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Dr. Susan Sage Heinzelman, Director 2505 University Avenue, A4900, Burdine Hall 536, Austin Texas 78712 • 512-471-5765

Carol H MacKay

Core Faculty Ph.D., 1979, University of California Los Angeles

Professor
Carol H MacKay

Contact

Biography

College: Liberal Arts

Home Department: English

Education: PhD, University of California, Los Angeles

Research interests:
Victorian fiction; women's autobiographies; Friends of the Dickens Project (organizational affiliation)

Courses taught:
WGS 345 Women's Autobiographical Writing-W

E316K British Women Writers

E328 The Novel in the Nineteenth Century

E379HA The Brontes: Self and Society

WGS 345 • Women's Autobiographcl Wrtg

47925 • Fall 2014
Meets MWF 100pm-200pm PAR 204
(also listed as E 370W )
show description

Instructor:  MacKay, C

Unique #:  35935

Semester:  Fall 2014

Cross-lists:  WGS 345

Flags:  Cultural Diversity; Writing

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: Writers have always employed an ingenious array of narrative strategies to construct and project their sense of an autobiographical self, but historically that task has entailed an additional cultural challenge--if not an outright psychological impossibility--for women writers worldwide. Although the male autobiographical impulse did not fully begin to manifest itself in Western culture until Rousseau (notwithstanding the anomaly of St. Augustine), women still tended to confine themselves to the less overt (and egoistic) modes of the diary, letter, memoir (often purporting to be about another subject), and fiction. It is the goal of this course to examine the autobiographical impulse in women's writing by exploring the concept of the individualistic self vs. the sense of self as a part of community (and duty)--and the ways in which that communal self can both partake of humankind and participate in self-actualization.

We will begin by reading excerpts from Carolyn Heilbrun's Writing a Woman's Life (1988) and conclude with Virginia Woolf's A Room of One's Own (1929). In between, we will be tracing women's autobiographical writings from Sappho to Tillie Olsen, encompassing as well the recorded experience of the African American, the Chinese American, and the Chicana. Although members of the class may have read individual titles from the course list before, they will now have the opportunity to read them critically within the context of other women's writing--itself likely to be a first-time experience. Finally, each student will be responsible for introducing to the rest of the class a single work not on the reading list and "outside" its cultural curve; these titles will constitute a multicultural list for future (and I hope immediate!) reading.

Texts:

Selected poetry (oral reports): Sappho, Bradstreet, Wheatley, E. Brontë, E.B. Browning, Rossetti, Dickinson, H.D., Moore, Brooks, Bishop, Plath, Rich, Sexton, Giovanni, Levertov, Lorde.

Selections (handouts): Julian of Norwich, Revelations of Divine Love (1373); Kempe, The Book of Margery Kempe (1436-38); St. Teresa, The Life of Teresa of Jesus (1562-65); Wollstonecraft, Travels in Norway and Sweden (1796); A. James, Diary (1892); Olsen, Silences (1978).

Books (to be purchased): C. Brontë, Jane Eyre (1847); H.E. Wilson, Our Nig; or Sketches from the Life of a Free Black (1859); Gilman, The Yellow Wallpaper (1899); Virginia Woolf, A Room of One's Own (1929); Angelou, I Know Why the Caged Bird Sings (1969); Sarton, Journal of a Solitude (1973); Kingston, The Woman Warrior: Memoirs of a Girlhood Among Ghosts (1975); Cisneros, House on Mango Street (1983).

Requirements & Grading: Writing and class discussion will constitute the primary activities of this course. Students will write three papers--the first two of approximately 4-5 pp. each, the last a more extended paper of 10 pp.--and deliver two brief oral reports. All papers will receive extensive critical commentary and will be discussed in office-hour consultation; 75% of course grade will be based on these papers. (N.B. This course fulfills the substantial writing component requirement.) The remaining percentage points will be satisfied by the oral reports and regular class participation/attendance.

