Mad About Oscar

Semester Two teaching is underway, which in my e-learning land means my third year undergraduate module on Fin de Siècle Writing and Culture.  Unlike my Victorians module from last semester, this course includes less online sessions (four in total rather than seven) and they are assessed to the tune of 25% of the overall mark.

The course starts with a few weeks introducing the class to ‘key terms’ of the period — namely, Aestheticism, Decadence and Degeneration.  Week 2 is on Oscar Wilde and Decadence.  Wilde is an endlessly fascinating figure and I’ve taught myself quite a lot about him since I have been teaching this course.  His presence and ‘influence’ (to cite a word so potent in The Picture of Dorian Gray) in the 1880s and ’90s are phenomenal.   This is one session where I devote a great deal of time to talking about Wilde’s life, in detail, because, as Francesca Coppa has argued, ’Wilde’s first and foremost invention [was] the performed persona of “Oscar Wilde”.  If there is one thing that makes us feel that Wilde, dead for over one hundred years now, is our contemporary, a man who would be perfectly at home in the world of Andy Warhol and Madonna, David Bowie, Baz Lurhmann, and The Osbournes, it is his understanding of the self as performance’ (Francesca Coppa, ‘Performance theory and performativity’ in Oscar Wilde Studies, ed. Frederick Rosen [Palgrave, 2004], p. 73).  

Our first online session involves using the Trials of Oscar Wilde site and the class are invited to discuss how The Picture of Dorian Gray is used in the libel trial by the Marquess of Queensbury’s counsel, Edward Carson.   The session takes a while to get going, perhaps in part because it is the first session and some are unfamiliar with such online discussions.  Each of my online sessions lasts a week, kicking off with the day of the class, and after 4 days only half the class have posted.  I send some reminder emails, and in the latter part of the week the forum really takes off, with some interesting and engaged discussion being posted about Wilde’s stance as an aesthete in the dock, about art versus life, about literature being used as a way of ascertaining biography, about the reclaiming of the word ‘shame’ by writers such as Alfred Douglas (in poems such as ‘Two Loves’ and ‘In Praise of Shame’) and much else besides.

The class also have an online ‘Salon’ forum where they can post in a general sense  about this module.  Last term having a general forum space was really taken up and ‘owned’ by my Victorians class.  It can’t ever be manufactured, and it’s up to the class, ultimately, but as a first step I invite them to submit some names for their Salon.  We had a vote this morning and ‘The Yellow Room’ won, closely followed by ‘Absinthe Makes the Heart Grow Fonder’, ‘The Fin de Semester’ and my particular favourite, ‘The Van HesINN’.  That’s the spirit!  I leave a virtual copy of The Yellow Book around by way of an image of one of the periodical’s distinctive covers.

The Yellow Book, Volume 1 (1894) I’m fortunate enough actually to own a complete run of The Yellow Book, and last week I brought in a couple of volumes for the class to see.  I’ve also this last week purchased a set of The Savoy and a facsimile edition of The Chameleon, the undergraduate magazine in which Douglas’s notorious poems appeared, and Wilde’s ‘Phrases and Philosophies for the Use of the Young’.

The VLE is Undead!

Last Wednesday, on December 16th, I attended an afternoon event at the University of Wolverhampton on ‘The VLE is Undead’.  This was a replay/development of a session first aired at the ALT-C conference in September 2009, entitled ‘The VLE is Dead’.  The event took the form of a debate, with James Clay and Nick Sharratt arguing for the continuing usefulness of VLEs, and Steve Wheeler and Graham Attwell suggesting that they are outmoded.  It was a ‘buzzy’ event, with advance interest generated by a “quick and dirty” social networking site: VLEUNDEAD and ‘live tweets’ being posted up via the data projector screen in the room where we were meeting as the event happened.   Most of the attendees were learning technologists within HE or FE; I was one of the few academics.  But I am genuinely interested in the future of such online learning spaces, seeing as I’ve invested quite a lot of my own time in making VLE platforms work within English Studies.  There’s a Cloudworks webpage on the ALT-C version of this event if you are interested.

