Understanding the Pleasure:
Women's Romance Fiction and Its Readers

Course Overview

Required Texts:

• Bittner, Rosanne. Savage Destiny: Sweet Prairie Passion. New York: Zebra, 1983.
• Donati, Sara. Into the Wilderness. New York: Bantam, 1999.
• Gabaldon, Diana. Outlander. New York: Dell, 1991.
• Krentz, Jayne Ann, ed. Dangerous Men and Adventurous Women: Romance Writers on the Appeal of the Romance. Philadelphia: U of Pennsylvania P, 1992.
• Radway, Janice A. Reading the Romance: Women Patriarchy, and Popular Literature. Chapel Hill: U of North Carolina P, 1984.
• Richardson, Samuel. Pamela. 1740. New York: W.W. Norton, 1993.
• Sappho. Selected Poems. c. 700 BC. Ed. & trans. Hackett.
• Woodiwiss, Kathleen. The Flame and the Flower. New York: Avon, 1972.
• Packet of Readings: Some will be on file in the Student Service Center, and some will be available through electronic link.
• Blackboard: Since this course will be delivered primarily online, you will need to access the course on Blackboard from the first day.

Additional Texts (three are required):
You will choose one book from Set One and one from Set Two.

Set One
Anderson, Catherine. My Sunshine. New York: Signet, 2005.
Kinsale, Laura. Flowers from the Storm. New York: Avon, 2003.
Kitt, Sandra. Adam and Eva. New York: Silhouette, 1984.
Lindsey, Johanna. Warrior's Woman. New York: Avon, 1990.
Phillips, Susan Elizabeth. It Had to Be You. New York: Avon, 1994.
Proctor, Candice. Midnight Confessions. New York: Ivy Books, 2002.

Set Two
Atwood, Margaret. Lady Oracle. New York: Simon and Schuster, 1976.
Austen, Jane. Northanger Abbey. (1818) New York: Penguin, 1972.

Course Description:
"Few people realize how much courage it takes for a woman to open a romance novel on an airplane." With that sentence, novelist Jayne Ann Krentz begins her introduction to Dangerous Men and Adventurous Women, a collection of essays written by popular romance novelists about the genre in which they write. With that sentiment also, we will begin our exploration of this offshoot of the larger Romance genre, examining the line traditionally drawn between "literature" and "non-literature," as well as claiming the power to critique and understand the texts that affect us on our own time. In addition, we will explore the critical debate that has surrounded the popular romance novel for over thirty years now, asking whether these narratives contribute to women's oppression, empower women, or somehow do both simultaneously. Because literary criticism has so often focused on romance readers (or as Kay Mussell put it, "But why do they read these things?"), the disciplines of cultural studies, psychology, and sociology will enter our conversation.

Course Outcomes:
As demonstrated in a virtual reading journal, position papers, discussion group or virtual presentations, and a comprehensive final exam essay, students successfully completing the course will be able to:

• explain the connection between canonical literature in the Romance genre and popular romance novels;
• explain a cursory history of the Romance genre from chivalric tales to modern popular literature;
• describe traditional romance novel conventions and recognize when authors are “bending” those conventions;
• use principles from cultural and feminist literary criticism to analyze women’s romance texts and the way those texts have traditionally been perceived;
• identify the ubiquitous nature of romance narratives in literature, film, other media, and the popular American consciousness;
• experience the romance novel reading community from both the outside and inside, confronting and articulating the often conflicted nature of ethnographic sociological and literary study;
• collaborate with peers to facilitate discussion and analyze their own written work;
• reflectively write about their experiences as romance readers, with particular attention to sources of both pleasure and discomfort.

Course Requirements:

Virtual Reading Journal: A Community of Readers
This is a course not only about the texts of women's fiction but also about the readers of those texts. One of the essential premises we will establish is that even if you are not regularly a reader of women's fiction ("romance novels" in the popular form), you have probably been exposed to the genre much more than you realize through other texts and types of entertainment in popular culture. As you proceed through the course, you will undoubtedly find pleasure in many of the romances you read. You may also find yourself shaking your head in amusement or dismay. Both reactions and the spectrum in-between are valid, and you should pay attention to them as you read and hear others' reactions to the same texts. As you form your reactions to readings, you will want to constantly keep other texts we have read and discussed in mind, making connections whenever you can.

