Category Archives: Syllabi

Golden, “Mapping Global Women Writers”

Course Websites

Golden’s course, “Global Digital Modernisms,” at the New York Institute of Technology

Link here

Golden’s course, “Global Literature and Digital Media,” at the New York Institute of Technology

Link here

Further Reading/Project Examples

Golden on mapping Jacob’s Room for TECHStyle, a forum for sharing multimodal pedagogy at Georgia Tech, November 12, 2013

Link here

Soweto Historical GIS Project at Digital Humanities Initiative at Hamilton College

Link here

Brian Croxall, mapping Mrs. Dalloway, Introduction to Digital Humanities at Emory University

Link here

Additional previous posts and resources by Golden here on “Teaching Modernist Women’s Writing in English”:

“Navigating Modernism’s Visual History”

“Digital Woolf”

Related Reading: Gordon and Southworth, Foster

Cheney, “How to Write and Gertrude Stein and How to Read”

Gertrude Stein:  Resources
compiled by Matthew Cheney

By Gertrude Stein

Texts

Collections

About Gertrude Stein

Analytical

Biographical

Pedagogies and Practices

Kopley, “Teaching the Revisions of Woolf and Others”

Bibliography of Draft Material by Woolf

 

Draft versions of books by Woolf

(listed chronologically by initial publication of each book for which the following are draft versions)

Melymbrosia: An Early Version of The Voyage Out, edited by Louise DeSalvo, New York Public Library, 1982.

Virginia Woolf’s Jacob’s Room: The Holograph Draft, edited by Edward Bishop, Pace UP, 1998.

“The Hours”: The British Museum Manuscript of Mrs. Dalloway, edited by Helen Wussow, Pace UP, 1996.

To the Lighthouse: The Original Holograph Draft, edited by Susan Dick, U of Toronto P, 1982.

Orlando: The Holograph Draft, edited by Stuart N. Clarke, S. N. Clarke, 1993.

Women & Fiction: The Manuscript Version of A Room of One’s Own, edited by S. P. Rosenbaum, Blackwell, Shakespeare Head P, 1992.

The Waves: The Two Holograph Drafts, edited by J. W. Graham, U of Toronto P, 1976.

The Pargiters: The Novel-Essay Portion of The Years, edited by Mitchell A. Leaska, Hogarth Press, 1978.

Pointz Hall: The Earlier and Later Typescripts of Between the Acts, edited by Mitchell A. Leaska, New York UP, 1983.

Articles and book chapters including primary draft material by Woolf

Daugherty, Beth Rigel. “Virginia Woolf’s ‘How Should One Read a Book?” Woolf Studies Annual vol. 4, 1998, pp. 123–85.

DeSalvo, Louise A. “Virginia Woolf’s Revisions for the 1920 American and English Editions of The Voyage Out.” Bulletin of Research in the Humanities, vol. 82, 1979, pp. 338–66.

Gabler, Hans Walter. “A Tale of Two Texts: Or, How One Might Edit Virginia Woolf’s To the Lighthouse.” Woolf Studies Annual vol. 10, 2004, pp. 1–29.

Gewirtz, Isaac. “‘With Anger and Emphasis’: The Proof Copy of A Room of One’s Own.” Woolf Studies Annual, vol. 17, 2011, pp. 1–76.

Haule, James M.; Charles Mauron (trans.) “‘Le Temps passe’ and the Original Typescript: An Early Version of the ‘Time Passes’ Section of To the Lighthouse.” Twentieth Century Literature, vol. 29, no. 3, 1983, pp. 267–311.

Hankins, Leslie Kathleen. “Virginia Woolf’s ‘The Cinema’: Sneak Previews of the Holograph Pre-Texts through Post-Publication Revisions.” Woolf Studies Annual vol. 15, 2009, pp. 135–75.

Hildick, Wallace. “Virginia Woolf.” Word for Word: A Study of Authors’ Alterations with Exercises. Faber and Faber, 1965. 176–87.

Lavin, J. A. “The First Editions of Virginia Woolf’s To the Lighthouse.Proof: The Yearbook of American Bibliographical and Textual Studies 2, edited by Joseph Katz, U of South Carolina P, 1972, pp. 185–211.

McGinn, Emily, Amy Leggette, Matthew Hannah, and Paul Bellow. “Comparing Marks: A Versioning Edition of Virginia Woolf’s ‘The Mark on the Wall.’” Scholarly Editing: The Annual of the Association for Documentary Editing vol. 35, 2014. Web. 21 March 2017. <http://scholarlyediting.org/2014/editions/markonthewall.html>.

