ENGLISH 3
COURSE GUIDE
2015
WELCOME TO ENGLISH 3
The Department of English seeks to stimulate and develop the imaginative
and critical faculties of its students. In both its teaching and research
activities, it is guided by the goals of cultural enrichment and social justice.
In particular, the Department is committed to:
•
developing a South African-centred curriculum which nevertheless
sees English as a world language and seeks to include a wide range of
literature in English from other parts of the world;
•
situating the detailed study of individual literary works and authors
within a more general inquiry into matters of cultural history, genre
and language;
•
exposing students to a variety of critical and scholarly orientations and
fostering appropriate argumentative skills;
•
promoting correctness, clarity and precision of expression in student
speech and writing;
•
sustaining a challenging learning environment through the provision of
lectures and small-group seminar classes.
This Course Guide and the Guide to Essay Writing will answer many of your
initial questions.
CONTENTS
1. Staff 2015
1
1.1 Lecturing staff
1
1.2 Administrative staff
1
2. About English 3
2
2.1 Aims of the course
2
2.2 Signing up
3
2.3 Problems
3
3. Course content
3
3.1 Course overview
3
3.2 Paper descriptions and prescribed works
4
3.3 Additional works
14
4. Duly Performed (DP) requirements
14
5. Lectures
15
5.1 Listening, thinking and learning
15
5.2 Lecture attendance
16
6. Seminar electives
16
6.1 Independent study
16
6.2 Reading, thinking, talking and writing
17
6.3 Elective attendance
18
7. Written assignments
19
7.1 Assignment dates
19
7.2 Submission of assignments
19
7.3 Extensions for assignments
20
7.4 Getting your assignment back
21
7.5 Departmental marking notch system
22
8. Examinations and calculation of marks
25
8.1 June and November examinations
25
8.2 Class mark, exam mark and final mark
25
9. Using the library
26
9.1 Open shelves
26
9.2 Reference section
27
9.3 Periodicals section
28
9.4 Short loan
28
9.5 English Subject Guide and Faculty Librarian
28
10. Using the Internet
29
11. Further resources and support
30
11.1 Recommended reference works
30
11.2 The English Department’s homepage
31
11.3 Noticeboards and filing cabinet
31
11.4 The audiovisual room
32
11.5 Consultations
32
12. Student support
32
12.1 Course coordinator
33
12.2 Class representatives
33
12.3 Course evaluations
33
13. Dropping English
34
14. Lecture and seminar timetables, essays
35
1. STAFF 2015
1.1 Lecturing staff
Name
E-mail
Room
Cornwell, Prof. Gareth
d.cornwell@ru.ac.za
20
Dass, Dr Minesh
m.dass@ru.ac.za
22
Klopper, Prof. Dirk (HoD)
d.klopper@ru.ac.za
5
Marais, Prof. Mike
m.marais@ru.ac.za
39
Marais, Dr Sue
s.marais@ru.ac.za
27
McGregor, Dr Jamie
j.mcgregor@ru.ac.za
38
Naidu, Prof Sam
s.naidu@ru.ac.za
37
Seddon, Dr Deborah
d.seddon@ru.ac.za
24
Spencer, Dr Lynda Gichanda l.spencer@ru.ac.za
Walters, Prof. Paul
p.walters@ru.ac.za
21
8
Phiri, Dr Aretha
a.phiri.ru.ac.za
35
Wylie, Prof. Dan
d.wylie@ru.ac.za
10
(English 3 Course Coordinator)
1.2 Administrative staff
Name
E-mail
Room
Booth, Ms Carol
(Office Administrator)
c.booth@ru.ac.za
3
Youthed, Ms Tammy
(Part-Secretary)
t.youthed@ru.ac.za
4
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2. ABOUT ENGLISH 3
In English 3, you will continue to build on the knowledge and skills acquired
in English 1 and 2. As well as studying the set texts, you will be encouraged
to develop a greater self-consciousness about your own practice as a
reader. This entails:

A sophisticated understanding of the conventions by which texts
produce meaning, e.g. the conventions of literary realism.

An acquaintance with some of the major theories which inform the
ways in which we read and interpret literature.

An appreciation of the historicity of meaning and of the acts of
interpretation which produce it.