A major portion of your grade will be your weekly virtual reading journal. All members of the class will post their entries as part of an ongoing discussion group. I will initiate discussion with a prompt (and often with posted “lecture” information or an article link) each week, but you are encouraged to take your responses beyond the prompt. Like any group of readers united by interest in a particular genre, you will have some texts in common (the "required" list) and some texts that only some of you have read (the two "sets"). Later in the semester, you will actually trade your Set One novel for another (to be read in the future), so one of your tasks will be to help each of your fellow readers decide which book from Set One she would like to bargain for. In addition to recommending and reacting, though, be sure that you are also making significant connections between texts and using what you learn through critical works, my online “lectures,” discussion group sessions, and chat room participation. The virtual journal will then become a wonderful source for paper ideas, giving you a place to test out your theories and be inspired by others.

In many ways, our model for this discussion group is a larger community of readers that you will also join, a listserv called Romance Readers Anonymous. The listserv is free, and you don't receive any marketing ploys or other annoying messages because you are a member. You will receive a digest each day with all of the messages posted. Several popular romance authors are members of the listserv, as well as librarians, academics, and everyday readers. Sometimes authors are definitely “selling” their books to other listserv members, but these entries are only a small percentage, so try skimming quickly by them to get to the real discussions. To encourage you to enter the dialogue on the listserv, you may earn up to 20 points extra credit on your journal grade by actually posting to the listserv (possible five points for each thoughtful post). However, you are only required to read your digests and comment on them in your e-mail journal. The digests can get a little long, so if you miss a day now and then, that's okay. Just be sure to comment at least once a week on the listserv discussion. The listserv address can be found in the “External Links” page on Blackboard).

You are encouraged to post entries on our "virtual journal" as often as you like. My suggestion would be to set aside some time every day to read for this course and to read/write e-mail at least every other day.

Minimum Messages Each Week:

• One significant entry (at least 200 words) in response to your current reading for class: 7 pts.
• One entry (at least 200 words) in response to Romance Readers Anonymous Listserv: 7 pts.
• Two additional postings from you in response to your colleagues: 3 pts. Each
• Total Weekly Points: 20

Observation Papers on Specific Novel Characteristics
For three of the four popular novels that are required for everyone (Sweet Prairie Passion, The Flame and the Flower, and Outlander), you will write a short observation paper in which you will describe an element of the novel that seems either typical of the popular romance narrative or unusual in some way. If you have not been a regular romance novel reader, you may be worried that you won’t recognize what seems “typical,” but I think you will be amazed. The narrative is so common in western culture that most people recognize typical characteristics (such as two potential lovers verbally sparring with each other, the heroine dressed as a man, and a happy ending) right away. An effective way to spot both typical and atypical characteristics is to notice spots where you feel irritated, unsettled, or delighted. Of course, online and group discussions will also help you with this process. As you describe the characteristic you choose, you will need to illustrate it with examples from the novel, citing page numbers for specific incidents and any quotes used. The finished papers will be 1½ to 2, typed, double-spaced pages in MLA format, and you will need to turn an electronic copy in to the Blackboard digital drop box, as well as Turnitin.com. Papers will not be accepted unless submitted on both Blackboard and Turnitin.com (it will not be possible to turn in a physical hard copy of the paper). There will be a grade deduction for papers that are less than 1½ full pages, assuming traditional font and margins.

Position Papers:
For each position paper, you will use your choice of the texts, both primary and secondary, from the "required" list to support your position on an aspect of a novel from sets one or two. There are several approaches that can work well to develop and support your position. You might see the novel you are reading as an affirmation of or a contradiction of something a critic or enthusiast has said (Radway, Krentz, etc.). You might also notice a consistent trend in the genre that has its roots in earlier literature (Richardson, Austen, etc.), comparing the earlier and later works. You might also agree or take issue with the way readers are thought to use women's romance in their lives, working with your own response to the text and those of your classmates, as well what you will find written about readers in Radway, Krentz, Russ, etc. You are required to cite at least three works from the required list as support for your position, and you will need to work closely with your primary text (the "set" novel). The finished papers will be 4-5, typed, double-spaced pages in MLA format, and you will need to turn an electronic copy in to the Blackboard digital drop box, as well as Turnitin.com. Papers will not be accepted unless submitted on both Blackboard and Turnitin.com (it will not be possible to turn in a physical hard copy of the paper). There will be a grade deduction for papers that are less than four full pages, assuming traditional font and margins.

