Course name: VICTORIAN LITERATURE

Course code: LLE4161

Study year: 2EnA
Curse tutor: Conf. dr. Adrian Radu
Office: M12
Web: adrian-radu.ro/victorian-literature
Email: adrian.d.radu@outlook.com

1. Description and aims

The aim of this course is to acquaint the students with the Victorian age in England, in general and with
the main literary manifestations, writers and creations of the period, in particular. Although the course is
basically writer oriented, the approach is thematic, associating one or several authors, including
comparative outlooks across several similar writers / works as well. Besides theoretical considerations a
number of texts are also included to be studied and discussed with the aim to familiarize the students
with the literary output of the age and to enable them to discern how the problems and the tendencies of
those days are reflected in each particular case, the extent to which they met the Victorian readers
horizon of expectation and how such texts are read by contemporary readers.

2. Time map
2.1 Lectures
L1. Victorian England: the age and the spirit of the age
The political and social background of Victorian England. The Industrial Revolution and aftermath. Queen
Victoria and the Royal Family. Scientific discoveries, economic progress and prosperity: the Great
Exhibition of 1851; real access to culture and education: public system of instruction, publication of cheap
editions, serialization, lending libraries; the modern newspaper. Inadequacy, poverty, unemployment and
social unrest: the Hungry Forties, the system of warehouses, the Peoples Charter. The cultural
background and the spirit of the age. Formative theories: Utilitarianism and Darwinism. The crisis of
belief. The tendencies of the age: discipline, reason and balance, and restlessness, divergence and
renovation. The fin-de-sicle spirit.
Critical bibliography: Radu, Palace of Art (5-8). Radu, Perceptions (5-14). Ford (59-119). Baugh
(1279-86, 1448-54). Galea (9-53).

L2. The mechanics of Victorian literature

The literature of the age as meeting ground for traditionalism and modernism. The novel as the dominant
Victorian literary genre: realism, social criticism, chronological construction of the plot, serialisation,
modes of representation. Forms of Victorian novels (cf. Bakhtin): the monologic (Dickens, Eliot, Hardy)
and dialogic (Thackeray partially, E. Bront) form. The alternative ending (Dickens). Narrative
techniques: omniscience (Ch. Dickens, W. M. Thackeray: Vanity Fair), Ch. Bront: Shirley, G. Eliot), 1st
person narration and the pseudo-autobiography (Ch. Bront: Jane Eyre), effects of using narrators (E.
Bront), the combined technique: 1st person and 3rd person narration (Ch. Dickens: Bleak House),
omniscience and narrators (Ch. Bront: Shirley). Ch. Bronts and W. M. Thackerays omniscience and
implied readers. The self-reflexive text (Thackeray). Types and characteristics of the Victorian novel.
Directions in Victorian poetry: restraint of mind and obedience of form, poetry and Utilitarianism,
marginalisation and elitism, continuators and innovators, the problem of content and form, Victorian
genres: the idyll and the dramatic monologue (Tennyson and Browning).
Critical bibliography: Radu, Palace of Art (10-15). Radu, Perceptions (48-52, 136-141). Shires in
David (6176), Flint in Deirdre (17-36). Fraser in Bristow (114-36). Pearsall in Bristow (67-88).
Macsiniuc (27-48).

L3. The industrial / condition of England novel

Industrial Revolution and industrial culture. The industrial novel and the representation of industrial
landscapes, class and social content: Ch. Dickens: Hard Times, Ch. Bront: Shirley, E. Gaskell: North and
South, B. Disraeli: Sybil. Charles Dickens: Critical realism and entertainment, the comedy of life; Hard

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Times: Industrial revolution and Utilitarianism, the novel of hard facts men; Mrs Gradgrind and the
principles of Utilitarian education: methodology and effects, industrialism and ecology, Coketown as
dystopic representation of the city. Elizabeth Gaskell: North and South.
Critical bibliography: Radu, Palace of Art (26-8). Radu, Perceptions (141-157). Allen (159-74). Galea
(7388). Ford (135-7). Daiches (1049-59). Ingham (78-101). Tomalin, Charles Dickens: A Life.

