Readings Due:

• John Donne, "A Valediction: Forbidding Mourning" (1633)
• Samuel Taylor Coleridge, "To the River Otter" (1796)
• William Wordsworth, "Composed Upon Westminster Bridge" (1802/1803)
• John Constable, Elm Trees in Old Hall Park, East Bergholt (1817), Dedham Vale (1802 ad 1828)
• J. M. W. Turner, Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon coming On) (1840)
• Richard Long's art "made by walking in landscapes"
• NASA USGS Landsat 7 images (see especially the "Earth as Art" gallery)
• Stephen M Ervin, "Digital Landscape Modeling and Visualization: A Research Agenda"
• Data Visualization (screenshots)
  
  Secondary Readings:
• . K. Wimsatt, Jr., "The Structure of Romantic Nature Imagery" (1954) (in Bloom)

Readings Due:

• William Wordsworth
  • An Evening Walk (1788-89)
  • from Descriptive Sketches (1791-92) (read lines 589-670)
  • Salisbury Plain (1793-94)
• John Denham, "Cooper's Hill" (1642)
• Alexander Pope, "Windsor Forest" (1713)
• James Thomson, "Celadon and Amelia" episode from "Summer" in The Seasons (1727)
• Dorothy Wordsworth, from Grasmere Journals (1800-1802)
• Ernest Hemingway, "Big Two-Hearted River"
  
  Secondary Readings:
• Alan Liu, "The Locodescriptive Moment," from Wordsworth: The Sense of History (1989), pp. 115-28
• Edward S. Casey, Representing Place: Landscape Painting and Maps (2002), pp. 3-19
• W. J. T. Mitchell, from "Imperial Landscape" (1994), pp. 5-21
• Common Ground (England in Particular) Web site

Readings Due:

• Pictures byThomas Gainsborough, Richard Wilson, William Gilpin, Thomas Hearne, Thomas Girtin, John Robert Cozens, John Sell Cotman, John Crome, John Glover, Paul Sandby, Francis Towne, Joseph Wright of Derby, John Constable, J.M.W. Turner, and other 18th-19th century British artists (plus pictures from Orthodox, Italian Renaissance, and 17th-century French, Italian, and Netherlandish art for historical context—including Claude Lorrain, Nicolas Poussin, Gaspard Dughet, Salvator Rosa) [browse these artists in the course online picture gallery; requires course login]
• Thomas Gray, Letter to Wharton (1 Oct. 1769), from Gray's Journal of Lakes Tour
• William Gilpin, from Observations, Relative Chiefly to Picturesque Beauty, Made in the Year 1772, On Several Parts of England; Particularly the Mountains and Lakes of Cumberland, and Westmoreland (1786)
• Uvedale Price, from Essays on the Picturesque (1810)
• Richard Payne Knight, from The Landscape, A Didactic Poem (1795)
• Web cam of Claude glass showing Tintern Abbey [Note: real-time; keep in mind the time difference]
  
  Secondary Readings:
• Stephen Copley and Peter Garside, "Introduction" to The Politics of the Picturesque: Literature, Landscape and Aesthetics Since 1770 (1994)
• Sidney K. Robinson, Inquiry into the Picturesque (1991), pp. 1-27, 119-25, 143-45
• Alan Liu, "Classic Repose," "The Baron's Window," and "Supervision of the Picturesque," from Wordsworth: The Sense of History (1989), pp. 65-95
• Ann Bermingham, "System, Order, and Abstraction: The Politics of English Landscape Drawing around 1795" (1994)

Readings Due:

• William Wordsworth
  • The Ruined Cottage (1797-98)
  • Transcriptions from MS. B of Ruined Cottage: (a) beginning of poem; (b) drafts for a "moral addendum"
  • "Lines Written a Few Miles Above Tintern Abbey" (1798)
  • "The Two April Mornings" (1798-99)
• Samuel Taylor Coleridge
  • "The Eolian Harp" (1795)
  • "This Lime-Tree Bower My Prison" (1797)
  • "Frost at Midnight" (1798)
  • "Dejection: An Ode" (1802)
    
    
Secondary Readings:
• W. K. Wimsatt, Jr., "The Structure of Romantic Nature Imagery" (1954) (in Bloom; reread)
• M. H. Abrams, "Structure and Style in the Greater Romantic Lyric" (1965) (in Bloom)
• Geoffrey H. Hartman, "Wordsworth, Inscriptions, and Romantic Nature Poetry" (1965)
• Paul de Man, "Intentional Structure of the Romantic image" (1960) (in Bloom; translations of passages in French and German are in the reader)

Readings Due:

• Longinus, from Peri Hypsous (1st century A.D.) (see also section 7 of Longinus)
• Edmund Burke, from A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757), Part I; Part II, Sections 1-9; Part 4, Sections 1-20
• Immanuel Kant, from Critique of Judgment (1790)
• William Wordsworth
  • The Two-Part Prelude (1799) (also quickly read the 1805 Prelude, Books 1-2 and Book 11, ll. 257-388)
  • The Prelude (1805), Books 4-6 and Book 13, lines 1-122
    
    
Painters
• Richard Wilson, The Destruction of Niobe's Children
• John Martin, paintings
  
  Secondary Readings:
  