Discussion Group Attendance & Self-Evaluation
While I will be teaching from a distance, we are fortunate to have an outstanding senior in the English program who has been preparing for several months to be my on-site teaching intern. Cara Baummer took the course in 2003 and did truly excellent work in it then, even as a first-semester student. Since then I have been delighted to see Cara grow within the program, and I have heard tales of her legitimately connecting many other literary subjects to the study of romance novels in other classes. Cara has also been a highly successful teaching intern before in ENG 201 for Dr. Salomon, and she is one of the most often requested tutors in the Writing Studio, so I know that she will be a great help to you and to me. Her e-mail address is baummc@sage.edu.

At my request, when Cara met with students in May, they settled on a mandatory, in-person discussion group time of alternate Mondays from 7:30 to 8:30 p.m. There will be one session for a film showing when you will want to stay longer if possible, and you will need to stay until 9:30 on the final night. Cara will be in touch with you regarding the meeting place for these discussion sessions (we’re planning for a room in the French House Annex). Here is a schedule of those Mondays:

Mon., Sept. 11, 7: 30 p.m.
Mon., Sept. 25, 7:30 p.m.
Mon., Oct. 16, 7:30 p.m.
Mon., Oct. 30, 7:30 p.m.
Mon., Nov. 13, 7:30 p.m.
Mon., Nov. 27, 7:30 p.m.
Mon., Dec. 11, 7:30 p.m.: Present final essays.

See the course calendar below for specific information on what you need to prepare in advance for each discussion session, and remember that either Cara or I may need to adjust those requirements via electronic announcements. A main requirement for your discussion group grade is attendance; to avoid any deduction, you will need to attend at least five of the six discussion sessions before the final one and stay the entire time. The final session serves as part of your final exam and is non-negotiable. As part of Cara’s internship requirement, she must report discussion group attendance to me immediately. Of course, things happen (illness, stalled cars, sick children, etc.), and that is why students may miss one session before there will be a deduction. Be sure to save that one time for when you really need it—I will enforce the requirement in all cases. After one missed session, each subsequent session missed will result in a one-grade deduction in your discussion session grade.

After each discussion session, the subjects covered are likely to become part of your online reading journal prompts and to be continued in our chat room sessions. I will expect to see that each student is incorporating information and ideas that have been shared in the discussion sessions when she responds to prompts and chat room questions. At the end of the semester, you will write a two-page self-evaluation of your participation in the discussion sessions.

Chat Room Participation, Quizzes, & Responses
At six scheduled points in the semester, I will conduct a one-hour online chat room session on Blackboard. You are required to participate in at least four of these six sessions, and of course, you are encouraged to participate in all six if your schedule allows. I have purposefully planned them at different times to accommodate varying schedules. I will be giving some reinforcement of instruction during these sessions, and I may quiz participants a bit on the reading (only four “quizzes” would count for your individual grade). Most of all, these sessions will give me a chance to “chat” with you in real time, answering questions, clarifying what you have read, and clearing up any possible misconceptions. The participation requirements are similar to those for the discussion group sessions, except that you are allowed to miss two chat sessions before incurring a deduction. After two missed sessions, each subsequent session missed will result in a one-grade deduction in your chat room grade, and you may have a "zero" for an online quiz grade as well.

Here is the schedule of chat room sessions (remember that you need to choose four in which you can participate):

Thurs., Sept. 21, 5:00-6:00 p.m.
Sat., Sept. 30, 4:00-5:00 p.m.
Wed., Oct. 11, 2:00-3:00 p.m.
Mon., Nov. 6, 7:30-8:30 p.m.
Fri., Nov. 17, 3:00-4:00 p.m.
Mon., Dec. 4, 9:00-10:00 p.m.

Final Exam Essay:
For your final exam, you will write a polished, typewritten, 5-7-page essay in MLA format. You will bring a full rough draft of the essay to share at the final discussion session on Monday, December 11. You will then have until 12:00 noon on Thursday, December 14 to submit an electronic copy of the final draft to the Blackboard digital drop box, as well as Turnitin.com. Papers will not be accepted unless submitted on both Blackboard and Turnitin.com. At the end of the semester, we will read an often-cited essay by Tania Modleski, entitled "My Life as a Romance Reader." Your final exam will be your version of this topic. More detailed information will follow later, but keep in mind that the final will require you to think reflectively about your own negotiation with romance texts, both before and during this class. You will be required to cite at least seven works (novels, critical essays, etc.) from the course in your paper, and you will be required to include the last novel, Sara Donati’s Into the Wilderness, in your discussion. During our last discussion session, students will share rough drafts of these "final" statements on what you have learned, and it will be required that you read a few sections of your paper out loud and come prepared to compare and discuss your conclusions with those of your classmates.