WGS 345 • Women's Autobiographcl Writing

48085 • Spring 2014
Meets MWF 100pm-200pm PAR 302
(also listed as E 370W )
show description

Instructor:  MacKay, C

Unique #:  36160

Semester:  Spring 2014

Cross-lists:  WGS 345

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: Writers have always employed an ingenious array of narrative strategies to construct and project their sense of an autobiographical self, but historically that task has entailed an additional cultural challenge--if not an outright psychological impossibility--for women writers worldwide. Although the male autobiographical impulse did not fully begin to manifest itself in Western culture until Rousseau (notwithstanding the anomaly of St. Augustine), women still tended to confine themselves to the less overt (and egoistic) modes of the diary, letter, memoir (often purporting to be about another subject), and fiction. It is the goal of this course to examine the autobiographical impulse in women's writing by exploring the concept of the individualistic self vs. the sense of self as a part of community (and duty)--and the ways in which that communal self can both partake of humankind and participate in self-actualization.

We will begin by reading excerpts from Carolyn Heilbrun's Writing a Woman's Life (1988) and conclude with Virginia Woolf's A Room of One's Own (1929). In between, we will be tracing women's autobiographical writings from Sappho to Tillie Olsen, encompassing as well the recorded experience of the African American, the Chinese American, and the Chicana. Although members of the class may have read individual titles from the course list before, they will now have the opportunity to read them critically within the context of other women's writing--itself likely to be a first-time experience. Finally, each student will be responsible for introducing to the rest of the class a single work not on the reading list and "outside" its cultural curve; these titles will constitute a multicultural list for future (and I hope immediate!) reading.

Texts:

Selected poetry (oral reports): Sappho, Bradstreet, Wheatley, E. Brontë, E.B. Browning, Rossetti, Dickinson, H.D., Moore, Brooks, Bishop, Plath, Rich, Sexton, Giovanni, Levertov, Lorde.

Selections (handouts): Julian of Norwich, Revelations of Divine Love (1373); Kempe, The Book of Margery Kempe (1436-38); St. Teresa, The Life of Teresa of Jesus (1562-65); Wollstonecraft, Travels in Norway and Sweden (1796); A. James, Diary (1892); Olsen, Silences (1978).

Books (to be purchased): C. Brontë, Jane Eyre (1847); H.E. Wilson, Our Nig; or Sketches from the Life of a Free Black (1859); Gilman, The Yellow Wallpaper (1899); Angelou, I Know Why the Caged Bird Sings (1969); Sarton, Journal of a Solitude (1973); Kingston, The Woman Warrior: Memoirs of a Girlhood Among Ghosts (1975); Cisneros, House on Mango Street (1983).

Requirements & Grading: Writing and class discussion will constitute the primary activities of this course. Students will write three papers--the first two of approximately 4-5 pp. each, the last a more extended paper of 10 pp.--and deliver two brief oral reports. All papers will receive extensive critical commentary and will be discussed in office-hour consultation; 75% of course grade will be based on these papers. (N.B. This course fulfills the substantial writing component requirement.) The remaining percentage points will be satisfied by the oral reports and regular class participation/attendance.

WGS 393 • Victorian Triple Decker

47350 • Fall 2012
Meets MW 330pm-500pm CAL 221
(also listed as E 392M )
show description

Victorian novels are notorious for their magnitude--Henry James even called them "loose, baggy monsters," and people today sometimes erroneously refer to their authors as having been paid by the page. Widespread practice of serial publication certainly encouraged this tendency toward epic length, and then the circulating libraries discovered the profits of lending out the reprinted three-volume novels one at a time. Well into the nineteenth century, publishers, editors, and readers alike treated the three-decker as the conventional mode of novel publication.  Against this publishing history and making considerable use of the Humanities Research Center, we will read four such novels by major Victorian novelists, in each case seeing how the novelist turned publication constraints into exploration and demonstration of his or her art and social critique. At mid-century, Thackeray and Dickens were considered "at the top of the tree," their distinctive styles setting them up as competitors by many of the reading public. Thackeray distinguished himself in part by illustrating his own novels, preeminently Vanity Fair, while Dickens created an intriguing challenge to readers of Bleak House by switching back and forth between a semi-omniscient narrative voice and that of a female character-narrator. In fact, Brontë had Dickens's Esther Summerson very much in mind when she created her own problematic character-narrator Lucy Snowe in Villette, composed while Bleak House was appearing in monthly installments but published (unserialized) before Dickens reached his conclusion. And finally, turning to Eliot's Middlemarch, we encounter a singular method of publication; by insisting on eight bi-monthly installments, she ensured the structural integrity of her work. By century's end, George Moore and Thomas Hardy had successfully led the fight to break the lockhold of the three-decker, but in its heyday it produced some of the greatest examples of the novelistic form.

