"This is London, How d'ye Like it?": Teaching the Streets in Eighteenth-Century London
Keywords:
London, Urbanity, Street WritingAbstract
As a professor of eighteenth-century British Literature I am often tasked (like my colleagues in other areas) with constructing a period based syllabus that "represents" this portion of literary history. Every semester, without fail, I am befuddled by the word "represents." How, exactly, do I want to "represent" the long eighteenth-century to students who are likely experiencing this rich era for the first time and, perhaps, will never experience it again? Do I employ what some may call a conservative approach with a chronological and canonical syllabus that includes the "best" of eighteenth-century authors? If I do, who are these "best" authors? Do I include as much as possible from Rochester to Austen (themselves a contradiction of epic proportions)? Instead, is it effective to organize the course around genre? Thus, a whole course devoted to the rise of the novel. If I choose this, how many novels can I expect upper-division students to read in fourteen weeks? How long will it take them to muddle their way through Tristram Shandy and Pamela? Or, instead, should it be thematically based? Perhaps a class organized around the formation of a literary marketplace? The effects of provincial presses? Changes in sexual mores? A class devoted to the rise of the middle class? Or, instead, maybe an entire class devoted to Grub Street hacks? These are only a few questions that plague me as I stumble my way through a syllabus that will inevitably be revised. These struggles, however, have led to interesting syllabi that provide the students with a rich and diversified approach to the eighteenth century. I have recently taught an author studies course devoted solely to Eliza Haywood, a special topics course devoted to changes in sexuality following the great fire, and an eighteenth-century course devoted to the rise of the female novelist. However, while these classes have been fun and, in my estimation, quite successful there are certainly drawbacks to teaching "street-level" content in an eighteenth-century course. One of the main concerns is that of content. Do I disservice the students and the period by not including authors such as Pope and Swift. Do I provide the students with a skewed (negative) view of Pope when only including the portion of his Dunciad that berates Eliza Haywood? Is it effective to teach something like Rochester's Sodom? Cleland's Memoirs of a Woman of Pleasure? In the end, this essay explores and questions the efficacy of "street-level" content on the construction and implementation of effective syllabi in courses devoted to eighteenth-century British Literature.Downloads
Published
Issue
Section
License
Authors who publish with this journal agree to the following terms:
1. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.