Increasingly independent enquiry, using a range of critical, historical,
and theoretical material.
At third-year level students choose their course of study from a number of
options, amounting to four papers altogether: two ‘core’ papers and two
‘electives’ (see below).
2.1 Aims of the course
A student passing English 3 should, by the end of the year, be able to:

Understand and interpret literature in relation to the historical
context in which it was produced.

Explore the nature of literariness through an investigation of the
linguistic strategies of texts.

Relate texts to critical traditions in order to explore their meaning
through the discriminating use of secondary texts.

Demonstrate critical thinking and the ability to construct arguments,
both oral and written, especially in relation to theoretical and other
secondary critical material.
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
Demonstrate an ability to pursue independent thought and selfmotivated participation in relation to seminar tasks, including forming
topics for essays and presentations, where required.
2.2 Signing up
At signing up, you will confirm the two core papers you will be taking (one
in each semester), as well as the two seminar electives in which you have
been placed. You will also collect copies of the following:

The English 3 Course Guide.

The English 3 timetable for lectures and seminar electives.

Any relevant materials for the first term.

The Departmental Guide to Essay Writing.
2.3 Problems
If you encounter any problems with the course, the first person to speak to
is your lecturer. If your lecturer him/herself is the problem, then speak to
the English 3 Course Coordinator or one of your Class Representatives (see
section 13.3 below). The English 3 Course Coordinator for 2015 is Prof. Dan
Wylie (Room 10). You must see the Office Administrator, Ms Carol Booth
(Room 3 on the ground floor), if you wish to change courses or address
related timetable issues.
3. COURSE CONTENT
3.1 Course overview
In the first semester, students choose one of the following two core
papers: Early Modern Literature or Encountering African Literature, and
one of the six electives (see below). In the second semester, students
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choose one of two core papers, Realism and the English Novel or South
African Post-Apartheid Writing, and one of the six electives on offer.
3.2 Paper descriptions and prescribed works
FIR S T S EM ES T ER
Paper 1: Early Modern Literature
This paper is designed around the idea of the Renaissance itself: how this
period reworked existing stories, literary forms and genres into new forms
of both popular and elite literature. It offers a number of different
examples of early modern literature and treats the various formal
innovations of the period as an important aspect of socio-political and
cultural history. The paper begins with the first book of Spenser’s Faerie
Queene, one of the great epic poems in the English language and a
complex allegory which comments on notions of justice, faith and ethics in
Tudor England. This is followed by two Shakespearean plays. Richard III
features one of Shakespeare’s most extraordinary characters: a
hunchbacked villain whose outward deformities, in keeping with early
modern conceptions of the body, express an evil soul. The play may be
categorized as either history or tragedy. A play from the Jacobean period,
King Lear exists in two versions and its unavoidable textual instability
permits close attention to the materiality of early modern texts, and the
concomitant instability of plot and character in the play’s afterlife. John
Donne’s poems speak back to earlier forms of verse and invent a range of
speakers to explore the varied experiences of both romantic and divine
love. The course will end with a study of some of Milton’s shorter poems –
“Hymn on the Morning of Christ’s Nativity,” “L’Allegro” and “Il Penseroso,”
and the great classical elegy “Lycidas.”
Edmund Spenser, The Faerie Queene, Book One, ed. Carol V. Kaske
(Hackett 9780872208070)
William Shakespeare, Richard III (Arden 9781903436899)
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_____ , King Lear (Arden 9781903436592)
John Donne, Selected Poems (Penguin Classics 9780140424409)
John Milton, Selected Poems (Penguin Classics 9780140424416)
Paper 2: Encountering African Literature
This paper foregrounds the encounters in African writing between cultures,
genders, genres, emerging classes, religions, ethnicities and theoretical
paradigms. It provides both a historical overview of African literature and
an opportunity for engagement with relevant theories, debates and issues,
as well as a focus on contemporary African literature which captures the
cultural diversity and richness of the continent, and its relations with the
rest of the world. The inclusion of Toni Morrison’s Beloved, a
contemporary novel concerned with the slave experience in the United
States, relocates African-American literature within the investigation of
intercultural perspectives, entangled histories, and a diasporic
understanding of Africans within the world and the world’s relationship to
Africa.
Ngũgĩ wa Thiong’o, A Grain of Wheat (Penguin 9780141186993)
Tayeb Salih, Season of Migration to the North (Penguin Modern Classics
9780141187204)
Mariama Bâ, So long a Letter (Heinemann African Writers Series: Classic
9780435913526)
Oral literature (a reader will be provided)
Toni Morrison, Beloved (Vintage 9780099273936)
Chimamanda Ngozi Adichie, Purple Hibiscus (Harper Perennial
9780007189885)
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Seminar electives
(a) Jamie McGregor: Modern British Fantasy, 1916–1977
The enormous popularity of The Lord of the Rings has often caused it to be