 

Texts:

William Makepeace Thackeray, Vanity Fair: A Novel without a Hero (serial subtitle: "Pen and Pencil Sketches of English Society") (1847-48)

Charles Dickens, Bleak House (1852-53)

Currer Bell (Charlotte Brontë), Villette (1853)

George Eliot (Mary Ann Evans), Middlemarch: A Study of Provincial Life (1871-72)

N.N. Feltes, Modes of Production of the Victorian Novel (1986)

Assorted critical articles and chapters (Altick, Buckley, Gilbert & Gubar, Moers, Showalter, Somervell, Wheeler, etc.)

 

Requirements:

Annotated bibliography/oral report

Short paper (5-6 pp.)

Seminar paper (15-20 pp.)/in-progress oral report

Class participation/attendance

WGS 345 • The Brontes

47115 • Spring 2012
Meets MW 330pm-500pm PAR 204
(also listed as E 349S )
show description

Instructor:  MacKay, C            Areas:  I / H

Unique #:  35340            Flags:  Writing

Semester:  Spring 2012            Restrictions:  n/a

Cross-lists:  WGS 345            Computer Instruction:  No

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: This course will critically examine the literary outpourings of the Brontë sisters, comparing and contrasting their works from a variety of different viewpoints. We will begin by studying the two most popular novels, Emily's Wuthering Heights and Charlotte's Jane Eyre (we will see film versions of these two classics as well). Then we will move on to Anne's Tennant of Wildfell Hall, which should illustrate some of the strengths and weaknesses of the story-telling impulse. Finally, we will read Villette, adjudged by many modern critics as Charlotte's masterpiece, and Jean Rhys's Wide Sargasso Sea. At each point, we will try on different readings of the novels, primarliy psychological (sometimes auto-biographical and hence likely to be family systems oriented), Marxist, and feminist.

The course will conclude with a series of oral reports based on independent reading: each student will select for study a complete work or collection by or about the Brontës and relate it to the overall concerns of the course. Representative "works" include:  primary readings—poetry by Emily, Charlotte, and/or Anne; reprinted juvenilia (many of the originals are here at UT's Humanities Research Center); Anne's Agnes Grey; Charlotte's Professor or the unfinished Emma (both published posthumously) or her "historical" novel, Shirley; the poetry and/or sermons of their father, the Reverend Patrick Brontë; possible sources in the Romantic poets and journals such as Blackwood's and Fraser's; secondary readings—the controversy surrounding Elizabeth Gaskell's "life" of Charlotte; various other biographical accountings of the sisters and their unpublished (in his lifetime) brother, Branwell; critical/theoretical studies, such as Helene Moglen's Charlotte Brontë: The Self Conceived, Terry Eagleton's Myths of Power: A Marxist Study of the Brontës, Robert Keefe's Charlotte Brontës World of Death, Cynthia A. Linder's Romantic Imagery in the Novels of Charlotte Brontë, and Sandra Gilbert and Susan Gubar's Madwoman in the Attic.

N.B. The Brontës and their creations have acquired an almost mythical status in the Anglo-American literary tradition. As a result, they can also be studied through a fascinating array of works for which they apparently served as "models." Our extended reading list may well include another title such as May Sinclair's The Three Sisters, Rachel Ferguson's The Brontës Went to Woolworths, Daphne DuMaurier's Rebecca, and Robert Barnard's The Case of the Missting Brontë.

Requirements & Grading: Two short papers (3-5 pages each)—20% each; one seminar paper (10-12 pages)—35%; two oral reports (5-10 minutes), regular attendance, in-class writing, and active participation in class discussion—25%.

