusic) William St. Clair, The Godwins and the Shelleys (John Hopkins UP, 1989)

Probable Syllabus Week 1. Introduction: Partnerships, Influences, Rivalries, Couplings, Infectious influence. Text: Richard Polwhele, ‘The Unsex’d Females’

Week 2. The Source of Romanticism: William Wordsworth and Charlotte Smith: Elegiac Sonnets (3rd edition)/ 1807 sonnets

Week 3. Wordsworth and Smith: The Emigrants/‘Tintern Abbey’/Beachy Head

Week 4. Fruitful Partnership: Wordsworth and S.T. Coleridge: Lyrical Ballads (1798)

Week 5. Metrical Influences: Coleridge and Mary Robinson: ‘To the Poet Coleridge’ and ‘Kubla Khan’; Metrical Rivalries: Wordsworth/Coleridge and Robinson: Lyrical Ballads vs. Lyrical Tales

Week 6. Sexual Partnerships: Mary Wollstonecraft and William Godwin: Vindication of the Rights of Woman and Memoirs of the Author of Vindication of the Rights of Woman

Week 7. Gothic Influences: Ann Radcliffe and Matthew Lewis: The Italian and The Monk

Week 8. Sexual Partnerships, Incestuous Narratives: Percy Shelley and Mary Wollstonecraft Shelley: The Cenci; Mathilda; Byron, Manfred

Week 9. Denying Influence: John Keats and Mary Tighe: the Odes and Psyche

Week 10. Popular Rivalry: Lord Byron and Letitia Landon: the ‘Eastern Tales’ and ‘The Venetian Bracelet’ and other poems (both in xerox)

11 GERMAN ROMANTICISM

Tutors: Dr Sean Allan (German Studies) and Dr James Hodkinson (German Studies)

Autumn Term (time/day tba)

The aim of the module is to introduce students to a range of German Romantic texts (drama, prose and verse) spanning the period from the 1770s to the 1850s, and to enable students to engage critically with a variety of literary responses to the ethical, aesthetic and theoretical problems that emerge during this period.

Syllabus: Although texts are listed using their German titles, all texts are available in English translation. As such the module assumes NO prior knowledge of German (although reading knowledge of German would be desirable). Topics and texts to be covered are as follows: 1. Introduction to German Romanticism: Johann Wolfgang von Goethe, ‘Literarischer Sansculottismus’ (1795); F. W. J. Schelling, ‘Über das Verhältniß der bildenen Künste zu der Natur’ (1807)

2. The Folk Tradition: Goethe, ‘Heidenröslein’, (1771) ‘Mailied’ (1771), ‘Erlkönig’ (c. 1782), ‘Einfache Nachahmung der Natur, Manier, Stil’ (1789)

3. Fragments of the Classics: Friedrich Hölderlin, Hyperions Schicksalslied (1797-9); Friedrich Schlegel, ‘Über das Studium der griechischen Poesie’ (1797), Fragmente aus dem ‘Athenäum’ (1798)

4. Containment and Release: Goethe, Die Leiden des jungen Werthers (1773); Joseph von Eichendorff, ‘Abschied’ (1815), ‘Sehnsucht’ (1834); Eduard Mörike, ‘Verborgenheit’ (1832)

5. Exile, Satire and Heroism: Heinrich Heine, ‘In der Fremde’ (1844), ‘Morphine’ (1856), ‘Der Scheidende’ (1856)

6. Art and the Artist: Ludwig Tieck/Wilhelm Heinrich Wackenroder, Herzensergießungen eines kunstliebenden Klosterbruders (1797); Heinrich von Kleist, Die heilige Cäcilie oder die Gewalt der Musik (1810); E. T. A. Hoffmann, Das Fräulein von Scuderi (1819)

7. Explorations of the subconscious: Tieck, Der blonder Eckbert; Chamisson, Peter Schlemihls wundersame Geschichte (1814); E. T. A. Hoffmann, Der Sandman (1816)

8. Staging gender: Heinrich von Kleist Penthesilea (1807) and

12 Heinrich von Kleist Das Käthchen von Heilbronn (1808).

9. Revolution: Friedrich Schlegel, ‘Über die Französische Revolution’ (1798); Kleist, Die Verlobung in St Domingo (1811); Eichendorff, Der Adel und die Revolution (publ. 1866).