L4. The regional / provincial novel

The representation of local communities and social networks in non-urban England: George Eliot (The
Mill on the Floss and Middlemarch), George Eliot (Cranford). G. Eliot: Middlemarch: ruralism and
microcosm of English life in the pre-industrial age; omniscience, multiplot structure and gallery of
characters; feminism, female assertion and the womans condition, Dorothea Brookes case: intellect vs.
passion; Tertius Lydgate and the intellectual tension; The Mill on the Floss: lights and shadows of
brotherly love, passion vs. social conventions. Elizabeth Gaskell: Cranford.
Critical bibliography: Radu, Palace of Art (89-90). Radu, Perceptions (194-207). Allen (230-4). Galea
(142-163). Daiches (1066-72). Ford (276-93).

L5. The human comedy

W.M. Thackeray, Vanity Fair: the fair, puppets and the show-master and the Bakhtinian concept of
carnival and the grotesque body, typology of characters, the portrait of the upstart, games of love and
vanity, matrimony, inheritance and marital triangles: Becky Sharp and Amelia Sedley vs. Rawdon Crawley
and George Osborne, Cpt. Dobbin, the odd man out; the novel without a hero. Dickens and Thackeray and
perspectives of character treatment.
Critical bibliography: Radu, Palace of Art (50-1). Radu, Perceptions (157-169). Allen (174-82). Galea
(89106). Ford (147-53). Daiches (1059-64).

L6. The gender debate

The position of the woman and the need for emancipation and equality. Female and feminine attitudes:
the woman as writer and character. The evolution of the cultural feminine identity (cf. Showalter): the
feminine, feminist and the female stages). Charlotte Bront: Jane Eyre: romantic imagery and the Gothic
inserts; the home as repressive space: the motif of the red room, the recurrent sequence of enclosure and
escape, Lowood School and Thornfield Hall as dominant habitats; the complex of the madwoman in the
attic, Janes initiatic life and experience towards assertion of her own female self. Shirley: regionalism,
economic troubles and historical events, strategies of the omniscient writer, feminism and power.
Critical bibliography: Radu, Palace of Art (59-60). Radu, Perceptions (169-175). Allen (180-90),
Galea (114126), Daiches (1064-6), Ford (256-8). Gaskell: The Life of Charlotte Bront.

L7. The tempest in the soul

Emily Bront, Wuthering Heights: the tempest in the soul, setting and cosmic order, condition of man
and new cosmogony. The Gondal heroes revisited: Catherine and Heathcliff a story of destructive love
and passion, Heathcliff and the drama of the misfit. The Gondal space: Wuthering Heights and
Thrushcross Grange: home or dwellings; the setting as atemporal and nondimensional space; the
threshold and the window as archetypes of crossing-over; the after-life space. Gothic paradigms.
Narrative technique: effects of using narrators.
Critical bibliography: Radu, Palace of Art (71). Radu, Perceptions (175-183). Allen (194-8). Galea
(128-141). Daiches (1064-6), Ford (260-73).

L8. The condition of man

The anti-Victorian reaction: beyond mechanicist and materialist standards. Thomas Hardy: destiny and
the tragic condition of man, Greek drama and the principle of fate and predestination; unity of space:
Wessex, space and nature as correlative of the human mind and condition. Tess of the dUrbervilles:
destiny and tragedy of human flaws. Tess, a pure woman (?). Jude the Obscure and the conflict between
flesh and spirit, instinct and civilisation.

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 Critical bibliography: Radu, Palace of Art (171-3). Radu, Perceptions (211-223). Galea (180-201),
Daiches (1073-82), Ford (406-19), Baugh (1464-74).
L9. The aesthetic debate
The doctrine of aestheticism: Walter Pater and his hedonistic thinking the anti-reaction to
Utilitarianism and moral art; art for art sake; the autonomy of aesthetic standards from morality, utility,
or pleasure. Oscar Wilde: The Picture of Dorian Gray: the Preface as the authors aphoristic manifesto
about art, artists, critics, and audience and the importance of beauty in the context of the Aesthetic
movement; the characters of Lord Henry and Basil and their impact on Dorian; Dorian, the human vs. the
painting significances and its eventual destruction; homoerotic attitudes; the Gothic romance; the
aesthetic vs. the moral debate; Dorians story and the Faustian pact.
Critical bibliography: Baugh (ed.) (vol. IV, 1479-82). Daiches (vol. IV, 1103-4). Ford (ed.) (vol. VI,
385-405).
L10. Late romanticism and neo-classicism: Alfred Tennyson
Romanticism vs. reason, discipline and balance. Matthew Arnold: neo-classicism and the poetry of
meditation (Dover Beach). Alfred Tennyson: the disciplined and rational romantic; existential
dilemmas, the condition of the poet, activism vs. retreat (The Palace of Art and The Lady of Shalott);
existence vs. life, commitment vs. withdrawal (The Lotos Eaters and Ulysses); the heroic expectation
and the Victorian mould; the English idyll (Idylls of the King: The Passing of Arthur); the significance of
life and death (In Memoriam and Crossing the Bar).
Critical bibliography: Ford (227-44), Daiches (995-1002), Baugh (1382-91), Macsiniuc (103-24, 49-
73), Radu, Palace of Art (151, 119), Radu, Perceptions (52-70, 88-93).

