Class
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What does it mean to write from a provincial place, a conquered place, a marginal rather than a central cultural locus? "Imagining Scotland" looks at a variety of writers, and at some historical and cultural sources, as well, asking this question with specific reference both to Scotland and ways in which English-language writers from the far north of the British isles have depicted themselves over time. We will read writers in many genres and from older as well as recent times. Students are also expected to read a brief history of Scotland, Christopher Harvie's Scotland and Nationalism (NOTE: Harvie is due complete by 13 February), as well as some theoretical essays on literature and geographical/cultural marginalization, to be distributed in photocopy, alongside the primary texts for this class.
Students are expected to attend all classes and to contribute to the discussion of issues raised in the readings. Active classroom participation will be an important factor in all grades. The class has neither a midterm nor a final.
In addition, the course requires two short papers and one longer final one. Short papers should be short -- approximately 750 words (1000 words maximum). The final paper should be about 2000 words (2500 words maximum). The instructor will either provide paper topics as assignments or students with a specific topic in mind may write on it if the instructor, after consultation, has agreed.
Some additional points:
The following texts are available for purchase at the Penn Book Center (34th and Sansom Streets) -- except for (1) texts that YOU must order directly from the UK (the instructor believes that you cannot order multiple copies; each of you must order your own individual copy) and (2) titles that the syllabus notes can be provided as photocopies (bulkpack) by the instructor:
- One book, dropped from the syllabus, remain strongly recommended:
- James Thomson, The Seasons -- available in VPL: many editions
PAPER ONE IS DUE TODAY"Finally, what distinguishes them is that Sir Walter Scott really is simply a better writer than John Galt. His plots are better constructed. His characters are more vital. His themes, not only usually more clearly enunciated than Galt's, are also, in many fundamental ways, more suited to 'the Scottish temper' than Galt's. That is to say, Scott is a far more politically palatable writer for his contemporaries to take seriously and value than Galt ever dreamt of being." Discuss this point of view. Agree with it or disagree with it -- but avoid wishy-washy-ness: do not try both to agree and disagree with it!
OR Compare and contrast the attitudes Scott and Galt take towards the Stuarts and explain the significance of these attitudes.
PAPER TWO IS DUE TODAYBoth Stevenson and Barrie have reputations as "children's writers" whom adults also read -- "arrested-development" adults, that is. What appeals to them in the sorts of fantasies they embody in their fictions? (And what appeals to their readers do they seem to share?)
OR Stevenson's Dr. Jekyll and Mr. Hyde has been called the archetypical Edinburgh novel; presumably the Scot who made this comment thought there was also something peculiarly "Scottish" about it. What might the writer have had in mind? Might he have said anything similar about Peter Pan? Kidnapped? -- and why/why not?
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