labeled “cult” fiction, unworthy of serious academic attention. Despite this
prejudice, its admirers have long recognised it as an outstandingly vivid
and original heroic epic, an unforgettably moving story of friendship and
sacrifice, and a tour de force of the creative imagination. It also forms part
of a notable resurgence of fantasy fiction in Britain in the mid-twentieth
century, including works by authors widely different from one another in
outlook, but equally responsive to the unprecedented horror of the time
they lived in, from the Christian allegory of C.S. Lewis and the Arthurian
whimsy of T.H. White to the Gothic irony of Mervyn Peake.
J.R.R. Tolkien, The Lord of the Rings (Harper Collins 9780261102385)
C.S. Lewis, Perelandra (Voyager 9780007157167)
T.H. White, The Sword in the Stone (Harper Collins 9780007263493)
Mervyn Peake, Gormenghast (Vintage 9780749394820)
Recommended further reading:
Despite their often substantial size, the books included in this course are
merely parts of even longer sequences. Readers of The Lord of the Rings
will probably already know its precursor The Hobbit, and may even harbour
ambitions to tackle The Silmarillion (despite its forbidding reputation as “a
telephone directory in Elvish”). The other set texts are similarly illumined
by being studied together with their companion volumes. For those who
wish to invest in one or more of the complete series, alternative titles are
therefore included below. (In the case of the Lewis, buying the additional
volumes separately currently seems the more affordable option, though it
is also available singly as the “Cosmic”, “Space” or “Ransom” trilogy.)
C.S. Lewis, Out of the Silent Planet (Voyager 9780007157150)
_____, That Hideous Strength (Voyager 9780007157174)
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T.H. White, The Once and Future King (Voyager 9780006483014)
Mervyn Peake, The Gormenghast Trilogy (Vintage 9780099288893)
(b) Sue Marais: Film and Postcoloniality
This elective explores contemporary cinematic representations of crosscultural diversity and transnational entanglements by applying relevant
postcolonial and film theory to a discussion of a select number of specific
films. However, students will be required to broaden the ideas and insights
so gained by conducting research into other films of their own choice.
Herzog, Aguirre, Wrath of God
Inarritu, Babel
Haneke, Caché/Hidden
Egoyan, Adoration
Tamahori, Once Were Warriors
Mehta, Earth
(c) Lynda Gichanda Spencer: Is chick lit chic? Re-reading Romance in
Contemporary Women’s Fiction.
“What is wrong with fiction written for women, by women, about women?
And why do the critics never seem to have read any of the books they
profess to hate?” (“In defence of Chick-lit”, Books Blog, guardian.co.uk)
While popular fiction may be regarded by many critics as an inferior genre/
low brow literature, it continues to appeal to women writers and readers.
In this elective we will begin by questioning why, in spite of being
dismissed, romance fiction continues to be highly successful. We will also
read western romance fiction alongside African romance and consider the
various ways in which African women writers are using and subverting the
genre.
We will reflect on how women writers are experimenting with various new
narrative forms and rewriting the popular romance. We will reflect on how
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this new genre known as chick lit is positioned in relation to feminist ideas
and concerns. We will interrogate how, according to Pamela Butler and
Jigna Desai, these narratives open up spaces to negotiate the
contradictions and complexities of contemporary feminine subjectivities.
Mills and Boon
Sapphire Press
Nollybooks
Consuming Passion (film)
Sex and the City (Series)
Fielding, Helen. Bridget Jones’s Diary (Picador 9780330375252)
Wanner, Zukiswa. The Madams (Oshun 9781770070585)
(d) Gareth Cornwell: Joseph Conrad
In this course we shall read three classic novels by the major Modernist
writer Joseph Conrad. The texts speak cogently to the perennial human
quest for meaning and value in a universe devoid of moral substance. The
Nigger of the ‘Narcissus’ is a sea story, Lord Jim is set mostly in the
Malayan archipelago, while the narrative of The Secret Agent unfolds in
Victorian London.
Joseph Conrad, The Nigger of the ‘Narcissus’ and Other Stories (Penguin
9780141441702)
_____, Lord Jim (Penguin 9780141199054)
_____, The Secret Agent (Penguin 9780141441580)
(e) Gareth Cornwell: American Fiction
This course offers a sampling of the rich variety of fiction published in the
United States in the 1980s and 1990s. Texts range from the “dirty realism”
of Richard Ford’s Rock Springs and Denis Johnson’s Jesus’ Son, to Cormac
McCarthy’s incendiary Western, Blood Meridian, Marilyn Robinson’s
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whimsical Housekeeping and Daniel Woodrell’s genre-bending Tomato
Red.
Richard Ford, Rock Springs (Grove Press 9780802144577)
Marilynne Robinson, Housekeeping (Picador 9780312424091)
Cormac McCarthy, Blood Meridian (Vintage 978-0679728757)
Denis Johnson, Jesus’ Son (Picador 9780312428747)
Daniel Woodrell, Tomato Red (Back Bay Books 9780316206211)
(f) Dirk Klopper: J.M. Coetzee and the Autobiographical Other
This course considers the confluence of autobiography, fiction and history
in Coetzee’s trilogy of fictionalised memoirs, Boyhood, Youth and
Summertime, and in a fictional work that has clear autobiographical
reference, Diary of a Bad Year. It examines how Coetzee uses these
discursive concerns to explore issues of authorship and authority, self and
other, language and power, text and world.
J.M. Coetzee, Boyhood (Random 9780099268277)
