AMERICAN REALISM

Fall 2000

EN 424.01 An Undergraduate Elective at Boston College

Prof. Christopher Wilson

English Department Carney Hall 435 ex. 2-3719
http://www2.bc.edu/~wilsonc/424.html
To see my home page click here: CW HOME PAGE

You can email me by clicking here:wilsonc@bc.edu
Office Hours:
Monday 1-2
Wednesday 1-3
Thursday 11-12 and by appointment

This is an upper-division, interdisciplinary elective centering on the development of realist conventions in literature, photography, and painting in America from 1880 to 1940: middle class realism, impressionism, documentary realism, the social or proletarian realism of the 1930s, and more. Our primary focus will be on fiction; the intent of the course, however, is to sharpen our sense of various realist philosophies and aesthetics during this period by comparing the social practice of literary writing with experimentation of other media in this era. Consequently, we will cover some theoretical issues about representation, about realist literary conventions, and the political ideologies which have often been at play in realistic art. Consequently, this course may be of special interest to American Studies minors.

This course, however, is open to all majors. Generally, I do think it's a good idea to have had a course like Studies in Poetry or Narrative and Interpretation for preparation, or a similar "interpretive" course (emphasizing, for instance, visual interpretation) from another discipline. The reading load for this course is also, in my view, somewhat extensive, and you will be asked to read criticism and writing on the visual arts. On the other hand, the course assumes no specific prior knowledge on the part of students - in particular, no special familiarity with interpreting painting or photography. The first weeks of the course are devoted to acquiring the skills in "reading" visual images.

The following two books are highly recommended, and will also be placed on reserve in O'Neill Library.


Calendar


Dates denote days by which you should have done the reading. (R) denotes material on reserve in O'Neill; (HO) means handouts; (CR) means material in the class reader as well.

Sept

6 Opening Day Introduction and Syllabus

I. Prologue: "How We Picture the World:" The Conventions of Realism

8 Lecture: Realisms, Representation, "Reality"

Assignment: Nochlin, chapter entitled "The Nature of Realism" in Realism

11 Lecture/ Discussion: Reading Realist Prose

Assignment: W.J.T. Mitchell, "Representation" (CR), plus a short prose selection (TBA)

II. Victorian Realism: Space, Time, and Neoclassical Form in Thomas Eakins and Edith Wharton

13 Lecture/Discussion: Ways of Reading a Visual Text Attendance Mandatory

Required Reading: Jules Prown, "Winslow Homer in His Art" (CR); Elizabeth Johns, chapter on "William Rush Carving..." from her Thomas Eakins: The Heroism of Modern Life (CR)

15 Discussion of Thomas Eakins 2

Required Reading: Nochlin, chapter called "The Heroism of Modern Life"

Elizabeth Johns, "The Gross Clinic" (CR)

Thomas Eakins WEB Sites

Eakins Study Images

UNC Exhibit

Art Cyclopedia

Sunsite Listings

Also Recommended to View Video, "Thomas Eakins: A Motion Portrait," in O'Neill's Media Center

18: Discussion of Thomas Eakins 3

20: Lecture: Edith Wharton/ "A Moment's Ornament"

Click here if you want to see the images in the "Tableaux Vivants Scene in The House of Mirth 22: Discussion: Wharton, House of Mirth

25 Discussion: House of Mirth 2

27 Discussion: House of Mirth 3

III. Spectacles of Industrialism: Human Documents

29 Lecture: Time, Motion, Industrial Vision

Oct.

2 Discussion: Lewis Hine Photos (1)

Required Reading: Maren Stange, "The Pittsburg Survey" (CR), from her Symbols of Ideal Life;

Recommended Reading: Patricia Hills, "John Sloan's Working- Class Women" (CR), from Maryann Doezma, ed. Reading American Art

4 Discussion: Lewis Hine (2)

6 No Class: First Short Paper Due

3-5 PAGE VISUAL ANALYSIS

9 NO CLASS: COLUMBUS DAY

11 Lecture: Willa Cather and Memory

Recommended Reading: Judith Fryer, "Novel of the Soil" from her Felicitous Space (R); and Jean Schwind, "The Benda Illustrations to My Antonia" (R)

13 Discussion: My Antonia

16 Discussion: My Antonia (2)

18 Discussion: My Antonia (3)

20 Discussion: Thomas Hart Benton (1)

Required Reading: Verlyn Klinkenborg, "Thomas Hart Benton Came from Missouri..." (CR), and Elizabeth Broun,"Thomas Hart Benton: A Politician in Art" (CR);

Sometime this week, please also view Ken Burns' Video Documentary on Benton, in O'Neill Media Center (R)

23 Discussion: Benton (2)

IV. Remembering the 1920s: Class and the American Mosaic

25: Lecture: John Dos Passos, Murals and Montage

27: Discussion of Dos Passos, The Big Money (1)

30 Dos Passos, ( 2)

NOV.