10. Re-appraising German Romanticism: Goethe (selections); Heine, Die romantische Schule (1836)

Secondary sources:

Sean Allan, The Plays of Heinrich von Kleist. Ideals and Illusions (1996) Sean Allan, The Stories of Heinrich von Kleist, The Stories of Heinrich von Kleist. Fictions of Security (2001) J. M. Bernstein, ed., Classical and Romantic German Aesthetics (2003) Nicholas Boyle, Goethe: The Poet and the Age, 2 vols (1992-2000) James Engell, The Creative Imagination: Enlightenment to Romanticism (1981) Roy Pascal, The German Sturm und Drang (1953) Siegbert Prawer, ed., The Romantic Period in Germany (1970) T. J. Reid, The Classical Centre: Goethe and Weimar, 1775-1832 (1980) Birgit Roeder, A Study of the Major Novellas of E.T.A. Hoffmann (2003) David Simpson, ed., German Aesthetic and Literary Criticism: Kant, Fichte, Schelling, Schopenhauer, Hegel (1989) Kathleen Wheeler, ed., German Aesthetic and Literary Criticism: The Romantic Ironists and Goethe (1981)

REASON AND REVOLUTION IN EIGHTEENTH-CENTURY FRANCE

Tutor: Dr Kate Astbury (French)

The years leading up to the French Revolution were marked by intense literary, political and social change in France. This module will explore those changes by taking some of the guiding principles of the Enlightenment and how writers used them in the final years of ancient regime and the first years of the Revolution. The aim will be to evaluate the extent to which texts can reflect the attempts to wipe away old certainties and replace them with new ideas of harmony and progress but also to assess the limitations of Enlightened thought. The thematic approach to seminars will permit a broad exploration of the last decades of the ancient regime but also an engagement with issues such as tolerance and religious difference, class, gender, and the position of the individual in society. The following list of topics is intended to set the overall structure of the module, but is adaptable according to the students’ interests.

Week1: Freedom Montesquieu, Lettres persanes

Week 2: Society and the Individual

13 Rousseau, Discours sur l’inégalité

Week 3: Progress Extracts from the Encyclopédie

Week 4: Religion Voltaire, Traité sur la tolerance

Week 5: Natural (wo)man and civilisation Mme de Graffigny, Lettres d’une péuvienne

Week 6: Virtue Mamontel, ‘La Femme comme il y en a peu’; Mme Riccoboni, Lettres de Milady Juliette Catesby

Week 7: The Exotic Bernadin de Saint-Pierre, Paul et Virginie; Diderot, Supplément au voyage de Bougainville

Week 8: Transparency Fabre d’Eglantine, Le Philinte de Molière

Week 9: Revolution Rétif de la Bretonne, Les Nuits révolutionnaires; André Chénier, selected poems

Week 10: The Individual and Society Constant, Adolphe

General bibliography Astbury, Katherine, The Moral Tale in France and Germany 1750-1789, SVEC 2002:7 Barguillet, Françoise, Le Roman au XVIIIe siècle (1981) Bates, Enlightenment Aberrations: Error and Revolution in France (2002) Bonnel and Rubinger, Femmes savantes, femmes d’esprit: Women Intellectuals of the French Eighteenth Century (1994) Brumfitt, J. The French Enlightenment (1972) Charlton, D. G., New Images of the Natural in France: A Study of European Cultural History 1750-1800 (1984) Chase, C., Romanticism (1993) Cook, Malcolm, Fictional France: Social Reality in the French Novel, 1775-1800 (1993) Cook, Epistolary Bodies: Gender and Genre (1996) Coulet, Henri, Le Roman jusqu’à la Révolution (1967) Cruickshank, J. (ed), French Literature and its Background III: The Eighteenth Century (1968) - French Literature and its Background IV: The Nineteenth Century (1968) Denby, David, Sentimental Narrative and the Social Order in France, 1760-1820 (1994)

14 Diderot (ed), L’ Encyclopédie ou dictionnaire raisonné des sciences, des arts et des métiers (1751-80) Didier, Béatrice, Littérature française: le XVIIIe siècle III (1778-1820) - Écrire la Révolution, 1789-1799 (1989) - La Littérature de la Révolution française (1988) Godenne, René, Histoire de la nouvelle française aux XVIIe et XVIIIe siècles (1970) Hazard, Paul, La Pensée européenne au XVIIIe siècle de Montesquieu à Lessing (1946) Mauzi, Robert, L’Idée du bonheur dans la littérature et la pensée françaises au XVIIIe siècle (1960) May, Georges, Le Dilemme du roman au XVIIIe siècle (1963) Mesch, ‘Did women have an Enlightenment? Graffigny’s Zilia as female philosophe’, Romanic Review 89 (1998), 523-37 Miller, French Dresssing: Women, Men and Ancien Régime Fiction (1995) Monglond, A., Le Préromantisme (1966) Mornet, Daniel, Le Sentiment de la nature en France de J.-J. Rousseau à Bernardin de Saint-Pierre (1907) - Les Origines intellectuelles de la révolution française (1957) Mylne, Vivienne, The Eighteenth-Century Novel: Techniques of Illusion (Manchester 1965) Stewart, Joan Hinde, Gynographs: French Novels by Women of the Late Eighteenth Century (1993) Todd, Janet, Sensibility: An Introduction (1986)

