Search Modern Language Association
Log in to Modern Language Association
“An admirable ruse, indeed! To inspire in me the horror of females, only to throw it in my face and say: but this is what you are.”
The handsome, heroic heir to a vast estate, raised as a man to follow a man’s pursuits and to despise women, is devastated to learn at the age of seventeen that he is in fact a she. Gabriel courageously refuses to give up her male privileges, and her tragic struggle to work and fight and love in all the ways she knows how offers a window into the obstacles faced by George Sand, the prolific intellectual woman whom the popular press portrayed as a promiscuous, cigar-smoking oddity in trousers. “Strange that the most virile talent of our time should be a woman’s!” exclaimed a reviewer in 1838.
Kathleen Robin Hart’s introduction contextualizes the drama, discussing its relation to the theater of Sand’s day, the sentimental tradition, the subversive workings of carnival and masquerade, and the vein of literary androgyny in Romantic works.
Scott’s Waverley novels, as his fiction is collectively known, are increasingly popular in the classroom, where they fit into courses that explore topics from Victorianism and nationalism to the rise of the publishing industry and the cult of the author. As the editors of this volume recognize, however, Scott’s fictions present unusual challenges to instructors. Students need guidance, for instance, in navigating Scott’s use of vernacular Scots and antique styles, sorting through his historical and geographical references, and distinguishing his multiple authorial personas. The essays in this volume are designed to help teachers negotiate these and other intriguing features of the Waverley novels. Part 1, “Materials,” guides instructors in selecting appropriate editions of the Waverley novels for classroom use. It also categorizes and lists background and critical studies of Scott’s novels and recommends additional readings for students, as well as multimedia instructional resources.
The essays in part 2 examine the novels’ relation to Scottish history, Scott’s use of language, and concepts of Romantic authorship; consider gender, legal, queer, and multicultural approaches; recommend strategies for teaching Scott alongside other authors such as Jane Austen; and offer detailed ideas for introducing individual novels to students—from imagining Ivanhoe in the context of nineteenth-century medievalism to reconsidering how the ethical issues raised in Old Mortality reflect on religion and violence in our own day.
When it was first published, in 1823, Claire de Duras’s novel Ourika became a best seller almost immediately, and in recent decades, instructors have found it an irresistible addition to their syllabi. But from a teacher’s perspective the novel presents something of a paradox. It is short, its narrative structure is uncomplicated, its vocabulary is limited, its plot is straightforward. It thus lends itself to “simple” readings that fail to reveal the novel’s rich fund of social and historical themes. Set against the backdrop of the French and Haitian revolutions, the Terror, and the restoration and featuring the first black woman narrator in French literature, Ourika raises issues of identity, inequality, exclusion, power, and race and gender relations. The goal of this Approaches volume is to help teachers bring out the novel’s profound and complex underpinnings and reveal Ourika, its Senegalese protagonist, as a victim of history and a timeless tragic heroine.
Part 1 provides an overview of editions of the novel and secondary resources, including critical, historical, and biographical studies. Also featured is a useful time line situating Duras’s life in its historical framework. Part 2 offers a wealth of pedagogical approaches, grouped in four sections, which focus on the historical context of the novel; on race, gender, and class issues; on teaching Ourika with other works of literature; and on interdisciplinary perspectives.
Throughout the volume, the editions of Ourika referred to are the MLA Texts and Translations paperback editions, in French and in English translation, published in 1994.
A central text both in Dickens’s career and in the history of the novel itself, Bleak House provides students and teachers occasion to discuss Victorian social concerns involving law, crime, family, education, and money and to learn about every stratum of English society, from the aristocracy to the homeless. But the sheer size of the novel and its narrative intricacy pose pedagogical obstacles. The essays in this volume offer instructors an array of practical strategies for use in the classroom: some describe courses organized exclusively around Bleak House; others offer ideas for teaching a single scene or topic in the novel.
Part 1, “Materials,” assesses editions and provides a guide to the wealth of resources available to instructors, including reference works, critical studies, and background readings, in print and on the Web. The essays in part 2, “Approaches,” discuss nineteenth-century British culture and Victorian social texts; present ways to teach specific scenes, patterns, and problems in the novel; describe intertextual approaches; and detail specific courses taught in different settings and at a variety of educational levels.
Edgar Allan Poe is a popular author, and students have often read his work by the time they reach the college or university classroom. His writings have inspired film, television, and musical adaptations—sources for much of students’ knowledge about Poe. Thus the challenge for teachers is to reacquaint students with Poe as a complex literary figure. This volume equips teachers with the tools necessary to meet that challenge.