_____, Youth (Random 9780099433620)
_____, Summertime (Random 9781742741208)
_____, Diary of a Bad Year (Vintage 9780099516224)
SECOND SEMESTER
Paper 3: Realism and the English Novel
This paper introduces students to English fiction of the eighteenth and
nineteenth centuries. Starting with Daniel Defoe’s Robinson Crusoe and
Laurence Sterne’s Tristram Shandy, we examine the emergence of the
novel as a genre, paying particular attention to these texts’ installation of
the technique of realism and the understanding of subjectivity it inscribes.
Thereafter, we assess the ways in which Jane Austen’s Sense and Sensibility
and Charles Dickens’s Great Expectations draw on classical realism’s
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highest form, that is, the Bildungsroman. From the relative stability of the
Bildungsroman, we move to Thomas Hardy’s Jude the Obscure, and
consider some of the implications of Darwinian thought for the forms of
nineteenth-century fiction. The paper concludes with John Fowles’s
reassessment of classical realist fiction from the self-reflexive,
postmodernist vantage of The French Lieutenant’s Woman.
Daniel Defoe, Robinson Crusoe (Oxford World’s Classics 9780199553976)
Laurence Sterne, Tristram Shandy (Oxford World's Classics
9780199532896)
Jane Austen, Sense and Sensibility (Oxford World’s Classics
9780199535576)
Charles Dickens, Great Expectations (Oxford World’s Classics
9780199219766)
Thomas Hardy, Jude the Obscure (Norton 97803939772788)
John Fowles, The French Lieutenant’s Woman (Vintage Classics
97800994478331)
Paper 4: South African Post-Apartheid Writing
Christy Collins suggests that imaginatively it is possible to move beyond the
polemical question which so preoccupied writers and readers under
apartheid: “Which side are you on?” to embrace the alternative, “nonessentialist” question of “Where is here?” This course explores the ways in
which particular writers have responded to both these questions, and
explores their representations of identity, community and
place/environment – or social and psychological geographies – in
contemporary, ‘post-apartheid’ South Africa.
Phaswane Mpe, Welcome to Our Hillbrow (University of KwaZulu-Natal
9780869809952)
Kopana Matlwa, Coconut (Jacana 9781770093362)
Ishtiyaq Shukri, The Silent Minaret (Jacana 9781770092495)
K. Sello Duiker, Thirteen Cents (David Philip 9780864863577)
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Ken Barris, What Kind of Child (Kwela Books 9780795702334)
Zoë Wicomb, Playing in the Light (New Press 9781595580474)
Seminar electives
(g) Dan Wylie: Animals and Animality in Literature
What makes us ‘human,’ if it is not our distinction from ‘animals’? Yet in
some sense we are ‘animal’ and ‘mammal,’ too. Writers have extensively
explored the problem. In this course, some theoretical and philosophical
key texts, ranging from Nietzsche to Donna Haraway’s notion of the
‘cyborg,’ will open the field. There are no set texts: students will be
required to present regularly on topics of their choice. These might
include: the impact of Darwinism in fiction; the genre of the ‘bestiary’ in
poetry; the concept of the ‘pet’ in literature; the concept of the ‘wild,’
wilderness and ecology; the figure of the animal-hunter in fiction and/or
non-fiction; the world as seen from the perspective of the dog; etc., etc.
Assessment will be continuous, based on short pieces of writing, the
presentations, and a final long essay on an individually-chosen but guided
topic.
(h) Deborah Seddon: Spoken Word: From South Africa to South Carolina
Spoken word or performance poetry is one of the most socially dynamic
and politically potent forms of verbal artistry. It has played an important
role throughout history in many cultures and continues to survive and
adapt to new technologies and social contexts. This course explores the
varied uses of oral traditions in South Africa before, during, and after
apartheid; Afro-Caribbean dub poetry; and the development of AfricanAmerican rap. We will begin by exploring the South African poetic tradition
of izibongo (praise poetry) in the work of a number of South African
iimbongi, including Samuel Edward Krune Mqhayi, David Livingstone Yali
Manisi, and Zolani Mkhiva, and then go on to engage with contemporary
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poets who are working within but also reinventing the oral tradition
including Ingoapele Madingoane, Lesego Rampolokeng, Ike Muila, and
Isabella Motadinyane in South Africa, and Linton Kwesi Johnson, Gil ScottHeron, and the Last Poets across the Atlantic.
The subtitle of this course is taken from Gil Scott-Heron’s 1978 album,
From South Africa to South Carolina which draws attention to the
connection made by poets themselves between the struggle against
oppression in South Africa and in the Black Diaspora. The course will
examine the place of the oral tradition in the South African literary canon
and the transnational aesthetics at work in modern forms of oral poetry.
A range of audio and audio-visual material will be made available. A reader
of poetry and criticism will be provided.
(i) Minesh Dass: American Music, American Girls and American Dreams
This elective will consider the relationship between popular American
music and the USA’s conception of itself. In particular, it will focus on
music produced in the twentieth and twenty-first century which represents
or relates to the American Dream. The work of songwriters such as Woody
Guthrie, Bob Dylan, Bruce Springsteen, Adam Duritz, Tupac Shakur and
Tracy Chapman will be analysed, but students will be encouraged to
consider other artists whom they feel are relevant and worthy of
consideration. Some of the following questions will be discussed in class
(although this is by no means an exhaustive list):