CONSUMPTION AND CULTURE IN EIGHTEENTH-CENTURY BRITAIN

Module Leader Professor Maxine Berg, Dept. of History – Room 307

Autumn Term (times tba)

Context of Module This module may be taken by students on the MA in Eighteenth Century Studies, the MA in History, or any taught Master's student outside the History Department.

Module Aims To enable students to develop a core historical base in the subject, and to develop optional specialisms in some of these subjects for the development of dissertation topics. To enable students to develop methodological skills in the use of archives, texts and quantitative material focussed on the period under study. To study and to apply interdisciplinary theoretical approaches to the study of consumer society now and in the past. To study the rise of British consumer culture in the context of the wider world; to engage with recent work in global history To understand the cultural context of specific consumer groups, and to develop case studies of specific commodities

15 To engage with cultural history and the history of art in the study of the market for culture To enable students to develop new topics for historical investigation, and to carry out primary research Intended Learning Outcomes Develop a range of interdisciplinary approaches to the study of eighteenth-century consumer society; develop an understanding of different social-scientific and cultural theories of historical change including economics and anthropology, theories of gender and class, and literary and cultural theory. Identifying and evaluating a range of literary, philosophical, economic and political texts, quantitative sources, scientific and medical texts, cultural and art-historical evidence, diaries and correspondence for the study of eighteenth-century societies To demonstrate an understanding of the significance of a consumer society in eighteenth-century Britain; to identify its distinctiveness and the cultural context in which it arose. To demonstrate use of web sources and teaching and learning packages - especially web pages of the Society for Eighteenth-Century Studies, web pages of Guildhall Portal project and of major European and American art galleries, and web searches for primary sources such as the Eighteenth-Century Short Title Catalogue. Plan and execute a well-defined research essay identifying hypotheses and relevant source material, and engaging with sound theoretical approaches Present research findings in a succinct manner, deploying social-scientific theories or literary/cultural methodologies as well as textual evidence, historical narrative, tables, and illustrations in support of the argument where appropriate Communicate ideas and finding both orally and in writing to peers and tutors Analyse and evaluate the contributions made by existing scholarship in the field of eighteenth century studies. To prepare and write a 5,000 word essay on an independently identified topic. To demonstrate use of advanced literature on the topic, to construct bibliographies, and to deploy evidence from secondary and where appropriate, primary sources. Outline Syllabus Needs, wants, commodities and possessions: economic and anthropological theories Was there a consumer revolution in the eighteenth century? The Grand Tour The British empire: an empire of things? The consumers - the rise of the middling orders. Privacy and domestic life. Domestic Spaces New commodities and the Country House The Enlightenment and the debate on luxury Selling Culture: Art and its Markets Illustrative Bibliography John Brewer, The Pleasures of the Imagination (1997) John Brewer and Roy Porter, Consumption and the World of Goods (1993) Mary Douglas and Baron Isherwood, The World of Goods: Towards an Anthropology of Consumption (1978) Paul Langford, A Polite and Commercial People: England 1727-1783 (1992) Maxine Berg, The Age of Manufactures second edition (1994) Linda Colley, Britons, New Haven, 1992, chap. 2 L. Weatherill, Consumer Behaviour and Material Culture in Britain 1660-1760 (London, 1988), chaps. 7,8

16 Peter Earle, The Making of the English Middle Class, London, 1989, chaps. 2,10 Robin Reilly, Josiah Wedgwood 1730-1795 (London, 1992) Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenier and the Collection, London, 1993 Beverly Lemire, Fashion's Favourite: the Cotton Trade and the Consumer in Britain 1660-1800, Oxford, 1991 Bernard Mandeville, The Fable of the Bees (1714) (1970)

EXHIBITIONS AND AUDIENCES IN EIGHTEENTH-CENTURY LONDON

Module description This module focuses on the development of an exhibition culture in London from the early decades of the eighteenth century to the foundation of the National Gallery in 1824. We will look at the role played by exhibitions and institutions of art in the development of an English School of painting and sculpture, and in the formation of audiences for these works. To this end we will be analysing a range of public, private and commercial sites for display and the kinds of works they engendered. More broadly, the module will develop an understanding of the relationships between the production, collecting and display of art in the eighteenth and early nineteenth centuries.