Moore, Madeline. “Orlando: An Edition of the Manuscript.” Twentieth Century Literature, vol. 25, nos. 3/4 (Virginia Woolf Issue), 1974, pp. 303–55.

Radin, Grace. “‘Two enormous chunks’: Episodes Excluded During the Final Revisions of The Years.” Bulletin of the New York Public Library, vol. 80, 1977, pp. 221–51.

Scott, Alison M. “‘Tantalising Fragments’: The Proofs of Virginia Woolf’s Orlando. Papers of the Bibliographical Society of America, vol. 88, no. 3, 1994, pp. 279–351.

Shields, E. F. “The American Edition of Mrs. Dalloway.” Studies in Bibliography, vol. 27, 1974, pp. 157–75.

Squier, Susan. “A Track of Our Own: Typescript Drafts of The Years.” Virginia Woolf: A Feminist Slant, edited by Jane Marcus, U of Nebraska P, 1983, pp. 198–211.

Wright, Glenn P. “The Raverat Proofs of Mrs. Dalloway.” Studies in Bibliography, vol. 29, 1986, pp. 241–61.

Digital primary draft material by Woolf

Digital Orlando. Loyola University Chicago. Web. 21 March 2017. <http://students.ctsdh.luc.edu/projects/finals/hannah/?node=content/text&id=117>.

McGinn et al. [cited above]. “The Mark on the Wall” Edition. Web. 21 March 2017. <http://scholarlyediting.org/2014/editions/markonthewall_ho17.html>.

“Notebook drafts of Virginia Woolf’s Mrs. Dalloway.” The British Library. <https://www.bl.uk/collection-items/notebook-drafts-of-virginia-woolfs-mrs-dalloway-volume-i>. Accessed 1 April 2017.

“Woolf in the World: A Pen and a Press of Her Own.” Page proofs of To the Lighthouse. Mortimer Rare Book Room, Smith College. <http://www.smith.edu/libraries/libs/rarebook/exhibitions/penandpress/case10b.htm>. Accessed 1 April 2017.

Woolf Online. Ed. Pamela L. Caughie, Nick Hayward, Mark Hussey, Peter Shillingsburg, and George K. Thiruvathukal. Web. 21 March 2017.  <http://www.woolfonline.com>.

 

Related reading:   Gordon and Southworth, Mendelman, Kane, Sorensen

Ambrose, “The Woman Born with a Difference: Teaching the Lesbian Novel in a Modernist Context”

The Lesbian Novel:  Recommended Reading/Suggested Course Texts

Barnes, Djuna. Ladies Almanack: showing their Signs and their tides ; their Moons and their Changes ; the Seasons as it is with them ; their Eclipses and Equinoxes ; as well as a full Record of diurnal and nocturnal Distempers. Dalkey Archive P, 1992.

—–. Nightwood. New Directions, 2006.

—–. Ryder. St. Martin’s, 1979.

Barney, Natalie Clifford. Women Lovers, or The Third Woman. Translated by Chelsea Ray, U of Wisconsin P, 2016.

—–. The One Who is Legion; or A.D.’s After-Life. Orono: U of Maine Printing Office, 1987.

Berners, Gerald. The Girls of Radcliff Hall. Elysium P, 2000.

Collette. The Complete Claudine: Claudine at School; Claudine in Paris; Claudine Married; Claudine and Annie. Farrar, Straus, Giroux, 2001.

Delarus-Mardrus, Lucie. The Angel and the Perverts. Translated by Anna Livia, NYUP, 1995.

Frederics, Diana. Diana: A Strange Autobiography. NYU P, 1995.

Hall, Radclyffe. The Unlit Lamp, White P, 2015.

—–. The Well of Loneliness. Anchor, 1990.

H.D. HERmione. New Directions, 1981

Larsen, Nella. Passing. A. A. Knopf, 1929.

McCullers, Carson. The Member of the Wedding. Mariner, 2004.

Proust, Marcel. Sodom and Gomorrah. Penguin Classics, 2005.

Renault, Mary. The Friendly Young Ladies. Vintage, 2003.

Sackville-West, Vita. Challenge. Virago, 2012.

—–. Heritage. Bello, 2012. 

Stein, Gertrude. The Autobiography of Alice B. Toklas. Vintage Books, 1990.

—–. Three Lives. Enhanced Media, 2017.

Stratchey, Dorothy. Olivia. Cleis P, 2006.