L11. The dramatic monologue: Robert Browning

The dominance of the dramatic monologue as Victorian form; types of dramatic monologue (with /
without an interlocutor); the search for objectivity. Robert Browning: holy orders and worldly vanities
(Soliloquy of the Spanish Cloister and The Bishop Orders Hid Tomb); the dimensions of the artist (Fr
Lippo Lippi and Andrea del Sarto); gendered attitude and the condition of the woman (My Last Duchess
and Porphyrias Lover); verisimilitude and the challenge of the multiple point of view (The Ring and the
Book).
Critical bibliography: Pearsall in Bristow (67-88), Ford (245-55), Daiches (1002-7), Macsiniuc (75-
100), Radu, Palace of Art (135-6).

L12. The Pre-Raphaelite Movement and the prosodic renovation: Dante Gabriel Rossetti and Gerard Manley
Hopkins
Divergence and renovation; the need for rejuvenation and Romanticism reloaded. John Ruskin as
theoretical forerunner: mannerism vs. natural world and representation, greatness in art (Modern
Painters). The Pre-Raphaelite Movement and the re-discovery of early medievalism. The search for
detail, colour and form in painting and poetry. Dante Gabriel Rossetti, sensuality and tone (The House of
Life: Nuptial Sleep), painting and poetry (The Blessed Damozel). Gerard Manley Hopkins: Religious
dogma, God and power, the rediscovery of form and new prosodic techniques: inscape, instress and
sprung rhythm; the re-moulding of the language, obscurity and distorted syntax; the avatars of the
Messiah (The Starlight Night, The Windhover); existential dilemmas and the condition of the cleric
(Carrion Comfort).
Critical bibliography: Alkalay-Gut in Bristow (228-254). Baugh (1422-3, 1421-6). Ford (87-93, 352-
70, 353-74, 90-3). Macsiniuc (125-47). Radu, Palace of Art (12-13, 163-4). Radu, Perceptions (96-
104). Slinn in Bristow (46-66). Scheinberg in Bristow (159-79). Daiches (1042-8), Macsiniuc (151-
68). Radu, Palace of Art (193-5). Radu, Perceptions (115-130).
L13. The frame of mind: Victorian non-fiction
Thomas Carlyle: the lesson of history and the epic in prose, didacticism vs. docudrama, vitality of
presentation and cinematic technique (The French Revolution), the credit of authority and leadership, the
hero as divinely appointed Messiah, avatars of the hero (On Hero-Worship and the Heroic in History).
Matthew Arnold: the condition of the critic, education and the goals of poetry (The Function of Criticism
at the Present Time and The Study of Poetry), society and awareness, the role of culture and education