Please consult the History of Art website for further details http://www2.warwick.ac.uk/fac/arts/arthistory/postgraduate/historyandpoliticsofdispla y/georgianlondon/

17 Presentation of Written Work

Papers, dissertations and theses must be consistent in presentation and typography, and they should show mastery of the conventions for presenting scholarly work. These are set out in the MHRA Style Book (obtainable from the web at http://www.mhra.org.uk/publications/Books/StyleGuides/download.shtml), and students must ensure that their essays and dissertations conform to the conventions laid down in this booklet or to the conventions laid down by the MLA. You are also recommended to consult F.W. Bateson, The Scholar-Critic: An Introduction to Literary Research, and George Watson, The Literary Thesis: A Guide to Research. Please note that it helps greatly if you put your name, module tutor and title on every page of the essay.

Plagiarism

Plagiarism is the abuse of secondary reading in essays and in other writing, including creative writing. It consists first of direct transcription, without acknowledgement, of passages, sentences and even phrases from someone else’s writing, whether published or not. It also refers to the presentation as your own of material from a printed or other source with only a few changes in wording. There is of course a grey area where making use of secondary material comes close to copying it, but the problem can usually be avoided by acknowledging that a certain writer holds similar views, and by writing your essay without the book or transcription from it open before you. When you are using another person’s words you must put them in quotation marks and give a precise source. When you are using another person’s ideas you must give a footnote reference to the precise source.

All quotations from secondary sources must therefore be acknowledged every time they occur. It is not enough to include the work from which they are taken in the bibliography at the end of the essay, and such inclusion will not be accepted as a defence should plagiarism be alleged. Whenever you write an essay that counts towards university examinations, you will be asked to sign an undertaking that the work it contains is your own.

The University regards plagiarism as a serious offence. A tutor who finds plagiarism in an essay will report the matter to the Head of Department. The Head may, after hearing the case, impose a penalty of a nil mark for the essay in question. The matter may go to a Senate disciplinary committee which has power to exact more severe penalties. If plagiarism is detected in one essay, other essays by the student concerned will be examined very carefully for evidence of the same offence.

In practice, some cases of plagiarism arise from bad scholarly practice. There is nothing wrong with using other people’s ideas. Indeed, citing other people’s work shows that you have researched your topic and have used their thinking to help formulate your own argument. The important thing is to know what is yours and what is not and to communicate this clearly to the reader. Scholarly practice is a means of intellectual discipline for oneself and of honest service to others.

18 Descriptive Marking Scheme for Taught MAs in the Arts (assessed and examined work)

These guidelines assume a pass mark of 50. Some of the qualities listed below apply only to examinations, some only to assessed work, and some to both.

80+: (Distinction): Work which, over and above possessing all the qualities of the 70-79 mark range, indicates a fruitful new approach to the material studied, represents an advance in scholarship or is judged by the examiners to be of a standard publishable in a peer-reviewed publication.

70-79: (Distinction): Methodologically sophisticated, intelligently argued, with some evidence of genuine originality in analysis or approach. Impressive command of the critical/historiographical/theoretical field, and an ability to situate the topic within it, and to modify or challenge received interpretations where appropriate. Excellent deployment of a substantial body of primary material/texts to advance the argument. Well structured, very well written, with proper referencing and extensive bibliography.

60-69: Well organised and effectively argued, analytical in approach, showing a sound grasp of the critical/historiographical/theoretical field. Demonstrates an ability to draw upon a fairly substantial body of primary material, and to relate this in an illuminating way to the issues under discussion. Generally well written, with a clear sequence of arguments, and satisfactory referencing and bibliography.

50-59: A lower level of attainment than work marked in the range 60-69, but demonstrating some awareness of the general critical/historiographical/theoretical field. Mainly analytical, rather than descriptive or narrative, in approach. An overall grasp of the subject matter, with, perhaps, a few areas of confusion or gaps in factual or conceptual understanding of the material. Demonstrates an ability to draw upon a reasonable range of primary material, and relate it accurately to the issues under discussion. Clearly written, with adequate referencing and bibliography.

