Course Description |
This course asks one central question: why did nineteenth-century British artists and intellectuals champion the ideal of “art for art’s sake”? In other words, for what “sake” did art need to be considered an autonomous realm? Formulating the question in this way suggests the underlying premise of the course: that claims for aesthetic autonomy always implied ideas about the value of art for something or someone. Our central texts will be drawn from the arts—poems, novels, plays, paintings—and intellectual history—the aesthetic philosophy, art history, and political thought of the age. Some of the themes that run through the semester include: the relation between theories of art for art’s sake and politics; experimental and avant garde ideas and practices of art; the social and cultural space occupied by well-educated and often well-off artists—an “elite margin”; the interaction among various modes of artistic expression, most especially painting and poetry; the relation between “high” art and the aesthetic way of life, which by turns embraced artisanal crafts, popular culture, industrial production, and the decorative arts; and the sexual, gender, class, and (inter-)national dynamics of artistic production and consumption during these years.
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Course Requirements |
Ten short, focused essays (2 p. each) and class participation (10%) |
Course Outline |
January 31 |
Introductions Pre-Raphaelite Poetry and Painting Rose, introduction to The Pre-Raphaelites (Rose) Lang, p. xi-xv from his introduction to The Pre-Raphaelies and Their Circle (Lang) Morris, “The Haystack in the Floods” (1858) and “Apology” from The Earthly Paradise (Lang) Meredith, Modern Love (1862) (Lang) Christina Rossetti, Goblin Market (1862) (Lang)
Paintings in The Pre-Raphaelites (Rose): Dante Rossetti, “The Girlhood of Mary Virgin” (1849) and “Ecce Ancilla Domini” (1849-50) (pl. 1, 5); Brown, “Work” (1852-65), “An English Autumn Afternoon” (1852-54), “The Last of England” (1852-55), “Pretty Baa-Lambs” (1851-59), “Walton-on-the-Naze” (1859-60) (pl. 41, 16, 19, 27, 32); Inchbold, “In Early Spring” (1855) (pl. 20); Millais, “Christ in the House of his Parents” (1848-50) (pl. 6, 17); Dyce, “Pegwell Bay, a Recollection of October 5th, 1858” (1858) (pl. 25); Hughes, “The Long Engagement” (1859) (pl. 29); Scott, detail from “Iron and Coal” (1855-60) (pl. 31); Brett, “February in the Isle of Wight” (1866) (pl. 42); Hunt, “Our English Coasts” (1852) (pl. 13)
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February 7 |
Aesthetic autonomy and aestheticism Schiller, from The Aesthetic Education of Man (1795) (reader) Wordsworth, from The Prelude (1798-1839/1850), from Lyrical Ballads “Preface” (1800) (reader) Keats, letter to Benjamin Bailey (Nov. 22, 1817), “Ode on a Grecian Urn” (1819) (reader) Shelley, from “A Defence of Poetry” (1821/1849) (reader) Tennyson, “The Lotos-Eaters” (1832), “Mariana” (1830) (reader) Arnold, “Sweetness and Light” from Culture and Anarchy (1869) (reader)
Ruskin, fidelity to nature, and politics Ruskin, Preface to the Second Edition of Modern Painters (1844) (reader) Ruskin, from “The Nature of Gothic” (The Stones of Venice, 1851-53) (reader) Hunt, “The Impact of Ruskin” (1905) (reader) Millais, “John Ruskin at Glenfinlas” (1853-54) (Rose) William Michael Rossetti, “The Brotherhood in a Nutshell” (The Germ, 1850) (reader) Dante Rossetti, “The Blessed Damozel” (1847/1850) (Lang) Dante Rossetti, “The Blessed Damozel” (1871-77) (Rose, pl. 44) Millais, “Lorenzo and Isabella” (1849), “Mariana” (1851), “The Eve of St. Agnes” (1854), “Mariana” (1857), (Rose, plate 3, 8, fig. 16, fig. 17) Swinburne, from “Charles Baudelaire” (1861), from William Blake (1866) (reader) Swinburne, “The Garden of Proserpine” (1866), Songs before Sunrise “Prelude” (1871) (Lang) Scott, “Algernon Charles Swinburne” (1860) (Rose, pl. 33) Morley, from “Young England and the Political Future,” Fortnightly (April 1867) (reader)
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February 14 |