Part 1 identifies the most frequently taught Poe texts, reviews useful editions of his work, and suggests secondary sources on Poe as well as television, film, music, and Web materials for use in the classroom. Essays in part 2 explore the relation between Poe’s writing and his biography, including his attitudes toward racial difference and plagiarism and his wide publication in the literary magazines of his time. Contributors consider the range of Poe’s writings, from his horror stories to his analytic essays and tales of ratiocination; his work is also compared with that of Stephen King, Alfred Hitchcock, and graphic novelists. Other essays assess the usefulness of theoretical approaches to Poe, especially psychoanalytic ones, and discuss the controversies concerning the literary merit of his work. Together, these essays bring to life the political, philosophical, and religious context in which Poe wrote.
A dugout canoe comes ashore on the island of Saint-Barthélemy in the Antilles; in it are a black man, Arsène, and a sleeping white child, Sarah. Seeking refuge, they are taken in by a good man, but the overseer of his plantation threatens both Arsène and Sarah with the loss of their freedom.
Deborah Jenson and Doris Kadish introduce Sarah, an 1821 novella by Desbordes-Valmore, explaining its autobiographical background, political context (the revolt of blacks against Napoléon’s soldiers), and literary genre (sentimentalism). The novella was a precursor to anticolonial and antislavery texts by Claire de Duras, Victor Hugo, George Sand, and Alphonse de Lamartine.
Marceline Desbordes-Valmore (1786–1859), born in an artisan’s family, was poor much of her life. Her arrival with her mother in the French Caribbean coincided with the outbreak of rebellion among the black population. After her mother’s death, Desbordes-Valmore returned to Europe, where she worked as an actress and eventually made her name as a Romantic poet.
It is both a challenge and a pleasure to teach the works of Oscar Wilde, “the master of paradox,” in the words of this volume’s editor. Wilde wrote at a pivotal moment between the Victorian period and modernism, and his work is sometimes considered prescient of the postmodern age. He is now taught in a variety of university courses: in literature, theater, criticism, Irish studies, cultural studies, gender studies, and gay studies.
This volume, like others in the MLA series Approaches to Teaching World Litereature, is divided into two parts. The first, “Materials,” suggests editions, resources, and criticism, both in print and online, that may be useful for the teacher. The second part, “Approaches,” contains twenty-five essays that discuss Wilde’s stories, fairy tales, poetry, plays, essays, letters, and life—from the perspective of a wide range of disciplines.
Women poets in nineteenth-century France made important contributions to major stylistic innovations—from the birth of elegiac Romanticism to the inauguration of free verse—and many were prominent in their lifetime, yet only a few are known today, and nearly all have been unavailable in English translation. Of the fourteen poets of this anthology some were wealthy, others struggled in poverty; some were socially conventional, others were cynical or defiant. Their poems range widely in style and idea, from Romantic to Parnassian to symbolist.
Gretchen Schultz, author of The Gendered Lyric: Subjectivity and Difference in Nineteenth-Century French Poetry, provides literary history and biographical notes to show the crucial role women played in nineteenth-century French poetry and to explain why they were criticized and—in the creation of the canon—often eclipsed.
The translators are Anne Atik, Michael Bishop, Mary Ann Caws, Melanie Hawthorne, J. S. A. Lowe, Rosemary Lloyd, Laurence Porter, Christopher Rivers, Gretchen Schultz, Patricia Terry, and Rosanna Warren.
Twentieth-century modernism reduced the list of nineteenth-century American poets to Walt Whitman, Emily Dickinson, and (less often) Edgar Allan Poe. The rest were virtually forgotten. This volume in the MLA series Options for Teaching marks a milestone in the resurgence of the study of the rest. It features poets, like Henry Wadsworth Longfellow and Lydia Huntley Sigourney, who were famous in their day, as well as poets who were marginalized on the basis of their race (Paul Laurence Dunbar, Alexander Posey) or their sociopolitical agenda (Emma Lazarus, John Greenleaf Whittier). It also takes a fresh look at poets whose work has been dismissed as sentimental (Frances Osgood), genteel (Oliver Wendell Holmes), or didactic (William Cullen Bryant).
The volume’s twenty-two essays are grouped into parts: “Teaching Various Kinds of Poems,” “Teaching Poets in Context,” and “Strategies for Teaching.” The fourth part is a selective guide to the field: an annotated bibliography of editions, anthologies, reference books, biographies, critical studies, and Web resources.
Emily Brontë’s Wuthering Heights has long held a high position in the academy and in popular culture. It is taught at levels from high school English to doctoral studies and has been adapted in enough film and television versions that many students who know nothing about the book know who Heathcliff is. Nevertheless it is not an easy novel to teach. Thus in addition to surveying experienced teachers of Wuthering Heights, the editors sought to learn directly from students what in the novel was difficult for them and what worked best in engaging their interest. As a result, the approaches suggested in this volume reflect practices that have proved successful for both students and teachers.
Part 1 of this Approaches volume, “Materials,” surveys and assesses the available editions of Wuthering Heights, identifies editions of other works by Emily Brontë, reviews biographies and other background materials, notes the critical studies most frequently mentioned as useful by instructors, and provides an annotated list of resources on the Internet.
Among the classroom strategies described in part 2, “Approaches,” are the following:
View Cart