Course Policies:

Attendance
See attendance policies under discussion group and chat room sessions.

Electronic Format and Grading
All papers will need to be submitted in Word format. Feedback will be returned via the "comment" feature in Word and will come from both Cara and me. While I will consult with Cara when assigning paper and discussion group grades, all grading decisions are ultimately the professor’s, and any grading questions should be brought to me via e-mail.

Late Policy
All written assignments are due electronically to me on Blackboard and Turnitin.com by the time and date specified on the course calendar (it will not be possible for you to physically turn a paper in to Cara or the English office). Paper grades will be reduced by one full grade for every day, or portion of a day, that they are late. Without prior arrangement, no paper will be accepted that is more than two days late.

Revisions
On a completely optional basis, each observation and position paper may be revised once, and the highest of the two grades (original or revised) will then be figured into your final grade. Each revision is due electronically one week after the original paper is returned, and changes need to be highlighted with the “comment” feature on Word in the revised version. The original comments from Cara and/or me must stay on the revised version. Be careful—failure to follow these guidelines will result in the revision being returned without evaluation.

Assistance
I am available by e-mail and also by long-distance phone if necessary (phone would be at your expense). Don't hesitate to consult with me if you are experiencing difficulty in the course or if you would simply like to discuss an upcoming reading assignment or paper idea. As I’m sure many of you are already aware, the Writing Studio can be a highly valuable resource, even for English majors and minors (we may have a few tutors in this class). The Writing Studio extension number is 2208. You can make an appointment, or they have lunch and afternoon drop-in time every weekday. Tutors there have been trained to help you improve all aspects of a paper with quality, one-on-one instruction.

The Sage Colleges is committed to responding to the needs of students with disabilities, as defined by the Americans with Disabilities Act. A student seeking academic adjustment under the Americans with Disabilities Act must make a request in writing to The Sage Colleges Coordinator of Services for Students with Disabilities, Sage Albany Campus, 140 New Scotland Avenue, Albany, NY 12208; telephone (518) 292-1764. Any student in need of classroom assistance or modification under the Americans with Disabilities Act must inform the instructor of needed adjustment no later than the first week of class, as well as providing documentation from the Coordinator of Services for Students with Disabilities.

The Spirit of Learning: Statement on Appropriate Conduct on Campus
All members of The Sage Colleges community are expected to conduct themselves in a way that respects the learning environment. Thus, Sage has the right to remove any student from a classroom, other academic area, or program at any time if the student’s behavior is contrary to the spirit of learning or hinders the operation of the program in any way. Violent, disruptive, harassing, or intimidating behavior is not tolerated in the classroom or any other place on campus. Any student whose conduct disrupts a class or any other learning environment may be required to leave the premises immediately and be subjected to disciplinary and/or legal action.

Academic Honesty
Academic dishonesty in any of its forms, including cheating, plagiarism, misuse of SageNet, and failure to comply with guidelines for the conduct of human research, will not be tolerated at The Sage Colleges. A full statement of the policy on plagiarism, cheating and academic dishonesty is available in any of the academic division offices, in the Russell Sage College Dean and Graduate Dean offices (Troy) and Sage After Work and Sage SCA Deans’ offices (Albany).

For guidance in proper referencing of sources, as well as how to avoid plagiarism, consult the most recent edition of the following work, which is available in the reference sections of the libraries on the Troy and Albany campuses.

Gibaldi, Joseph and Walter S. Achtert. MLA Handbook for Writers of Research Papers. New York: Modern Language Association, 1998.

Course Calendar

Note: Monday at 5:00 p.m. is the cut-off for each week's virtual reading journal (first one is for the Discussion Board prompt and peer response only and is due on 9/11). Remember that you are required to attend five of the six discussion group sessions and four of the six chat room sessions.

Week One: Sept. 5-8
Read Rosanne Bittner’s Savage Destiny: Sweet Prairie Passion for the first reading journal assignment.
Course Syllabus & Introduction Online
Information on Book Choices from Sets

Week Two: Sept. 11-15
Monday, Sept. 11, 7:30-8:30 p.m.: First Discussion Group Session (French House Annex)
Post all first-week electronic reading journal entries by 5:00 on Sept. 11.
Have Rosanne Bittner’s Savage Destiny: Sweet Prairie Passion read in full by Sept. 11.
Be ready to sign up for Set One and Set Two book choices.