40-49(Fail/Diploma): This work is inadequate for an MA award, but may be acceptable for a Postgraduate Diploma [although some departments may wish to set the pass mark for a diploma at a level higher than this]. Significant elements of confusion in the framing and execution of the response to the question. Simple, coherent and solid answers, but mainly descriptive or narrative in approach. Relevant, but not extensive deployment of primary material in relation to the issues under discussion. Occasional tendency to derivativeness either by paraphrase or direct quotation of secondary sources. Some attempt to meet requirements for referencing and bibliography.

39-(Fail): Work inadequate for an MA or Diploma award. Poorly argued, written and presented. Conceptual confusion throughout, and demonstrates no knowledge of the critical/historiographical/theoretical field. Failure to address the issues raised by the question, derivative, very insubstantial or very poor or limited deployment of primary material.

19 FORMAT FOR TITLE PAGES

THE UNIVERSITY OF WARWICK

TITLE OF PAPER ______

______

______

______

______

MA MODULE TITLE: ______

SUPERVISED BY: ______

DISSERTATION (IF APPLICABLE) SUPERVISED BY: ______

Approx Word Count ______

NAME: ______DATE: ______

20 GENERAL

Immediately upon arrival you should see the English Graduate Secretary in the English Office in order to obtain a Student Information Card. These cards must be completed by Wednesday of week 1 and returned to the Graduate Secretary ( do not forget to fill in your name and address on the reverse side of the card). Please also provide the Secretary with 2 passport photographs of yourself and an email address so that we can set up a distribution list.

During term time all tutors set aside office hours during which they are available for consultation. Times of office hours are posted on tutors' doors.

Mail, Messages & Common Room You are encouraged to use the Senior Common Room (H502) for tea and coffee. It’s designed as a place where staff and graduate students can meet informally, so do make full use of it. Messages for academic staff may be left in staff trays in the Senior Common Room. Postgraduate Students' pigeonholes are located opposite the lift at the far end of the corridor (outside Room H542). You are advised to check these regularly for mail and messages. The Graduate Study Room on the lst floor (H106) is available for students to use, from 9.00 am - 3.30 p.m. There is also a postgraduate space for the Arts Faculty adjacent to the Word Processing facility on the Fourth floor of the Humanities Building extension. The noticeboard will indicate activities for postgraduates in the Faculty.

There is a notice board for postgraduate students in English in the corridor just outside the H502. You are advised to check this regularly. The Arts Graduate Studies Notice Board, for information of general interest to all Arts Graduates, is situated on the First Floor in the corridor outside Room H105.

Information Technology Facilities and Training

Extensive IT facilities are available to students, including 23 PCs exclusively for the use of Arts postgraduates (rooms 447 and 454 of the Humanities Building) and approximately 200 PCs in the library. All students are given email addresses; however, if you have another private email address please give it to the Graduate Secretary or make sure that mail sent to your University email address is automatically transferred to your other one. A number of bibliographical and textual databases are available, including BIDS, the MLA Bibliography, Dissertation Abstracts International, the Chadwyck Healey databases of English Poetry and English Verse drama, ECCO and EEBO. All students receive instruction in Word for Windows and in the use of bibliographic databases.

Transport Public Transport to and from the University: a timetable may be obtained from University House Reception.

21 Lost Property Lost property is held by University House Reception. If you lose something, however, first try the office, and also the porters in the Lodge on the Ground Floor of the Arts building. It is unwise to leave personal property lying unattended.

Dissertation Binding Lazer Lizard (next to the Post Office) has facilities for binding.

Past MA Papers Copies of some past MA papers may be consulted in the Senior Common Room H502. Students are asked to consult the catalogue held by the Secretary. PAPERS MUST NOT BE REMOVED FROM THE BOXES WITHOUT PERMISSION AND MUST NOT BE TAKEN OUT OF THE BUILDING.

Funding for Doctoral Study Any funding application is conditional upon having accepted the offer of a place at the University. If you wish to apply to Warwick for the MPhil/PhD programme, make sure your application form for a PhD place is submitted before 31st January 2009.

If you wish to apply for Warwick University funding, you are advised to apply for Round II (deadline usually March – check University Graduate School website)

AHRC Funding – the process for applying for doctoral funding from the AHRC is currently under review by the Research Council. More information will be posted as it becomes available.