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(Culture and Anarchy). John Ruskin: mannerism vs. natural world and representation, greatness in art
(Modern Painters), morality and the idea of moral art, return to Nature and natural forms, visionary
ecologism (The Stones of Venice and The Seven Lamps of Architecture).
Critical bibliography: Radu, Palace of Art (9-10, 16, 21, 151), Radu Perceptions (16-47), Ford (59-
119, 294-308, 309-23), Baugh (1279-86, 1309-21, 1412-54), (Galea (9-53).
L14. Workshop: Victorian literature at the crossroads between tradition and modernity
2.2 Seminars and workshop
S1. The Precursor: Jane Austen
The influence of biography: family, lifestyle changes, relationship with Cassandra, 1809-1817 time at
Chawton. Emma: Narrative technique: omniscient writer, 3rd person narrative, Romantic-Victorian
commingling, fictionalisation of real life events / places / characters, the pull of the big city. Critical
realism: modernisation of mentality and romantic relationships, inter-marriages of social classes,
anticipation of liberal thought. Character treatment: typologies, (gender) behaviour and representation,
fictional creations vs. real life.
Critical bibliography: Tomalin, Jane Austen: A Life: Three Books (156-168) and At Chawton (212-
224). Copeland and McMaster (ed.) (32-83, 189-210).
S2. Charles Dickens
1. Charles Dickens: Hard Times Condition of England novel: representations of the Industrial
revolution and Utilitarianism, industrialism and ecology, Coketown as dystopic representation of the
industrial city.
2. Chares Dickens: Hard Times Mr Gradgrind and the principles of Utilitarian education, education,
school and family (Mr Gradgrind, Tom and Louisa).
3. Charles Dickens: Great Expectations Bildungsroman: representation of growing-up and maturation,
evolvement from rags to riches.
4. Charles Dickens: Great Expectations typology of characters, parable of the good and the bad (Pip,
Miss Havisham, Estella, Joe Gargery, Abel Magwitch)
S3. George Eliot and W.M. Thackeray
5. George Eliot: Middlemarch ruralism and microcosm of English life in the pre-industrial age,
Middlemarch as provincial town and social network
6. George Eliot: Middlemarch structure, disposition and gallery of characters (Dorothea Brooke and
Mr Casaubons case: intellect vs. passion; Tertius Lydgate and Rosamond Vincy: family and intellectual
tension).
7. George Eliot: The Mill on the Floss lights and shadows of brotherly love (Maggie and Tom), passion
vs. social conventions.
8. W.M. Thackeray: Vanity Fair the novel and the fair: puppets and the show-master, the concept of
carnival and the grotesque body; the novel without a hero.
9. W.M. Thackeray: Vanity Fair typology of characters and the moral debate, vanities and marital
triangles (Rebecca, Amelia, Rawdon Crawley, George Osborne and Captain Dobbin).
S4. The Bront sisters
10. Charlotte Bront: Jane Eyre autobiographic Bildungsroman, feminine emancipation, the conflict
between Passion and Reason (Jane and Mr Rochester).
11. Charlotte Bront: Jane Eyre the motif of the Red Room and the multiple representations of the
place (Lowood School and Thornfield Hall).
12. Charlotte Bront: Shirley Condition of England novel: factory, employers (Shirley) and workers,
industrialisation and social unrest.
13. Emily Bront: Remembrance: voice, characters and locale, precursor of Wuthering Heights.

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14. Emily Bront: Wuthering Heights setting and cosmic order, the Gondal space: setting as atemporal
and nondimensional space, Wuthering Heights and Thrushcross Grange.
15. Emily Bront: Wuthering Heights: Mr Lockwood and Nelly Dean: acting characters and character
narrators, narrative technique.
16. Emily Bront: Wuthering Heights the Gondal heroes revisited: Catherine and Heathcliff a story of
destructive love and passion, Heathcliff and the drama of the misfit.
S5. Thomas Hardy and Oscar Wilde
17. Thomas Hardy: Tess of the dUrbervilles destiny and the condition of man, the principle of fate and
predestination; unity of space: Wessex as space of ill-omened nature.
18. Thomas Hardy: Tess of the dUrbervilles destiny and tragedy of human flaws. Tess, a pure woman
(?), Alec vs. Angel and the moral debate.
19. Walter Pater and Oscar Wilde: hedonistic thinking the anti-reaction to Utilitarianism and moral
art; art for art sake; the autonomy of aesthetic standards from morality, utility, or pleasure, the concept
of beauty and the Aesthetic movement.
20. Oscar Wilde: The Picture of Dorian Gray Lord Henry and Basil vs. Dorian Gray; Dorian, the human
vs. the painting significances and eventual destruction, Dorians story and the Faustian pact, homoerotic
attitudes.
S6. The aesthetics of Victorian poetry
21. Alfred Tennyson: the condition of the poet, activism vs. retreat (The Palace of Art and The Lady of
Shalott); existence vs. life, commitment vs. withdrawal (The Lotos Eaters and Ulysses).
22. Alfred Tennyson In Memoriam: Prologue, XXII (The path by which we twain did go); Crossing
the Bar.
23. Robert Browning the dramatic monologue with an interlocutor My Last Duchess.
24. Robert Browning the dramatic monologue without an interlocutor Porphyrias Lover.
25. D.G. Rossetti sensuality and tone (The House of Life: Nuptial Sleep), painting and poetry (The
Blessed Damozel).
26. G.M. Hopkins: The Starlight Night theme, form and prosodic techniques.
S7. Workshop: Research project presentations

3. Bibliography
3.1. Literary bibliography
Any edition is accepted. The texts preceded by an asterisk (*) represent compulsory reading.
Anne Bront: The Tenant of Wildfell Hall.
Charles Dickens: *Hard Times, Bleak House, Great Expectations.
Charlotte Bront: *Jane Eyre, Shirley.
Elizabeth Gaskell: North and South, Cranford, Wives and Daughters.
Emily Bront: *Wuthering Heights.
George Eliot: The Mill on the Floss, *Middlemarch.
Thomas Hardy: *Tess of the dUrbervilles.
William M. Thackeray: *Vanity Fair.