WGS 345 • Women's Autobiographcl Writing

47030 • Fall 2011
Meets MWF 100pm-200pm PAR 204
(also listed as E 370W )
show description

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: Writers have always employed an ingenious array of narrative strategies to construct and project their sense of an autobiographical self, but historically that task has entailed an additional cultural challenge--if not an outright psychological impossibility--for women writers worldwide. Although the male autobiographical impulse did not fully begin to manifest itself in Western culture until Rousseau (notwithstanding the anomaly of St. Augustine), women still tended to confine themselves to the less overt (and egoistic) modes of the diary, letter, memoir (often purporting to be about another subject), and fiction. It is the goal of this course to examine the autobiographical impulse in women's writing by exploring the concept of the individualistic self vs. the sense of self as a part of community (and duty)--and the ways in which that communal self can both partake of humankind and participate in self-actualization.

We will begin by reading Carolyn Heilbrun's Writing a Woman's Life (1988) and conclude with Virginia Woolf's A Room of One's Own (1929). In between, we will be tracing women's autobiographical writings from Sappho to Tillie Olsen, encompassing as well the recorded experience of the African American, the Chinese American, and the Chicana. Although members of the class may have read individual titles from the course list before, they will now have the opportunity to read them critically within the context of other women's writing--itself likely to be a first-time experience. Finally, each student will be responsible for introducing to the rest of the class a single work not on the reading list and "outside" its cultural curve; these titles will constitute a multicultural list for future (and I hope immediate!) reading. 

Texts:  

Poetry packet: Sappho, Bradstreet, Wheatley, E. Brontë, E.B. Browning, Rossetti, Dickinson, H.D., Moore, Brooks, Bishop, Plath, Rich, Sexton, Giovanni, Levertov, Lorde.

Selections: Julian of Norwich, Revelations of Divine Love (1373); Kempe, The Book of Margery Kempe (1436-38); St. Teresa, The Life of Teresa of Jesus (1562-65); Wollstonecraft, Travels in Norway and Sweden (1796); A. James, Diary (1892); Olsen, Silences (1978).

C. Brontë, Jane Eyre (1847); H.E. Wilson, Our Nig; or Sketches from the Life of a Free Black (1859); Gilman, The Yellow Wallpaper (1899); J. Addams, Twenty Years at Hull House (1910); Angelou, I Know Why the Caged Bird Sings (1969); Sarton, Journal of a Solitude (1973); Kingston, The Woman Warrior: Memoirs of a Girlhood Among Ghosts (1975); Cisneros, House on Mango Street (1983).

Requirements & Grading: Writing and class discussion will constitute the primary activities of this course. Students will write three papers--the first two of approximately 4-5 pp. each, the last a more extended paper of 10 pp.--and deliver two brief oral reports. All papers will receive extensive critical commentary and will be discussed in office-hour consultation; 75% of course grade will be based on these papers. (N.B. This course fulfills the substantial writing component requirement.) The remaining percentage points will be satisfied by the oral reports and regular class participation/attendance.

WGS 345 • Women's Autobiographcl Writing

47750 • Spring 2011
Meets MWF 100pm-200pm PAR 304
(also listed as E 370W )
show description

Prerequisites: Nine semester hours of coursework in English or rhetoric and writing.

Description: Writers have always employed an ingenious array of narrative strategies to construct and project their sense of an autobiographical self, but historically that task has entailed an additional cultural challenge--if not an outright psychological impossibility--for women writers worldwide. Although the male autobiographical impulse did not fully begin to manifest itself in Western culture until Rousseau (notwithstanding the anomaly of St. Augustine), women still tended to confine themselves to the less overt (and egoistic) modes of the diary, letter, memoir (often purporting to be about another subject), and fiction. It is the goal of this course to examine the autobiographical impulse in women's writing by exploring the concept of the individualistic self vs. the sense of self as a part of community (and duty)--and the ways in which that communal self can both partake of humankind and participate in self-actualization.

We will begin by reading Carolyn Heilbrun's Writing a Woman's Life (1988) and conclude with Virginia Woolf's A Room of One's Own (1929). In between, we will be tracing women's autobiographical writings from Sappho to Tillie Olsen, encompassing as well the recorded experience of the African American, the Chinese American, and the Chicana. Although members of the class may have read individual titles from the course list before, they will now have the opportunity to read them critically within the context of other women's writing--itself likely to be a first-time experience. Finally, each student will be responsible for introducing to the rest of the class a single work not on the reading list and "outside" its cultural curve; these titles will constitute a multicultural list for future (and I hope immediate!) reading.