Vivien, Renée. A Woman Appeared to Me. Translated by Jeannette H. Foster. Naiad P, 1976.

—–. L’être double. ErosOnyx, 2014.

Wilhelm, Gale. Torchlight to Valhalla. Pomona P, 2012.

—–. We Too Are Drifting. Naiad P, 1985.

Woolf, Virginia. Between the Acts. Mariner, 1970.

—–. Mrs. Dalloway. Mariner, 1990.

—–. Orlando: A Biography. Mariner, 1973.

—–. To The Lighthouse. Harcourt Brace, 1989.

—–. The Voyage Out. CreateSpace, 2017. 

—–. The Waves. Harvest, 1978.

Dinsman, “Women’s Writing and Film Adaptation: Teaching Late Modernism, Melodrama, and World War II Propaganda”

The course website described by Dinsman was created with WordPress and is housed on the CUNY Commons.  Link here

Suggested Reading (as listed in the chapter “Women’s Writing and Film Adaptation”)

Novels and Essays

Films and Documentaries

Phyllis Bottome, The Mortal Storm

Frank Borzage, The Mortal Storm

Elizabeth Bowen, The Demon Lover

Harold French, Unpublished Story

Elizabeth Bowen, The End of the Day

Alfred Hitchcock, Foreign Correspondent

Daphne du Maurier, Rebecca

Alfred Hitchcock, Rebecca

Henry Green, Caught

Humphrey Jennings, Fires Were Started

Henry Green, Loving

Humphrey Jennings, London Can Take It

Grahame Greene, The End of the Affair

Fritz Lang, The Ministry of Fear

Graham Greene, The Ministry of Fear

William Wyler, Mrs. Miniver

Patrick Hamilton, Hangover Square

Patrick Hamilton, The Slaves of Solitude

Other Media Objects

Louis MacNeice, “Autumn Journal”

Vera Brittain, Wartime Chronicle (diary)

Jan Struther, Mrs. Miniver

Winston Churchill (speeches)

Evelyn Waugh, Put Out More Flags

Mass-Observation (report excerpts)

Virginia Woolf, Between the Acts

Ministry of Information (MOI) (propaganda posters)

Virginia Woolf, Three Guineas

Edward R. Murrow (radio broadcasts)

Virginia Woolf, “Thoughts on Peace…”

J.B. Priestley, Britain Speaks (radio broadcasts)

Additional Suggestions

Books

Vera Brittain, England’s Hour
T.S. Eliot, Four Quartets

Henry Green, Back
Graham Greene, The Confidential Agent
Storm Jameson, England to Let
Storm Jameson, London Calling: A Salute to America

Dorothy Sayers, Begin Here: A War-Time Essay
G.W. Stonier, Memoirs of a Ghost
G.W. Stonier, Shaving Through the Blitz
M.J. Tambimuttu, Out of this War
Rex Warner, The Aerodrome
Rebecca West, Black Lamb and Grey Falcon

Films

Charlie Chaplin, The Great Dictator
Alfred Hitchcock, Lifeboat
Leslie Howard, ‘Pimpernel’ Smith
Humphrey Jennings, Listen to Britain!
Michael Powell and Emeric Pressburger, The Life and Death of Colonel Blimp
Michael Powell and Emeric Pressburger (with MOI), 49th Parallel
Michael Powell and Emeric Pressburger (with MOI), The Volunteer

Other Media Objects

E.M. Forster, The BBC Talks of E.M. Forster (radio broadcasts)
Ministry of Food recipes Link here
Louis MacNeice, Christopher Columbus (radio play)
George Orwell, The War Broadcasts (radio broadcasts)
Propaganda Posters: Imperial War Museum  Link here 

 

Navigating Modernism’s Visual History 

This is a guest post by Teaching Modernist Women’s Writing in English hopeful contributor Amanda Golden.  Amanda Golden is an Assistant Professor of English at the New York Institute of Technology. She previously held the Post-Doctoral Fellowship in Poetics at Emory University’s Fox Center for Humanistic Inquiry and a Marion L. Brittain Postdoctoral Fellowship at the Georgia Institute of Technology. She is the author of Annotating Modernism: Marginalia and Pedagogy from Virginia Woolf to the Confessional Poets (Routledge, forthcoming) and editor of This Business of Words: Reassessing Anne Sexton (UP of Florida, 2016). She has published in Modernism/modernityWoolf Studies Annual, and The Ted Hughes Society Journal and her essays on digital pedagogy can be found in TECHStyle and Postcolonial Digital Humanities.