There was discussion of the proprietorial ‘walled garden’ nature of VLES, commercial vs. open source vs. in-house VLEs, the perceived clunkiness of VLEs compared to Web 2.0 social software such as Facebook, the future of education and technology, the ever-increasing diversity of learning and learners into the 21st century, and much more.  One attendee made the very valid point that it is not so much that VLEs are outmoded as that many lecturers have never used them to their full potential, and dismiss them based on that lack of effective usage.  Personally I think that once you as a tutor see your own students/class using a VLE effectively — and obviously doing some rich learning using it — your views change.  As I say on the ‘About Ms E-Mentor’ page of this blog, my own classes that use online discussion activities would be lesser things without the online component, and that all happens within a VLE.

Maybe it is the case that a majority of academics won’t wish to do the necessary learning to manoeuvre round their institutions’ VLE, and that online pedagogic innovation will always be led by the few.  What I have found effective from my own experience is going into other departments as a subject specialist  and demoing effective use of VLEs. There’s still a great deal of interest in this from my colleagues across the UK in English Studies, many of whom still don’t really know how to make VLEs effective in their own teaching.  The VLE is a space, like a classroom is a space.  It’s what you do in it that matters and that makes learning happen.

So for me the VLE is very much not dead, or even undead.  I am sure VLE technologies and platforms will continue to develop — and so they should — but I’m very far from convinced that anything like learning is going on in the overwhelming majority of Facebook posts.  As the name suggests, it’s a ‘social networking site’ and not a learning space.  My students’ discussion forum posts on the online activities I’ve been describing in this blog are very clearly about learning, and I still very much think there is a place for an enclosed online space connected to any given course, which is what VLEs offer.

Fallen Women

It’s Saturday — not a day I’m usually leaping out of my bed to my computer — but today I was up relatively early putting the finishing touches to my powerpoint for Monday’s final session on my Year 2 undergraduate course Women’s Writing.  We finish up with a brief discussion of  some of the issues related to Third Wave Feminism and I’ve been dipping into Third Wave Feminism: A Critical Exploration, eds. Gillis, Howie and Mumford (Palgrave Macmillan, 2007; 2nd ed.).  This is an excellent collection of essays, all of which have extensive bibliographies to other key recent texts on the ‘third wave’.  I’ve also delved into Suzanne Ferriss and Mallory Young’s collection on Chick Lit (Routledge, 2006).  Having developed an interest in adaptation — primarily because I’m interested in the adaptations of Sarah Waters’ trilogy of neo-Victorian novels – the Austenmania of the 1990s onwards is a kind of side angle of this for me.  I have a sense that I am going to be teaching Austen alongside her late twentieth century transformations in the future.

But back to The Victorian Vision … and this week’s session was on the ubiquitous figure of the fallen woman.

VVO Session F Screenshot

For those of you who haven’t seen the Victorian Vision Online here’s a current screenshot from this week.  If you compare this with the screenshot inserted in my very first post on this blog, back in late September, you’ll see that the ‘Menu’ on the left has grown as a folder has been added each time a VVO session takes place.  The folders contain all the necessary instructions for that week’s session, and a link to the discussion forum itself.  It should be just possible to make out that the Session F folder is open, showing the guidelines and the link to the ‘Fallen Women’s Penitentiary’ where the students post their responses to the week’s activity.

Every year I find more Victorian images of fallen women.  I show a number in class, and in particular we do an exercise in reading Victorian narrative paintings via Augustus Egg’s Past and Present trilogy (1858). I have added three images — a study for Found by Dante Gabriel Rossetti (1858), Ford Madox Brown’s Take Your Son, Sir! (1857), and George Watts’ Found Drowned (1867) — to my ‘homepage’ of our Victorians space on the VLE.  I add different images each week in tandem with the week’s theme or topic.   This keeps the homepage ‘fresh’ and dynamic as the term goes on.

The main texts the class consider are Dante Gabriel Rossetti’s ‘Jenny’ and Augusta Webster’s ‘A Castaway’ which work fabulously alongside each other.  We start the discussion of each in the classroom, reading the openings of both together so the context of each of these monologues is established, but then much more detailed discussion is taken online.  Thus far, after two days, those who have posted have plenty to say.