EUROPEAN ROMANTIC MOVEMENT (Spring 2010)

Prof. Wendy C. Nielsen

Wanderer

Caspar David Friedrich, The Wanderer (1818, oil on canvas, Kunsthalle, Hamburg)

ENLT 250-01
MW 11:30-12:45 in UN 1010 and online on Blackboard and Elluminate. This is a hybrid course, meaning it is conducted both in-person and online. Please consult the syllabus for dates and instructions regarding online meetings.

Prof. Wendy Nielsen
Office Hours: M 4-5:30, W 10-11:30, & by appt. in Dickson Hall 352, except on hybrid days, when office hours might change. Follow office hour updates on Blackboard/Announcements.
Email: nielsenw@mail . . . 

Texts available at University Bookstore (please use translations selected here):

Additional texts available online and on Blackboard:

Course Description: What were French and German authors writing about before and after Shelley composed Frankenstein? The European Romantic Movement aims to foster understanding of the term “Romantic,” especially as it relates to the fiction, prose, poetry, and drama in Britain, France, Germany, and abroad ca. 1780 to 1830. We will read harbingers of the European Romanticism (Rousseau’s Confessions, and Goethe’s Sufferings of Young Werther); key texts of the period (Goethe’s Faust, Shelley's Frankenstein, and Hoffmann's Sandman); poetry by Droste-Hülshoff, Novalis and Heine; and overlooked writers and artists who influenced major issues of the day like the French Revolution, colonialism, and women’s rights. The class will discuss themes common to Romantic-era writing, such as nature, utopia, freedom, the grotesque, and the uncanny across several fictional genres (poetry, drama, prose, memoir, and novellas). Students will leave the course with an appreciation for the ways in which literary movements transcend national and generic borders. Satisfies pre-1900 (1b), 3 (fiction) and TE 3c, multinational (4a), gender issues (4d)

Requirements: Click here to get an explanation of my shorthand on Style issues, and my criteria for grading: http://chss.montclair.edu/~nielsenw/correction.html

 #1: The Spirit of a Democratic Classroom: Respect, Collegiality, and Integrity

#2: Participation (10%): Incl. regular attendance, contribution to class discussion, discussion questions, peer review, in-class and online writing assignments that occur in a timely manner.

Attendance policy: Students must attend a majority of class sessions in order to pass the class; long-term and repeated absences are unacceptable. Your first 3 absences are automatically excused and need no explanation please. Beyond that, you will need a note from your physician or the Dean of Students in order to excuse an absence for medical reasons or family death. Attendance is a part of your Participation Grade, which is also determined by your active and enthusiastic participation in class discussions; original and thought-provoking discussion questions; and informal writing assignments. Please make a friend in class to cover material missed while absent.


Discussion questions: Discussion questions (called DISC. below) must be ORIGINAL and include either ones you would pose as an instructor of the class, things you are confused about in the reading, or a mix between the two. The purpose of discussion questions is to open a dialogue between you and me; to make this a student-centered classroom; and to help students become better writers by becoming critical thinkers, or people who question what they read. Discussion questions are not mandatory but are taken into consideration for your Participation Grade. Post discussion questions on Blackboard/Discussion Board and bring a copy to class if we are meeting there.


#3: Comparative Paper (Topic/description TBA) on 2 texts from Unit I--Sentimental Revolutions: Rousseau, Werther, and Romantic Poetry (30%)

JOURNALS: Students will write at least one entry for nearly every text we read. For a close analysis, copy a key passage (3-5 lines) and then write a 1-2 page  close analysis and argue for its meaning and importance (250-400 words: word count begins after the quote). Creative responses should likewise focus on a specific textual passage, although may fit this citation in the text elsewhere. You are encouraged to use these entries as an opportunity to learn how to track key themes, techniques, or issues in a literary text. Journals are not graded until they are presented in as a Midterm Review, and a Full and Final Journal Portfolio (see below). Post your response to Blackboard/Discussion when it is due, so that other students can learn from your work. If you post your response at the time it is due, then I will comment on your "mini essay" there. Owing to scheduling difficulties, I am afraid I am NOT able to read late journal entries, although I do expect to see them Midterm Review, and a Full and Final Journal Portfolio. If you are unable to turn in your journal on time, I suggest you ask a fellow student to read and evaluate the work-in-progress. Always include a Works Cited of all sources cited and referenced.

#4: Mid-term Review of Journals (10%): Hand in hard copies of at least 3 of the 4 journals you have written so far. Paginate and staple please. No cover pages or folders please. 