Week Three: Sept. 18-22
First Short Observation Paper – Rough Draft due electronically by 5:00 on Sept. 18
Post all second-week electronic reading journal entries by 5:00 on Sept. 18.
Have Sappho, Marie de France, and Goade readings done by Sept. 18.
Thursday, Sept. 21, 5:00-6:00 p.m.: First Online Chat Room Session

Week Four: Sept. 25-29 (30)
Monday, Sept. 25, 7:30-8:30 p.m.: Second Discussion Group Session (French House Annex)
First Short Observation Paper – Final Draft due electronically by 5:00 on Sept. 25
Post all third-week electronic journal entries by 5:00 on Sept. 25.
Have Radway assignment and at least half of The Flame and the Flower read by Sept. 25.

Week Five: Oct. 2-6
Second Short Observation Paper – Rough Draft due electronically by 5:00 on Oct. 2
Post all fourth-week electronic journal entries by 5:00 on Oct. 2.

Week Six: Oct. 9-13
Oct. 9-10: Midterm Break
Take a break from virtual entries over the break ?.

Wed., Oct. 11, 2:00-3:00: Third Online Chat Room Session
Second Short Observation Paper – Final Draft due electronically by 12:00 noon on Oct. 11
Have Radway and Krentz readings completed by Oct. 11.
Have Set One novel completely read by Oct. 11.

Week Seven: Oct. 16-20
Monday, Oct. 16, 7:30-8:30 p.m.: Third Discussion Group Session (French House Annex)
Come to the discussion group prepared to read the opening paragraph of your first position paper.
Post all fifth/sixth-week electronic journal entries by 5:00 on Oct. 16.
Have Radway and Pamela reading completed by Oct. 16

Week Eight: Oct.23-27
First Position Paper - Final Draft due electronically by 5:00 on Mon., Oct. 23
Post all seventh-week electronic journal entries by 5:00 on Oct. 23.
Have Malek, Young, and Modleski readings completed by Oct. 23.

Week Nine: Oct. 30-Nov. 3
Monday, Oct. 30, 7:30-8:30 p.m.: Fourth Discussion Group Session (French House Annex)
Post all eighth-week electronic journal entries by 5:00 on Oct. 30.
Have Jane Eyre viewed and half of Outlander read by Oct. 30.

Week Ten: Nov. 6-10
Mon., Nov. 6, 7:30-8:30 p.m.: Fourth Online Chat Room Session
Third Short Observation Paper – Rough Draft due electronically by 5:00 on Nov. 6
Post all ninth-week electronic journal entries by 5:00 on Nov. 6.
Have Williams and Radway readings completed by Nov. 6.
Have Outlander completed by Nov. 6.

Week Eleven: Nov. 13-17
Monday, Nov. 13, 7:30-8:30 p.m.: Fifth Discussion Group Session (French House Annex)
Third Short Observation Paper – Final Draft due electronically by 5:00 on Nov. 13
Post all ninth-week electronic journal entries by 5:00 on Nov. 13.
Have Modleski readings completed by Nov. 13.
Have half of Set II novel read by Nov. 13

Friday, Nov. 17, 3:00-4:00 p.m.: Fifth Online Chat Room Session

Week Twelve: Nov. 20-24
Post all tenth-week electronic journal entries by 5:00 on Nov. 20, including sharing your opening paragraph of the second position paper.
Have Set II novel completely read by Nov. 20.
Have Russ and Mussell readings completed by Nov. 20.

Week Thirteen: Nov. 27-Dec. 1
Monday, Nov. 27, 7:30-9:00 p.m.: Sixth Discussion Group Session (French House Annex): Selections from The Last of the Mohicans will be shown.
Second Position Paper – Final Draft due electronically by 5:00 on Nov. 27
Have Kinsale, Phillips, Putney, and Seidel read by Nov. 27.
Be well along in the reading of Into the Wilderness.

Week Fourteen: Dec. 4-Dec. 8
Monday, Dec. 4, 9:00-10:00 p.m.: Sixth Online Chat Room Session
Post final electronic journal entries by 5:00 on Dec. 4.
Have Into the Wilderness completely read by Dec. 4.
Have Goade online chapter read by Dec. 4.

Final Session, Group Session Self-Evaluation, & Final Exam Essay
Monday, Dec. 11, 7:30-9:30 p.m.: Final Group Discussion Session
Final Exam Essay: Full Rough Draft due at final session; be ready to share highlights.
Group Session Self-Evaluation to be written at beginning of session.
Bring Set One novels and be ready to trade!
FINAL EXAM ESSAY: FINAL DRAFT DUE ELECTRONICALLY BY 12:00 NOON ON THURSDAY, DEC. 14