Alfred Tennyson : The Palace of Art, The Lady of Shalott, The Lotos Eaters, Ulysses, Idylls of the King:
*The Passing of Arthur, In Memoriam: *LVI (So careful of the type? but no.), *Crossing the Bar.
Robert Browning: Soliloquy of the Spanish Cloister, The Bishop Orders His Tomb, Fr Lippo Lippi,
Andrea del Sarto *My Last Duchess, *Porphyrias Lover.
Dante Gabriel Rossetti: *The Blessed Damozel, The House of Life: *Nuptial Sleep.
Charles Manley Hopkins: *The Starlight Night, The Windhover.

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3.2. Critical bibliography
Alexander, Christine and Margaret Smith. The Oxford Companion to the Bronts. Oxford: Oxford University
Press, 2006.
Allen, Walter. The English Novel. London: Penguin, 1958.
Armstrong, Isobel. Victorian Poetry: Poetry, Poetics and Politics. London: Routledge, 1993.
Baker, William and Kenneth Womack (eds.). A Companion to the Victorian Novel. Westport (CT):
Greenwood Press, 2002.
Baugh, Alfred C. (ed.). A Literary History of England. Second edition. Vol. 4: The Nineteenth Century and
After. By Samuel C. Chew and Richard D. Altick. London: Routledge and Kegan Paul Ltd., 1967. 4 vols.
Bowra, C. M. The House of Life. Wright 248-67.
Bradford, Richard. A Linguistic History of English Poetry. London: Routledge, 1993.
Brantlinger, Patrick and William B. Thessing (eds.). A Companion to the Victorian Novel. Oxford: Blackwell,
2002.
Bristow, Joseph (ed.). The Cambridge Companion to Victorian Poetry. Cambridge: Cambridge University
Press, 2000.
Buckley, Jerome Hamilton. Victorianism. Wright 3-15.
Cardwell, Margaret. Notes. Charles Dickens: Great Expectations. 491-503.
Chew, Samuel C. and Richard D. Altick. The Nineteenth Century and After. Baugh Vol. 4.
Childers, Joseph, W. Industrial culture and the Victorian Novel. Deirdre 77-96.
Copeland, Edward and Juliet McMaster (ed.). The Cambridge Companion to Jane Austen. Cambridge UP,
1997.
Cronin, Ciaran, Alison Chapman and Anthony Harrison (eds.). A Companion to Victorian Poetry. Oxford:
Blackwell, 2002.
Dahl, Curtis. The Victorian Wasteland. Wright 32-40.
Daiches, David. A Critical History of English Literature. Second edition. Vol. 4. London: Secker & Warburg,
1969. 4 vols.
Deirdre, David (ed.). The Cambridge Companion to the Victorian Novel. Cambridge: Cambridge University
Press, 2001.
Delaney, Denis, Ciaran Ward and Carla Rho Fiorina. Fields of Vision: Literature in the English Language.
Vol. 2. Harlow, Essex: Pearson Education / Longman, 2003. 2 vols.
Easson, Angus. Introduction. Gaskell. The Life of Charlotte Bront. vii-xxiii.
Ebbatson, Roger. George Eliot: The Mill on the Floss. London: Penguin, 1991.
Evans, Ifor. English Poetry in the Later Nineteenth Century. 2nd (ed.). London: Methuen, 1966.
Flint, Kate. The Victorian novel and its readers. Deirdre 17-36.
Ford, Boris (ed.). The Pelican Guide to English Literature. Vol. 6: From Dickens to Hardy. London: Penguin
Books, 1969. 7 vols.
Forster, Shirley. Introduction. Gaskell. North and South. vii-xxvi.
Galea, Ileana. Victorianism and Literature. Cluj-Napoca: Dacia, 2000.
Gaskell, Elizabeth. The Life of Charlotte Bront. 1857. London: Penguin, 1997.
Gezari, Janet. Introduction. Bront, Charlotte. Shirley. vii-xxii.
Gill, Stephen. Introduction. Dickens. Hard Times. vii-xxi.
Glen, Heather (ed.). The Cambridge Companion to the Bronts. Cambridge: Cambridge UP, 2002.
Handley, Graham. Thomas Hardy: Tess of the dUrbervilles. London: Penguin Books, 1991.
Harvey, Christopher. Revolution and the Rule of Law. Morgan 419-62.
Hawlin, Stefan. Robert Browning. London: Routledge, 2002.
Henry, Nancy. A Companion to Thomas Hardy. Oxford: Wiley Blackwell, 2009.
Horsman, Alan. The Victorian Novel. Oxford: Oxford University Press, 1990.
Ingham, Patricia. The Language of Gender and Class: Transformation in the Victorian Novel. London:
Routledge, 1996.
James, Louis. The Victorian Novel. Oxford: Blackwell Publishing, 2006.
Jedrzejewski, Jan. George Eliot. London: Routledge, 2007.
Jenkins, Alice (ed.). The Poems of Gerard Manley Hopkins. London: Routledge, 2006.
Jordan, John O. (ed.). The Cambridge Companion to Charles Dickens. Cambridge: Cambridge UP, 2006.
Klingopoulos, G. D. Hardys Tales Ancient and Modern. Ford 406-19.
Lgouis, Emile and Louis Cazamian. A History of English Literature. Revised edition. London: Dent, 1971.
Levine, George (ed.). The Cambridge Companion to George Eliot. Cambridge: Cambridge UP, 2001.
Levine, George. How to Read the Victorian Novel. Oxford: Blackwell, 2008.
Lootens, Tricia. Victorian Poetry and patriotism. Bristow 225-79.