#5: Full and Final Journal Portfolio (20%): The Full and Final Journal Portfolio includes a critical intro.; 5, 6, or 7 originals; + at least 1 revision that highlights your editing skills. The cover letter should self-evaluate your own Journals and address the following questions: How have these writing exercises aided your thinking this semester? What are the strengths and weaknesses of your journals? What is your best journal entry, and why? What grade would you give yourself for this assignment? Consider the following guidelines in averaging your grade:
 Although you are only required to revise one journal entry, if you revise others, I will reevaluate them. Immediately following the cover letter, place your mandatory revised journal, any other revised journals, and at least 5 original journals. You should also include any journals that you’re handing in late. Here’s a final list of everything you should include the following in this order: 1) Cover letter; 2) Mandatory revised journal; 3) Any other revised journals; 4) Original Journals; 5) Any late Journals. Please simply staple everything together, or use a binder clip. No cover pages, please.

#6: In-class Final Exam (open note/open book) that compares Faust and Frankenstein or Sandman (30%)

Policies: Tentative schedule subject to change; please check your Montclair email and <http://chss.montclair.edu/~nielsenw/eurorom.html> for updates
Date
 Class Activities Homework Due
W 1/20
 Course + Student Intro.; Timeline; What is Romanticism? Romantic Art; none
Unit I--Sentimental Revolutions: Rousseau, Werther, and Romantic Poetry
M 1/25
 Rousseau and the Rights of Man; Peronae assigned
 Read Rousseau, Social Contract 1-62; DISC #1: Post 1 or more discussion questions about Rousseau on Blackboard/Discussion Board/Rousseau, Social Contract, and bring a copy to class. These questions might include ones you would pose as an instructor of the class, things you are confused about in the reading, or a mix between the two. The purpose of discussion questions is to open a dialogue between you and me; to make this a student-centered classroom; and to help students become better writers by becoming critical thinkers, or people who question what they read. Discussion questions are not evaluated,  are not mandatory, but are taken into consideration for your Participation Grade.  Please feel free to respond to other students' queries if you feel inspired to answer; I will take such responses as extra credit for your Participation Grade (and enjoy reading them, of course). 
W 1/27
 Citizens and Rights; Class takes place ONLINE (asynchronous): see instructions on Blackboard/Online Classes/1/27; French Revolution; Time Line of the French Revolution by Marxists.org; Women & Revolution Read Rousseau, 63-end (skim to get gist); read closely and carefully: T. Jefferson, Declaration of Independence (1776); Declaration of the Rights of Man and Citizen (1789); Gouges, Rights of Woman and Citizen (1791; online); DISC #2: Post a discussion question about the declarations (Bb/DB/Citizens and Rights).  Journal #1: Write a creative response to any of the texts we've read so far from the perspective of your fictional persona, or write a a close analysis of the passage you think most significant and post to either DB/Rousseau, Social Contract or Citizens and Rights/Journals. Go to Blackboard/Online Classes/1/27 and follow directions for rest of class. 
M 2/1
 Review; Confessions (Bk 1, 2) Read Rousseau, 1-70
W 2/3
 Confessions (Bk 2, 3) Read Rousseau, 71-128; DISC #3: Post 1 or more discussion questions about Rousseau on Blackboard/Discussion Board/Rousseau, Confessions/Questions and bring a copy to class
M 2/8
 Review; Confessions (Bk 4-6) Read Rousseau, 160-62, 172-240
W 2/10
 Class takes place ONLINE (synchronous); Confessions (Bk 6-7) Read Rousseau, 255-73 and 307-39; Journal #2: Write a creative response to Confessions from the perspective of your fictional persona and post to DB/Rousseau, Confessions/Journals. Go to Blackboard/Online Classes/2/10 and follow directions for rest of class. 
M 2/15 President's Day