Application forms are available on the University website – http://www.warwick.ac.uk/go/pgapply

IF YOU INTEND TO APPLY FOR AHRC FUNDING, PLEASE CONSULT PROF JACKIE LABBE (T1)/DR CATHERINE BATES (T2) AS SOON AS POSSIBLE, AND AT THE LATEST BY 1st FEBRUARY.

Personal Tutors A notice about Personal Tutor arrangements for postgraduate students will be posted on the graduate notice boards during the second week of term.

Sexual and Racial Harassment The University of Warwick considers sexual and racial harassment to be totally unacceptable and offers support to students subjected to it. The University is also prepared to take disciplinary action against offenders. Help is available from the

22 Senior Tutor and the Student Counsellors (extension 2761) or Student Union Welfare Staff (extension 73129).

Student Academic Complaints Procedure

1. A student may raise a complaint about any aspect of the teaching and learning process and the provision made by the University to support that process, subject to paragraph 2 below. 2. This complaints procedure shall not be used (a) where a complaint can be dealt with under the Disciplinary Regulations, the Harassment Guidelines, the appeals mechanisms in the Degree, Diploma or Certificate Regulations, or the Code of Practice for Dealing with Allegations of Scientific Misconduct. (b) to challenge the academic judgement of examiners.

3. A student complainant must be able to demonstrate that the complaint is brought without malice and is based on evidence which the complainant honestly and reasonably believes to be substantially true. Under such circumstances the complainant will be protected by the University against any subsequent recrimination or victimization.

4. (I) A complaint should initially be made in writing to the person responsible for the action which has given rise to the complaint. Where this is not appropriate or where such action has been taken and the matter has not been satisfactorily resolved it should be raised with the relevant Head of Department or equivalent person.

(ii) If the matter cannot be satisfactorily resolved under 4(I) above the complainant may refer it to the Vice-Chancellor who will request one of the Pro-Vice Chancellors or the Chair of the Graduate School to take the matter forward.

(iii) The Pro-Vice-Chancellor or the Chair of the Graduate School, appointed under 4(ii) above, shall, unless the complaint is judged to be wholly without substance or merit, consult the relevant Head of Department with a view to resolving the matter informally. If the complaint cannot be resolved in this way it shall be referred for final resolution by a committee appointed by the Vice-Chancellor comprising the Pro-Vice-Chancellor or Chair of the Graduate School as Chair and two from the following:-

Chair of the Board of the Faculty of Arts Chair of the Board of the Faculty of Social Studies Chair of the Board of the Faculty of Science

23 The Secretary to the committee shall be a member of the Registrar’s staff appointed by the Registrar. The committee shall not include anyone with a departmental or other material interest.

(iv) No decision to reject a complaint on the grounds that it is without merit or substance shall be taken without consultation with a second Pro-Vice-Chancellor or the Graduate School Chair, as appropriate.

5. In so far as it is within the University’s power complaints will be handled speedily and the complainant shall be kept informed of progress in writing at all stages of the procedure. If a complaint is dismissed at any stage of the process the complainant shall be informed of the reasons in writing. 6. A complaint must normally be received within 3 months of the occurrence about which the complaint is made.

7. The Complaints Committee appointed in accordance with paragraph 4(iii) above shall allow for the possibility of conciliation at all stages of its proceedings. Information submitted to the Committee will normally be in written form although the Committee may interview relevant witnesses or conduct its own enquiries through its Secretary. If the Committee interviews the complainant he/she may be accompanied by an Officer of the Students’ Union or a member of the University staff. The Committee shall be responsible for its own procedures but shall at all times conduct itself within the rules of natural justice.

8. At any point in the above process the complainant may seek advice from the Academic Registrar, the Senior Tutor or the President of the Students’ Union.

9. Students following the degree, diploma, certificate and Higher Education Foundation programmes in partnership colleges shall use the complaints procedure of their home college and use the University procedure only as a final appeal mechanism. In such a case the procedure should be initiated by a letter to the Vice-Chancellor from the complainant. The procedure will be as above save that under paragraph 7 the complainant may be accompanied by a student officer or member of staff of the home college.

10. The Complaints Committee shall make known its findings in writing to the parties to the dispute and make any recommendations for action to the Vice- Chancellor.

11. Where a complaint has been upheld the complainant shall be entitled to claim reasonable costs from the University.

12. If at the conclusion of the procedure the complainant is not satisfied he/she shall be informed of the Visitor’s role as final arbiter.

13. An annual report of complaints considered under this procedure shall be made to the Academic Policy Committee which shall review all aspects of the process and make comments to Departments and recommendations to the Senate as appropriate.

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