This course will investigate the implicit and explicit assumptions underlying conceptions of “masculine” and “feminine” in late-Victorian representations of male-female relationships (and the images of men and women themselves).  In the first two weeks (after the initial introduction) we will read key 1890s’ commentaries about the Decadence, late-Victorian theories of Art, late-Victorian views of gender, and controversies like the Woman Question.  Then for three weeks we’ll study how male-female relationships were depicted in the “New Woman” short fiction and drama of ground-breaking nineties writers: Henry Harland (literary editor of The Yellow Book), Victoria Cross, Arthur Wing Pinero, George Egerton (Mary Chavelita Dunne), and Ella D’Arcy.  The next four weeks, we’ll study gender representation in the major plays of Oscar Wilde (Salome, Lady Windermere’s Fan, A Woman of No Importance, An Ideal Husband, and The Importance of Being Earnest).  The last four weeks will investigate images of men and women in the works of the revolutionary avant-garde artist Aubrey Beardsley.

While the explicit assignments do not include twentieth-century critical theory, and a sophisticated knowledge of literary theory is in no way a prerequisite, you will be strongly encouraged to employ whatever theoretical perspectives you know to help illuminate the issues under study.  The course will try specifically to organize your efforts toward producing a publishable professional article.  Approximately 50% of the final grade will depend on the term paper and the supporting bibliographical work and scholarship.  The other 50% will be based on the quality of weekly reading notes, as well as the degree of preparation for and participation in the discussions of the scheduled course material.
 

Program Status:
May count toward fulfilling the requirements for several possible program “tracks,” not merely the Victorian Studies track.