• Thomas Weiskel, from The Romantic Sublime: Studies in the Structure and Psychology of Transcendence (1976), pp. xi-xv, 22-33

Readings Due:

• John Constable
  • Paintings, sketches, and studies, including the six-footer series (The White Horse, Stratford Mill, The Hay-Wain, View on the Stour, Boat Passing on a Lock, The Leaping Horse), Hadleigh Castle, Salisbury Cathedral from Meadows, and cloud studies. (Browse Constable in course image gallery; also see Constable photos)
    
    
Secondary Readings:
• Ann Bermingham, from Landscape and Ideology: The English Rustic Tradition, 1740-1860 (1986), pp. 87-116, 126-47
• Sarah Cove, "The Painting Techniques of Constable's 'Six-Footers' (2006)

Readings Due:

• Joseph Mallord William Turner
  • Paintings, watercolors, and studies, including Fishermen at Sea (1796), Calais Pier (1803), The Shipwreck (1805), Snowstorm: Hannibal and His Army Crossing the Alps (1812), Frosty Morning (1813), Dido Building Carthage (1815), Regulus (1828-29), Ulysses Deriding Polyphemus (1829), The Evening Star (1830), Life-Boat and Manby Apparatus (1831), Burning of Houses of Parliament (1834), Interior at Petworth (c. 1837), Norham Castle, Sunrise (c. 1835-40), Rough Sea with Wreckage (c. 1840-45), Slavers Throwing Overboard the Dead and Dying—Typhoon Coming On (1840), Peace - Burial at Sea (1841), Snow Storm - Steam-Boat off a Harbour's Mouth (1842), The Sun of Venice Going to Sea (1843), Shade and Darkness: The Evening of the Deluge (1843), Light and Colour (Goethe's Theory): The Morning After the Deluge (1843), Rain, Steam, and Speed—The Great Western Railway (1844), The Angel Standing in the Sun (1846) (Browse Turner in the course image gallery)
    
    
Secondary Readings
• John Walker, from introduction to Joseph Mallord William Turner (1976), pp. 13-38
• Ronald Paulson, "Turner's Graffiti: The Sun and Its Glosses" (1978)

Readings Due:

• Robert Smithson, "A Provisional Theory of Non-Sites" (1968) and excerpt from "The Spiral Jetty" (1972; requires course login)
• Andy Goldsworthy, Introduction to A Collaboration with Nature (1990) and study gallery with related portfolios (requires course login)
• Richard Long, Homepage and excerpt from Five Six Pick Up Sticks (1980; requires course login)
• James Turrell, images, videos, interviews on BBS Art:21 site
• Contemporary Land Artists study portfolio: including Robert Smithson, Micheal Heizer, Nancy Holt, Mary Miss, James Turrell, Michael Singer, Richard Long (requires course login)
  
  
Secondary Readings
• Robert Rosenblum, "Abstract Expressionism," in his Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko (1975)
• Dennis Costanzo, "Beyond Landscape Painting: Recent Tendencies in the Visual Arts" (1994)
• Sidney K. Robinson, Inquiry into the Picturesque (1991), pp. 1-27, 119-25, 143-45 (reread)

Assignment Due: Prospectus for Essay (posted to Course Online Forum by Feb. 28th)

Readings Due:

• Albert Borgmann, Holding On to Reality: The Nature of Information at the Turn of the Millennium (1999), pp. 1-6, 24- 37
• Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction" (1936)
• Wolfgang Schivelbusch, The Railway Journey: The Industrialization of Time and Space in the 19th Century (1977), pp. 16-44, 52-63
• Carlton Watkins, photographs of Yosemite (1860's) site 1 | site 2 ; Edward S. Casey, Representing Place: Landscape Painting and Maps, pp. 20-23 (requires course login)
• Rebecca Solnit, River of Shadows: Eadweard Muybridge and the Technological Wild West (2003), pp. 38-100
• Jean Baudrillard, America (1986), pp. 1-11, 27-29, 56-57, 66-73
• Sue Thomas, Hello World: Travels in Virtuality (2004), pp. 13-58, 227-66

Assignment Due: Critique of Another Student's Essay Prospectus (posted to Course Online Forum by March 7th)

Readings Due:

• lambdaMOO: venture as a guest into lamdaMOO—at least as far as reading the tutorial and trying the interface. Use a telnet client to go to lambda.moo.mud.org, port 8888 (most computers have a telnet client installed, in which case clicking on the above link in a Web browser should open it; to log on as a guest in lambdaMOO, type "connect guest")
• Rand and Robyn Miller, Riven (1997) [to be shown in class]
• Charlotte (Char) Davies, Osmose (1995):
  • Osmose Web site
  • Christiane Paul, Digital Art, pp. 125-27
  • Oliver Grau, Virtual Art, From Illusion to Immersion (2003), excerpt
• John Klima, Project gallery -- see especially:
  • Political Landscape , Emotional Terrain
  • The Great Game
  • ecosystm
• Rebecca Allen, Jennifer Steinkamp, Rebeca Méndez, art projects shown at the UCLA Second Natures exhibition (2006): exhibitions by Allen, Steinkamp, Méndez (see also the Emergence project)
• An Atlas of Cyberspace and Cyber Geography Research (explore visualizations of networking)

Assignment Due: Essay (10-12 pp., due March 15th in instructor's mailbox)