ENGL2093 Contemporary Fiction and Visual Culture
Technological developments in the twentieth century led to the emergence of a new visual mass culture; the expansion of the modern art system into a globalized market saw visual art arguably claim the cultural centrality once occupied by literature. How are contemporary writers engaging with these changes, and what can studying this engagement tell us about the state of fiction now? This module will explore the widespread engagement with visual art and culture in the contemporary novel in English. It will examine the ways in which this engagement informs central concerns of contemporary fiction, such as the legacy of modernism, reflections on history and memory, and transnationalism. By reflecting comparatively on encounters between fiction and art, and by studying works of contemporary art criticism and theory, this module will also introduce you to key topics in visual studies which will help inform your analysis of contemporary culture: the spectacle, the gaze, the medium, the museum, new materialism, the archive, relational aesthetics, and more.
Aims and Objectives
• study interactions between contemporary fiction and visual art and culture • relate the work of contemporary writers to key topics in visual theory • connect the formal practices of contemporary writing to the concerns of contemporary cultural criticism • develop critical vocabularies for the evaluation of contemporary fiction
Having successfully completed this module you will be able to:
- gain a knowledge of major figures in contemporary fiction
- critically assess and evaluate visual theory
- develop the distinct skills involved in analysing writing of your own time, such as conducting original biographical research, or engaging with literary criticism in the public sphere.
- improve your essay-writing skills
The syllabus of this module will serve to introduce you to a diverse range of contemporary writers, and to cover selected topics in visual and aesthetic theory that will help you make sense of their engagement with visual art and culture. Each week your focus will alternate between a contemporary novel and a topic in visual theory. For example: a week reading David Foster Wallace’s short stories in Oblivion (2004) will be followed by learning about Guy Debord’s theory of the spectacle; Siri Hustvedt’s The Blazing World (2014) will be followed by the feminist art histories of Linda Nochlin and Griselda Pollock; or Teju Cole’s Every Day is For The Thief (2014) will be followed by Okwi Enwezor’s accounts of African photography. As you move back and forth between pairings of novels and visual theory, you will have the time to subject the novels to detailed close readings, and reflect on how their forms and concerns relate to visual art and culture. Lectures will introduce a writer or topic, and model approaches to their interpretation. In seminars, you will connect fiction and visual art through presentations, arguments, discussions, and close textual and visual analysis. Written assignments will enable you to further develop your skills of analysis and argument through consisting of one short essay comparing literature and visual material, and one long essay on a topic of your choice. The module will also incorporate a visit to the University’s John Hansard Gallery to visit and review a contemporary art exhibition such as British Art Show 8. While the module readings will vary from year to other, representative novels you might study on this course would include: Paul Auster, Leviathan (1992), W. G. Sebald, The Rings of Saturn (1996), Chris Kraus, I Love Dick (1997), Tom McCarthy, Remainder (2004), Nicola Barker, Clear: A Transparent Novel (2004), Don DeLillo, Point Omega (2010), Shelia Heti, How Should a Person Be (2010), Ben Lerner, Leaving the Atocha Station (2011), Ivan Vladislavic, Double Negative (2011).
Learning and Teaching
Teaching and learning methods
Teaching methods include: • lectures • seminars • private consultation • feedback on written work Learning activities include: • reading texts and viewing visual art • production and delivery of presentations • seminar discussions • writing essays
|Completion of assessment task||52|
|Preparation for scheduled sessions||50|
|Wider reading or practice||12|
|Total study time||150|
Resources & Reading list
W. J. T. Mitchell (1986). Iconology: Image, Text, Ideology.
Charles Harrison & Paul Wood, eds (2002). Art in Theory 1900-2000.
Peter Boxall (2013). Twenty-First-Century Fiction: A Critical Introduction.
Nicholas Mirzoeff ed (2002). The Visual Culture Reader.
Alworth, David J (2016). Site Reading: Fiction, Art, and Social Form.
David James (2012). Modernist Futures: Innovation and Inheritance in the Contemporary Novel.
Hal Foster et al eds (2011). Art Since 1900: Modernism, Antimodernism, Postmodernism.
Clare Bishop (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship.
W. J. T. Mitchell (1994). Picture Theory.
Griselda Pollock (1988). Vision and Difference.
Mitchum Huehls (2016). After Critique: Twenty-First-Century Fiction in a Neoliberal Age.
|Essay (1500 words)||35%|
|Essay (2500 words)||65%|
Repeat type: Internal & External
Costs associated with this module
Students are responsible for meeting the cost of essential textbooks, and of producing such essays, assignments, laboratory reports and dissertations as are required to fulfil the academic requirements for each programme of study.
In addition to this, students registered for this module typically also have to pay for:
Books and Stationery equipment
Total costs associated with the module for the purchase of books will not exceed £90
Please also ensure you read the section on additional costs in the University’s Fees, Charges and Expenses Regulations in the University Calendar available at www.calendar.soton.ac.uk.