Pater, the ideal of aesthetic poetry, and the aesthetic way of life Pater, “Aesthetic Poetry” (1868) (reader) Pater, “Conclusion” to The Renaissance (1873) (Beckson) Morris, “The Defense of Guenevere,” “King Arthur’s Tomb,” “The Blue Closet,” “Spell-Bound” (1858) (Lang) Swinburne, “The Triumph of Time” (1866), “Anactoria” (1866), “Hertha” (1871), “Sonnet: With a copy of ‘Mademoiselle de Maupin’” (1873) (Lang) Christina Rossetti, Monna Innominata (1881) (Lang) Dante Rossetti, “Beata Beatrix” (1863) (Rose, pl. 39) William Morris, “Queen Guenevere” (1858) (Rose, pl. 26) Strudwick, “The Gentle Music of a Byegone Day” (1890) (Rose, pl. 47) Collins, “Convent Thoughts” (1850-51) (Rose, pl. 7)
The individual and the egoist The Egoist (1879), Prelude-ch. 12 Mill, from On Liberty (1859) (reader)
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February 21 |
Meredith’s style The Egoist, ch 13-40 Pater, “Style” (1888) (reader) |
February 28 |
Meredith and comedy The Egoist, ch. 41-end Meredith, “An Essay on Comedy” (1877)
Color and symbol Morris, “Golden Wings,” “Two Red Roses Across the Moon” (1858) (Lang) Meredith, “Love in the Valley” (1851) (Lang) Whistler, plates 2-6, 7-23 (Spalding) Spalding, “Introduction” to Whistler (Spalding) Blanc, from The Grammar of Painting and Engraving (1869) (reader) Millais, “The Blind Girl” (1856), “Autumn Leaves” (1856), “The Return of the Dove to the Ark” (1866-75) (Rose, pl. 21, 22, 10) Brett, “The Stonebreaker” (1857-58) (Rose, pl. 24) Burne-Jones, “The Arming of Perseus” (1877) (Rose, pl. 45)
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March 6 |
Arts and crafts, decorative arts, illuminated printing Morris, from “Some hints on Pattern-Designing” (1881) and “A Note by William Morris on His Aims in Founding the Kelmscott Press” (1896) (reader)
Possible visit to special collections
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March 27 |
James Portrait of a Lady (1881), first half
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April 3 |
James II Portrait, second half
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April 10 |
The Critic as Artist Blake, “Proverbs of Hell” (1793) (reader) Pater, “Preface” to The Renaissance (1873), from “La Giocanda” (1869) (Beckson) Pater, “Sandro Botticelli’ (1870) (reader) Wilde, “The Decay of Lying” (1889) (Beckson) Beerbohm, “Diminuendo” (1896) (Beckson) Clifford, from “On the Aims and Instruments of Scientific Thought” (1872) (reader) Pearson, from A Grammar of Science (1892) (reader)
Impressionism, decadent realism, and symbolism Symons, “By the Pool at the Third Rosses” (1896), “Violet” (1895), “Emmy” (1892), “Morbidezza” (1892), “To a Dancer” (1895), “La Mélinite: Moulin-Rouge” (1895), “Javanese Dancers” (1894), “Hallucination: I” (1895) (reader) Symons, “Preface to the Second Edition of ‘Silhouettes’” (1896) and “Preface to the Second Edition of ‘London Nights’” (1897) (reader) Wilde, “Symphony in Yellow,” “Impression du Matin,” “The Harlot’s House” (reader) Michael Field, poems in reader Whistler, plates 24-48 (Spalding) Dowson, poems in reader Yeats, poems and prose in reader
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April 17 |
Aesthetic Tragedy Salomé (1891) (read in Wilde collection, but look at drawings in Beckson) Symons, The Decadent Movement in Literature (1893) (Beckson)
The Turn to Comedy Wilde, Lady Windermere’s Fan (1892)
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April 24 |
Artisan-aesthete Hardy, Jude the Obscure (1895), Parts First and Second
Female aesthete Jude the Obscure, Parts Third and Fourth
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May 1 |
Hardy and the novel Jude the Obscure: Part Fifth, “Preface to the First Edition” (1895), “Postscript” (1912) from Walter Besant, Eliza Lynn Lynton, and Thomas Hardy, “Candour in English Fiction” (1890) (reade
Tragedy, knowledge, and modernity Jude the Obscure, Part Sixth Pater, from “Winkelmann” (1867) (reader) Neitszche, from The Birth of Tragedy from the Spirit of Music (1872) (reader) Symons, from “Henrik Ibsen” (1889) (reader) Frye, from Anatomy of Criticism (1957) (reader)
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May 8 |
Language, knowledge, and modernity The Importance of Being Earnest (1895) Wilde, from “The Soul of Man under Socialism” (1891) (reader)
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