Modernism's Queer Spaces - ENG00088H

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  • Department: English and Related Literature
  • Module co-ordinator: Dr. Hannah Roche
  • Credit value: 20 credits
  • Credit level: H
  • Academic year of delivery: 2019-20
    • See module specification for other years: 2018-19

Module summary

From the vantage point of the twenty-first century, it is tempting to look back upon the modernist period as a thoroughly gay old time. As Ezra Pound was calling upon his contemporaries to ‘Make it New’ – a slogan that, in Michael North’s words, has become ‘so ubiquitous as to have lost its trademark status, like Kleenex or the Xerox copy’ – writers on both sides of the Atlantic were finding exciting ways of subverting textual and sexual norms. But for all the thrills of the sapphic salons, the possibilities of new gender identities announced by Virginia Woolf’s Orlando (1928), and narrative structures that refused to be ‘straight’, writers found themselves in a political climate that was as restrictive as it was progressive. With the First World War having raised suspicion of all that was ‘other’, novels as diverse as D.H. Lawrence’s The Rainbow (1915) and Radclyffe Hall’s The Well of Loneliness (1928) were banned under the outdated Obscene Publications Act of 1857. In an otherwise forward-thinking time of rapid scientific and technological advancement, writers and queer personalities were forced to seek new and often covert or coded means of representation. To quote Gertrude Stein, ‘machine making does not turn out queer things like us, they can never make a world to let us be free’.

This module takes readers on a tour of modernism’s most marginalised and most compelling queer spaces. From the dark alleyways of late-Victorian London (Jekyll and Hyde), we’ll go on to explore the salons of 1920s Paris (The Well of Loneliness, Nightwood), seventeenth-century Constantinople (Orlando), and the bedroom of an Italian bartender where a betrothed American expatriate undergoes a ‘sea-change’ (Giovanni’s Room). There are unlikely spaces here, too: a transatlantic steamer (Q.E.D.), the tearoom of the British Museum (Des Imagistes), and a postwar Berkshire farm (The Fox). We’ll read texts as queer spaces, taking in various forms and genres (the poem, the novella, the roman à clef) alongside visual materials and key critical works. Closely examining intersecting identities of race, nationality, and class, and probing the relationship between political radicalism and aesthetic experiment, we’ll ask important questions about censorship evasion and canon formation. What does it mean to ‘tell it straight’? Why are some writers ‘in’ and others ‘out’? Where would modernism be without its queer texts?

Module will run

Occurrence Teaching cycle
A Spring Term 2019-20

Module aims

This module aims to

  • introduce you to a wide range of ‘queer’ writers and texts from the modernist period
  • provide you with an insight into queer studies and early twentieth-century LGBTQ+ cultural and political history, demonstrating an interdisciplinary approach to literary study
  • encourage you to consider texts in spatial terms: as sites of resistance or (un)gendered plots
  • equip you with the knowledge and skills to conduct your own research on texts and contexts.

Module learning outcomes

On successful completion of this module you should be able to:

  • Demonstrate an advanced understanding of and engagement with a range of queer modernist texts.
  • Demonstrate an advanced understanding of and engagement with literary texts in their historical and political contexts.
  • Evaluate key debates within the relevant critical fields, especially the idea of canon formation and literary and social marginalisation.
  • Produce independent arguments and ideas which demonstrate an advanced proficiency in critical thinking, research, and writing skills.

Assessment

Task Length % of module mark
Essay/coursework
3500 word essay
N/A 100

Special assessment rules

None

Additional assessment information

You will be given the opportunity to hand in a 1000 word formative essay in the term in which the module is taught (usually in the week 7 seminar). Material from this essay may be re-visited in your summative essay and it is therefore an early chance to work through material that might be used in assessed work.

This essay will be submitted in hard copy and your tutor will annotate it and return it two weeks later (usually in your week 9 seminar). Summary feedback will be uploaded to your eVision account.

 

Reassessment

Task Length % of module mark
Essay/coursework
3500 word essay
N/A 100

Module feedback

  • You will receive feedback on all assessed work within the University deadline, and will often receive it more quickly. The purpose of feedback is to inform your future work; it is designed to help you to improve your work, and the Department also offers you help in learning from your feedback. If you do not understand your feedback or want to talk about your ideas further you can discuss it with your tutor or your supervisor, during their Open Office Hours
  • For more information about the feedback you will receive for your work, see the department's Guide to Assessment

Indicative reading

You may purchase any good scholarly edition (Oxford World’s Classics, Penguin Classics, Norton Critical Editions, etc.) of the primary texts. Please see the recommendations below:

  • Robert Louis Stevenson, Strange Case of Dr Jekyll and Mr Hyde (Penguin Classics, 2003).
  • Gertrude Stein, Three Lives and Q.E.D. (Norton Critical Editions, 2006).
  • D. H. Lawrence, The Rainbow (Oxford World’s Classics, 1998) and The Fox / The Captain’s Doll / The Ladybird (Penguin Classics, 2006).
  • Radclyffe Hall, The Well of Loneliness (Virago Modern Classics, 2011).
  • Virginia Woolf, Orlando (Oxford World’s Classics, 2008).
  • Djuna Barnes, Nightwood (Faber and Faber, 2007).
  • James Baldwin, Giovanni’s Room (Penguin Modern Classics, 2001).



The information on this page is indicative of the module that is currently on offer. The University is constantly exploring ways to enhance and improve its degree programmes and therefore reserves the right to make variations to the content and method of delivery of modules, and to discontinue modules, if such action is reasonably considered to be necessary by the University. Where appropriate, the University will notify and consult with affected students in advance about any changes that are required in line with the University's policy on the Approval of Modifications to Existing Taught Programmes of Study.