ENGLISH 7800
Dr. Backscheider
Jan. 10: Introduction and Orientation
17: Thomas Otway, Venice Preserved;
Robert D. Hume, "The Aims and Limits of Historical Scholarship," Review
of English Studies, 53 (2002): 399-422
26:
Reception Theory Methodologies:
Sue Churchill, "`I Then Was What I Had Made Myself," biography
20 (1997): 72-94; Michel Foucault, "What Is an Author?" from Language,
Counter Memory, Practice,113-38; Rudolf Arnheim, "Centers as
Hubs" in The Power of the Center, 109-132. Harriet Linkin and
Stephen Behrendt, "Introduction," 1-11, and Paula Feldman,
"Endurance and Forgetting: What
the Evidence Suggests" in Romanticism and Women Poets, 15-21;
Clifford Siskin, "Jane Austen and the Engendering of Disciplinarity"
in Jane Austen and Discourses of Feminism, 51-67.
31: Venice
Preserved reports and discussion
Feb. 7: Richard Sheridan, The
Critic and The School for Scandal; Paula Backscheider,
"Representation and Power" in Spectacular Politics, pp.
71-104.
14: Marvin Carlson, "Theatre Audiences and the
Reading of Performance," Interpreting the Theatrical Past, 82-98;
Bruce A. McConachie, "Historicizing the Relations of Theatrical
Production," Critical Theory and Performance, 168-78; Ellen Donkin,
"Mrs. Siddons Looks Back in Anger: Feminist Historiography for
Eighteenth-Century British Theater," Critical Theory and Performance,
276-90; Robert Jones, "Sheridan and the Theatre of Patriotism: Staging
Dissent during the War for America," Eighteenth-Century Life 26
(2002): 24-45; Paul Goring, "John Bull, Pit, Box, and Gallery," Representations
79 (2002): 61-81.
21: John Gay, Beggar's Opera, Toni-Lynn
O'Shaughnessy, "A Single Capacity in The Beggar's Opera," Eighteenth-Century
Studies 21 (1987-88): 212-27; John Richardson, "John Gay, The
Beggar's Opera, and Forms of Resistance," Eighteenth-Century Life
24 (2000): 19-30.
28: Reading Day
March 7:
First reports on Reception History Project; Sheridan, The Duenna
and reports; Bruce McConachie, "Using the Concept of Cultural Hegemony to
Write Theatre History," Interpreting the Theatrical Past, 37-58.
14: John Berger, Ways of Seeing; Hogarth,
"The Rake's Progress," "The Harlot's Progress," "The
Four Times of Day," "Gin Lane" and "Beer Street,"
"Marriage à la Mode," and prints 4, 25 and 46 on the stage.
21: John a Walker
and Sarah Chaplin, Visual Culture:
An Introduction; Shearer West, "Patronage and Power: The Role of the Portrait in
Eighteenth-Century England," in Culture, politics and Society in
Britain, 1660-1800, 131-53; Richard Rushton, "What Can a Face Do? On Deleuze and Faces," Cultural
Critique 51 (2002): 219-37.
April 4:
Student reports on Representation essays
11: bell hooks, "Introduction:
Revolutionary Attitude," 1-7 and "Representations of Whiteness in the
Black Imagination," 165-78 in Black Looks: Race and Representation
and; Roxanne Eberle, "`Tales of Truth?' Amelia Opie's Antislavery
Poetics," Romanticism and Women Poets:
Opening the Doors of Reception, 71-98; Amelia Opie, "The Negro
Boy's Tale" and The Black Man's Lament; or, How to Make Sugar;
Nandini Bhattacharya, "Family Jewels:
George Colman's Inkle and Yarico and Connoisseurship," Eighteenth-Century
Studies 14 (2001): 207-226.
18: Jane Austen, Persuasion and Susan S.
Lanser, "Singular Politics: The
Rise of the British Nation and the Production of the Old Maid," in Singlewomen
in the European Past, 1250-1800, ed. Judith Bennett and Amy Froide
25: Angela Rosenthal, "She's Got the
Look! Eighteenth-Century Female
Portrait Painters and th Psychology of a Potentially `Dangerous
Employment," 147-66, in Portraiture:
Facing the Subject, ed. Joanna Woodall; Richard Wendorf, on Mrs.
Siddons, 244-48, in The Elements of Life; Douglas Harper, "Talking
about Pictures: A Case for Photo
Elicitation," Visual Studies 17 (2002): 13-26; E.H. Gombrich,
"Aims and Limits of Iconology," 457-84, in The Essential Gombrich,
ed. Richard Woodfield; Clifford Geertz, "Centers, Kings, and Charisma:
Reflections on the Symbolics of Power," in Culture and its Creators.
Presentations of Research - Monday, May 5: 8- 10:30 a.m. and one other session