Texts: (changes pending)

Poetry packet: Sappho, Bradstreet, Wheatley, E. Brontë, E.B. Browning, Rossetti, Dickinson, H.D., Moore, Brooks, Bishop, Plath, Rich, Sexton, Giovanni, Levertov, Lorde.

Selections: Julian of Norwich, Revelations of Divine Love (1373); Kempe, The Book of Margery Kempe (1436-38); St. Teresa, The Life of Teresa of Jesus (1562-65); Wollstonecraft, Travels in Norway and Sweden (1796); A. James, Diary (1892); Olsen, Silences (1978).

C. Brontë, Jane Eyre (1847); H.E. Wilson, Our Nig; or Sketches from the Life of a Free Black (1859);

Gilman, The Yellow Wallpaper (1899); J. Addams, Twenty Years at Hull House (1910); Angelou, I Know Why the Caged Bird Sings (1969); Sarton, Journal of a Solitude (1973); Kingston, The Woman Warrior: Memoirs of a Girlhood Among Ghosts (1975); Cisneros, House on Mango Street (1983).

Requirements & Grading: Writing and class discussion will constitute the primary activities of this course. Students will write three papers--the first two of approximately 4-5 pp. each, the last a more extended paper of 10 pp.--and deliver two brief oral reports. All papers will receive extensive critical commentary and will be discussed in office-hour consultation; 75% of course grade will be based on these papers. (N.B. This course fulfills the substantial writing component requirement.) The remaining percentage points will be satisfied by the oral reports and regular class participation/attendance.

WGS 393 • Victorian Fiction

47340 • Fall 2010
Meets MW 330pm-500pm CAL 323
(also listed as E 392M )
show description

Victorian novels are notorious for their magnitude (Henry James called them "loose, baggy monsters"), and people today sometimes erroneously refer to their authors as having been paid by the word. Serial publication certainly encouraged this tendency toward epic length, and circulating libraries discovered the profits of lending three-decker novels one volume at a time. Looking at the roles of publishers, editors, and readers alike, and making considerable use of the Humanities Research Center, we will read six novels from the period, in each case seeing how the novelist turned publication mode into exploration of his or her art and social critique. At mid-century, Thackeray and Dickens were considered "at the top of the tree," their distinctive styles setting them up as competitors by many of the reading public. Brontë's eponymous narrator Jane Eyre supplies an intriguing counterpoint on the question of gendered narration to Dickens's Esther Summerson (whom Brontë had very much in mind when she created her character-narrator Lucy Snowe in Villette, composed while Bleak House was appearing in monthly installments but published in three-volume format before Dickens reached his conclusion). Thackeray's historical novel Esmond adjudged his masterpiece by many critics, is the exception to his usual habit of writing to serial deadline, this time publishing all at once in three-decker fashion. Meanwhile, we have the example of Gaskell's North and South, appearing in weekly installments in Household Words under the controlling editorship of Dickens. As for Eliot, who experimented with the widest range of publication modes of any Victorian novelist, we find in The Mill on the Floss one more instance of her practice of extensive revision, including evidence at various stages of page proofs on file here at the HRC. By century's end, George Moore and Thomas Hardy had successfully led the fight to break the lockhold of the three-decker, and hence we have the much shorter, single-volume novel Jude the Obscure.

Requirements

One short papers (5-6 pp.)
One seminar paper (15-20 pp.)
Two oral reports
Class participation/attendance

Readings

Currer Bell (Charlotte Brontë), Jane Eyre (1847)
Charles Dickens, Bleak House (1852-53)
William Makepeace Thackeray, The History of Henry Esmond (1852)
Elizabeth Gaskell, North and South (1854-55)
George Eliot (Mary Ann Evans), Mill on the Floss (1860)
Thomas Hardy, Jude the Obscure (1895)
N.N. Feltes, Modes of Production of the Victorian Novel (1986)
Assorted critical articles and chapters (John Kucich, D.A. Miller, John Bowen, Hilary Schor, Deirdre David, Hilary Fraser, etc.)

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