 Review: Cult of Sensibility; Class takes place ONLINE; Confessions (Bk 8); French Romanticism and Euro. Rom. Movement Read Rousseau 344-91 and Hugo 89-93 in Applebaum, Intro. to French Poetry; Journal #3: Write a close analysis of the passage you think most significant in Confessions or Hugo's poem, and argue for its importance and meaning. Vote in poll re. 2/24. Go to Blackboard/Online Classes/2/15 and follow directions for rest of class. 
W 2/17
 Goethe, Werther Read Goethe 1-44; Nerval, "Delfica" (95-7 in Applebaum, Intro. to French Poetry); DISC #4: Post 1 or more discussion questions about Werther on Blackboard/Discussion Board and bring a copy to class
M 2/22
 Werther; French poetry Read Goethe 45-96, Chénier, "When the somber slaughterhouse . . ," and Lamartine "The Village Bell" (70-81 in Applebaum, Intro. to French Poetry); Journal #4: Write a close analysis of what you think is the most important passage from Werther or one of the French poets and argue for its importance and meaning , or respond to any of these texts in your fictional persona
W 2/24
 Meeting on campus; German Romantic Poetry; Alt. trans. of "Heidenröslein" and"Erlkönig"; Hölderlin From Applebaum, Great German Poems: Goethe: "Heidenröslein" (4), "Erlkönig" (17-9); Schiller: "Die Grösse der Welt" (27); Hölderlin: "Hyperions Schicksalslied," "Da ich ein Knabe war," "Hälfte des Lebens" (55-9); DISC #5: Post 1 or more discussion questions about this poetry on Blackboard/Discussion Board and bring a copy to class if we end up meeting there
M 3/1
 Review; German Romantic Poetry; alt. trans. of Droste-Hülshoff, "Im Moose"; alt. trans. H. Heine, "Morphine" and "Ich weiß nicht . . . " From Applebaum, Great German Poems: Novalis: "Muss immer der Morgen wiederkommen?" (61-3);  Droste-Hülshoff: "Im Moose" (131-33); Heine: "Ich weiss nicht . . . " (141-43), "Morphine" (146); Mid-term Review of Journals due 
W 3/3
 Class takes place ONLINE; Comparative Paper: Pre-writing I
 Post your paper proposal (at least 10 sentences--assignment on Blackboard/Discussion Board); follow instructions on Blackboard/Online Classes for further class instructions
M 3/8
 Editing of Comparative Paper: Pre-writing I; 12 - 12:45 in UN 1121 Rough draft due
W 3/10
 Sample from Romantic-era film: Barry Lyndon (dir. Kubrick), Gothic (dir. S. Volk, about writing of Frankenstein), or Pandemonium (dir. J. Temple, about Coleridge and Wordsworth
 Final draft due
Unit II--Scientific Revolutions: Faust, Frankenstein, and The Sandman
M 3/22
 Class takes place ONLINE; Faust I Read Goethe 1-54
W 3/24
 Review; Faust I
 Read Goethe 55-101
M 3/29
 Review; end of Faust I; Faust II, Act I
 Read Goethe 102-46, skip/skim 147-70, read 171-86; C. Hamlin, "Faust in Performance," in Theater 32.1 (2002) (Bb & Proj. Muse); DISC #6: Post 1 or more discussion questions about Faust on Blackboard/Discussion Board and bring a copy to class
W 3/31
 Class takes place ONLINE; Faust II, Act II
 Read Goethe 180-240; Journal #5: Write a close analysis of a significant passage from Faust I
M 4/5
 Review; Class takes place ONLINE (synchronous); Faust Act III Read Goethe 241-85
W 4/7 Review; Faust II, Act IV Read Goethe 287-312; DISC #7: Post 1 or more discussion questions about Faust II on Blackboard/Discussion Board and bring a copy to class
M 4/12
 Faust II, Act V; Death and Rebirth
 Read Goethe 313-44; Journal #6: Write a close analysis of a significant passage from Faust II
W 4/14
 Class takes place ONLINE; The Sandman
 Read E.T.A. Hoffmann, The Sandman (Bb & Res.); Journal #7: Write a response to Hoffmann or Goethe in the voice of your fictional persona; DISC. #8:  Post 1 or more discussion questions about Hoffman and/or Freud on Blackboard/Discussion Board and bring a copy to class
M 4/19
 Review: Rom. Ques.; The Uncanny
 Read S. Freud, "The Uncanny" (Bb), but bring Hoffmann to class too; 
W 4/21
 Shelley, Frankenstein;  v. 1 Read Shelley 5-58
M 4/26
 Review; Class takes place ONLINE; Frankenstein, v. 2 Read Shelley 59-101
W 4/28
 Frankenstein, v. 3 Read Shelley 103-56, Musset, "On a Dead Woman" (99-103 in Applebaum, Intro. to French Poetry)
M 5/3
 Final Review + Tips Full and Final Journal Portfolio due; Optional: Participation Packet that collates your discussion questions in order to document your active and regular participation in class; bring the book(s) that you wrote about on Mon. 4/26 online 
M 5/10
 In-class Exam 1-3pm: Comparison of Faust, Frankenstein, and Sandman
 Bring books, a page of notes to assigned day and time of exam