Sometime this week, please also view Charlie Chaplin's "Modern Times" in the O'Neill Media Center (R)

1 Ben Shahn (1)

Required Reading: Susan Noyes Platt, "The Jersey Homestead Mural" (CR) Recommended Reading: Laura Katzman, "The Politics of Media: Painting and Photography in the Art of Ben Shahn" (CR)

Ben Shahn Sites

Suggested Study Images of Ben Shahn

The Jersey Homesteads Mural

ART CYLOPEDIA

HARVARD EXHIBIT

JEWISH MUSEUM

3 Ben Shahn (2)

6 Discussion: Dos Passos (3)

V. The Thirties and After: The Grotesque and the Speed-up

8 Lecture: Proletarian Literature/ Tillie Olsen

10 Discussion: Olsen, Yonnondio: from the Thirties (1)

13 Discussion: Olsen (2)

15 Discussion: Olsen (3)

17 Discussion: Dorothea Lange (1)

Required Reading: James C. Curtis, "Dorothea Lange, Migrant Mother, and the Culture of the Great Depression" (CR)

Dorothea Lange Sites:

Suggested Study Images of Dorothea Lange

LINKS TO LANGE SITES

GLOBAL ART ON LANGE

OAKLAND EXHIBIT

20 Discussion: Dorothea Lange

THANKSGIVING HOLIDAY

27 Lecture: Nathaniel West 29 Discussion: Nathanael West, Day of the Locust (1)

1 Discussion: Day of the Locust (2)

4 Discussion: Day of the Locust (3)

Two Images by Monsu Desiderio, of Atlantis and the fall of Troy, cited in Day of the Locust:

Suggested Reading only: Karen Ann Marling, "Early Sunday Morning," (CR) and R.G. Renner, Hopper: Transformations of the Real

6 NO CLASS: CONFERENCE TIMES 2

Edward Hopper Sites: ART CYCLOPEDIA

ON LINE EXHIBIT

GALLERIES WITH HOPPER

SUNSITE

8 Last Class Day / Course Evaluations / Exam Prep.

FINAL PAPER DUE


Some Links to Handouts from this Course:


Some General "Crossroads" WWW Links that Take You to Many Sources

  • BC Online Data Bases

  • Voice of the Shuttle: Humanities Research

  • American Literature Resources on the Web

  • Ethnicities, Multicultural Resources in American Literature
  • Cultural Theory on the Web

  • Hypertexts in American Literature/ University of Virginia

  • ON LINE TEXTS YOU CAN USE FOR YOUR PAPER ASSIGNMENTS
  • Fine Arts on the Web (Courtesy of Jeff Howe, Fine Arts Department

  • Link to Boston College's AMICO WWW site for finding images in Art History (On Campus Only)

    A Few Links to Winslow Homer sites:


    A Few Links to sites related to Hine and Riis:


    Course Policies:
    

    1. Class attendance is required. You are allowed three cuts (hereby defined as an "unexcused absence") without penalty. But absence beyond this three-cut maximum can lower your overall course grade--and, in some cases, be grounds for failing the course altogether. If there is a good reason why you have had to miss a class, please don't hesitate to tell me. Medical Excuses should be accompanied by a doctor's note. After the first week, we'll be using an attendance sheet sign-in to save time. 2. Class participation can account for about 20% of your grade. Generally, I try to use your class participation (including your work on panels or "kick-off" presentations) as a measure of how well you have read and understood the assignments. My main goal is to encourage strong class participation--and to teach each of you how to present yourself successfully in oral presentations--but not to penalize unduly those who are temperamentally quiet or feel uncomfortable speaking. If your participation reflects strong reading skills, consideration for others' viewpoints, and frequent contributions to the flow of discussion, the "average" based solely on your writing efforts (including exams) can be boosted considerably. Conversely, infrequent or poor class participation can make your overall grade more dependent on the hourly and final exam. 3. When you submit a paper, it should be neatly typed or word- processed and double-spaced, preferably on both sides of the paper so that we can save a few trees. (The Computer center allows you to do this by selecting OCF-2.) In addition, you are required to keep either a xerox or carbon copy. That way, if your paper is lost, you can simply re-submit your copy. 4. Hard Copy versions of your papers are due on the assigned dates. (In other words, I do not accept email submissions. On penalties, my rule is that I allow 24 hours leeway without penalty; after that, you will be penalized about 1/3 grade for every part of 24 hours the paper is late. The idea of this "leeway" period is that you should never miss a class in order to type a paper; come to class, and turn the paper in later. And since the leeway period is there, all other excuses (e.g. "the computer center was closed," "my roomate didn't turn in my paper," etc.) are irrelevant. If you turn in any paper late, please also attach a note identifying the exact time you turned it in (e.g. under my office door). 5. In a large class like this, it isn't uncommon for students to feel, alternately, "over their head," unprepared--or, conversely, bored or unchallenged. The first remedy for any of these situations is to come to my office for a conference, and to come early in the semester. If my office hours don't fit your schedule, just talk to me in class about setting up another time. Please note: my "voice mailbox" on my phone extension (552-3719) really operates more like a mailbox than a "phone machine"--that is, I will try to respond to calls when I come into my office hours. But email conversations are very much encouraged, particularly as "follow ups" to class discussions. 6. This course emphasizes improving your writing. To that end, I use a "correction guide" adapted from the handbook by Diana Hacker, entitled A Pocket Style Manual. I will hand out a sheet explaining these symbols if you can't easily access the WWW link below. If you're confused by some of the symbols I use in the margins to correct your papers, you can also consult Hacker (which can also be bought in the Bookstore). It goes without saying I would also be happy to discuss your writing with you in conference.

    Click Here to see the Correction Code Used on Your Papers

    The Simplified MLA Citation System We're Using

    Ten Pet Peeves of Mine About Your Writing


    If you have any comments on this page, please send them to: wilsonc@bc.edu .