My “Writing New York” course this term at the New York Institute of Technology invites students to develop greater facility with visual and digital tools as they construct arguments analyzing the role of New York in poetry, prose, and fiction from predominately the first half of the twentieth century.

The students began navigating modernism’s visual history early in the term. While reading Elizabeth Losh, et al.’s Understanding Rhetoric: A Graphic Guide to Writing, the students practiced constructing visual arguments while exploring the relationship between the design of a little magazine published in New York and its contents in our “Visual Literacy and the Modernist Journals Project” assignment.  (The digital tasks described here took place during the second half of an eighty-minute class period.)  When we read Edith Wharton’s “New Year’s Day” from Old New York (1924), the students interpreted the role of the city in the characters’ interactions in an assigned section of the reading, investigating the significance of their locations using Google Maps. In “Locating Old New York,” the students had unexpected observations, including the number of fires that the novella’s Fifth Avenue Hotel experienced in the late nineteenth and early twentieth centuries. This assignment also enabled the students to gain greater familiarity with “New Year’s Day” in preparation for their essays analyzing the role of humanity amidst the machinery of the city in E. B. White’s “Here is New York” (1949), Wharton’s story, or in both texts.

As we turned to the Harlem Renaissance, our class assignments began to include more written, oral, visual, electronic, and nonverbal components.*  We held a thesis contest in which students presented arguments addressing Langston Hughes’s poetry and prose. Students then combined text, images, and videos in their interpretations of the role of New York in at least one poem during our “Snapchat with Claude McKay.” When we read a chapter of Nella Larsen’s Passing, the students used Google Tour Builder to depict its events, including the contents of the conversations and their significance. The task of mapping Passing presented an opportunity for students to explore the text and the software in preparation for their group map assignments. In this project, the students have the option to use Google Maps, Google Tour Builder, or a combination of elements in a Prezi, Power Point, or Word Document, to create a visual argument analyzing at least one text by one of the writers we have read. Each group will also compose a rationale addressing the arguments that their map makes.

The linear format of Google Tour Builder provides a legible structure in which students can insert annotations interpreting passages from the text. After I learned of this program from Gabriel Hankins, I asked students in my Global Digital Modernisms course this term to construct tours of Paris in Jean Rhys’s Good Morning, Midnight (1938). Google Maps, which my previous classes have used in projects, such as creating annotated maps of Virginia Woolf’s Jacob’s Room, allows for a visual interpretation in which the lines on the map need not address one route, but could indicate various connections with different colors.

Figure 1

Figure 1

When I last taught my Global Digital Modernisms course, the students used Prezi when mapping Good Morning, Midnight to combine annotations and current Google Street views with backgrounds, such as historical maps (Figure 1). Prezi also allows for more complicated maps of texts, such as one group’s depiction of the protagonist’s memories (Figure 2). A current issue with Prezi is that their free educational subscription no longer allows students to keep materials private. I prefer that students keep their work offline, sharing it with their professor. If students choose to do so, they can make their work public when it is finished.

Figure 2

Figure 2

The final project in my Writing New York course will combine research and digital media as students compose a script that they will record or film as a podcast or video. This assignment includes students’ research using primary and secondary sources and builds on the digital and visual literacy skills they acquired in previous assignments. Complementing our reading during the second half of the course, we will look to The History Chicks’s Dorothy Parker podcast and Patti Smith’s interview with Paul Holdengräber at the New York Public Library video as examples for synthesizing elements of conversation, research, and close reading.  When I assigned a similar project in my African American Literature from the Harlem Renaissance to the Digital Present course, the students found our critiques of sample interviews particularly helpful in developing their own projects.  Their assignment, “Mock Interviews with Contemporary African American Writers,” grew out of one that Anne Sexton proposed to her “Anne on Anne” students at Colgate University in 1972.

In their script and podcast or video assignments, my Writing New York students will demonstrate the ability to analyze quotations, acknowledge sources, and develop arguments. Creating podcasts or videos, using such tools as Audacity, Soundcloud, and VoiceThread, the students can use phones, tablets, and computers to record and edit their projects, working in new ways with devices with which they may already be familiar. Blending creativity and research, this assignment invites students to combine language, sound, and media to create digital interpretations of modernist texts.

 

*In the Writing and Communication Program at the Georgia Institute of Technology, this is called WOVEN Communication and the ways these elements overlap comprise an artifact’s “multimodal synergy.” See WOVENText. Version 2.2. Bedford/St. Martin’s Press. http://ebooks.bfwpub.com/gatech.php. Accessed 21 March, 2016.