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Lucas, F. L. Matthew Arnold. Wright 54-61.
Mackerness, E. D. The Voice of prophecy: Carlyle and Ruskin. Ford 294-308.
Macsiniuc, Cornelia. An Introduction to Victorian Poetry. Suceava: Editura Universitii Suceava, 2003.
Matthew, H. C. G. The Liberal Age. Morgan 463-522.
Mengham, Rod. Emily Bront: Wuthering Heights. London: Penguin, 1988.
Morgan, Kenneth (ed.). The Oxford Illustrated History of Britain. Oxford: Oxford University Press, 2000.
Neale, Catherine. George Eliot: Middlemarch. London: Penguin Books, 1989.
Nunokawa, Jeff. Sexuality in the Victorian novel. Deirdre 125-48.
OGorman, Francis (ed.). A Concise Companion to the Victorian Novel. Oxford: Blackwell, 2005.
Paroissien, David (ed.). A Companion to Charles Dickens. Oxford: Blackwell, 2008.
Pearsall, Cornelia D. J. The dramatic monologue. Bristow 67-88.
Radu, Adrian. Perceptions of Victorian Literature. Cluj-Napoca: Casa Crii de tiin, 2014.
Radu, Adrian. The Palace of Art. 2nd Edition. Cluj-Napoca: Editura Napoca Star 2012.
Richard Bradford. A Linguistic History of English Poetry. London: Routledge, 1993.
Sampson, George. The Concise Cambridge History of English Literature. Cambridge: Cambridge University
Press, 1972.
Shires, Linda. The aesthetics of the Victorian novel: form, subjectivity, ideology. Deirdre 61-76.
Smith, Margaret. Introduction. Bront, Anne ix-xxiv.
Tomalin, Claire. Charles Dickens: A Life. London: Penguin, 2011.
Tomalin, Claire. Jane Austen: A Life. London: Penguin, 2000.
Traversi, Derek. The Bront Sisters and Wuthering Heights. Ford 256-73.
Turner, Paul. Victorian Poetry, Drama and Miscellaneous Prose: 1832-1890. Oxford: Oxford University
Press, 1989.
Warwick, Slinn E. Experimental Form in Victorian Poetry. Bristow 46-66.
Watson, J. R. The Poetry of Gerard Manley Hopkins. London: Penguin Books, 1987.
Williams, Raymond. Culture and Society. London: The Hogarth Press, 1993.
Wright, Austin (ed.). Victorian Literature: Modern Essays in Criticism. London: Oxford University Press,
1961.
3.3. Internet resources
The Victorian Web. < www.victorianweb.org >.

4. Assessment
seminar attendance and activity: +/-
in-term research project: 1/3
end-of-term examination: 2/3

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