
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.
You will need to buy the following course texts, all of which should be in the BC Bookstore:
The following two books are highly recommended, and will also be placed on reserve in O'Neill Library.
Whatever books you choose to purchase, you should always bring your text to class on the discussion days. If you choose to use a reserve reading, please bring a xerox to class.
Sept
6 Opening Day Introduction and Syllabus
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)
8 Lecture: Realisms, Representation,
"Reality"
II. Victorian Realism: Space, Time, and
Neoclassical Form in Thomas Eakins and Edith Wharton
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)
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
13 Lecture/Discussion: Ways of Reading a
Visual Text Attendance Mandatory
Thomas Eakins WEB SitesIII. Spectacles of Industrialism: Human
Documents
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
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)
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
3 Ben Shahn (2)
6 Discussion: Dos Passos (3)
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
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
8 Last Class Day / Course Evaluations / Exam Prep.
FINAL PAPER DUE
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
Course Policies:
If you have any comments on this page, please send them to: wilsonc@bc.edu
.