What is the relationship between popular culture and a hegemonic
state like America? Is popular culture always inevitably in the service
of/co-opted by the dominant discourse? Can it ever be considered a
kind of counter-narrative?
What is the American Dream and how do various songwriters conceive
of it?
Why is the figure of the ‘American girl’ so ubiquitous and how might it
be related to America’s various fantasies about itself? How might
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
female songwriters complicate or problematize this standardised
construction?
In which ways are we, in South Africa, meant to understand this body
of work? In other words, does our reception of the music differ from
that of Americans because of our context?
(j) Paul Walters: John Milton, Paradise Lost
Damned by Dr Johnson in the C18th as a “surly and acrimonious
republican,” Milton is perhaps the literary giant of the later C17th.
Expensively and well educated, Milton took a further 5 years of study and
travel after his degree as a personal “finishing” programme towards his
goal of becoming a poet, writing “shorter” poems of considerable power in
the meantime (see the Early Modern Paper). He returned from Europe at
the outbreak of the Civil War, which he entered on the side of Cromwell
and the Parliamentarians (Roundheads/republicans). He became Latin
Secretary to Oliver Cromwell, having to justify (in Latin) to the crowned
heads of Europe why England had chosen to dispose of theirs (Charles I).
And so began a period of nearly 20 years in which his talents were almost
entirely confined to prose. With the Restoration of the monarchy, Milton
was by now entirely blind and in some danger of his life, but was allowed
to retire into “obscurity” in which he wrote some of the greatest poems on
classical models in the English language: Paradise Lost, Paradise Regained
and Samson Agonistes.
This elective will focus on a close reading of Paradise Lost: not for the fainthearted, the poem has the potential to be a life-changing experience – you
will never look at iambic pentameter in quite the same way again!
John Milton, Paradise Lost. Ed. Barbara Lewalski (Wiley-Blackwell
9781405129299)
(k) Paul Walters: Literature and Teaching
The course provides a preliminary overview of theories of reading, the
history of education in South Africa since 1948, issues arising from that
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history, and possible ways of addressing some of the literary/pedagogic
challenges confronting teachers in the C21. A reader will be provided.
Students will be expected to do extensive further reading.
(l) Aretha Phiri: African-American and African Literature in Dialogue
This elective description will be made available in the first semester of
2015.
3.3 Additional works
In addition, the following texts are highly recommended for reference
purposes (M.H. Abrams’ A Glossary of Literary Terms should be purchased
by every student in English 3):
A Glossary of Literary Terms. Ed. M.H. Abrams and Geoffrey Galt Harpham.
10th ed. (Wadsworth Cengage 0495906599)
The Collins Cobuild Grammar (Collins 0007393640)
All students are required to possess a good dictionary (not a “pocket”
edition), such as Collins, Concise Oxford or Compact Oxford Dictionary for
Students.
4. DULY PERFORMED (DP) REQUIREMENTS
The term “Duly Performed” or “DP” indicates that you have completed
sufficient work to allow the English 3 credit to be awarded. The
Department has three DP requirements:

100% attendance at seminar electives.

Submission of all written work.

Sitting for the June and November examinations.
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If, on medical, compassionate or other valid grounds, you are unable to
attend a lecture, a tutorial or a seminar, or are unable to submit an
assignment by the due date, a Leave of Absence (LOA) form must be
obtained from the Office Administrator, completed, supported by relevant
documentation, and returned to her. She will then inform you whether
your LOA has been granted. Failure to submit an LOA application may
result in the loss of your DP (see sections 5.2, 6.2, 7.2 and 8.3). If you have
lost your DP, you will not be permitted to write the examinations.
If you miss a June or November examination, you must apply to the Dean
of Humanities to write an aegrotat. For more information about the
aegrotat, consult the relevant sections in the University Calendar or speak
to administrative staff in the Dean’s office.
If, for whatever reason, you arrive late for an examination, you may sit for
the examination up to 45 minutes after its commencement. Report your
late arrival to the Office Administrator as soon as possible.
5. LECTURES
5.1 Listening, thinking and learning
ALWAYS TAKE YOUR TEXT WITH YOU TO LECTURES.
Lectures are not only occasions on which a transfer of specific information
about a prescribed text takes place. A lecturer will often range widely in his
or her discourse, incorporating philosophical or theoretical argument,
biographical evidence, or historical contextualisation. There is never a clear
line of division between such knowledge and careful attention to the text
itself.
Lecturers vary considerably in their styles. Some will read from prepared
lecture notes, while others will speak more informally. You are expected
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already to have acquired the skills of note-taking. While it helps to be able
to jot down the important points made in a lecture, do not expect to be
able to record every detail of a complex exposition. Cultivate the habits of
listening attentively, identifying main ideas, and noting down the different
aspects of the argument and the textual evidence invoked in support of it.
Your lecturer will be well satisfied if the lecture serves to stimulate your
own reading and thought. Most lecturers will supply you with a list of
recommended readings to be found in the library or online.
Lectures will assist you to gain an idea of what sort of approach toward a
text is being employed, so that your own thinking and reading can be
usefully directed. Although the knowledge and understanding conveyed in
a lecture can sometimes be found elsewhere, it will seldom be available in
a form as distilled, synthesised and accessible as the lecture itself. Students
who miss lectures will find themselves ill-prepared for assignments and
exams.
5.2 Lecture attendance
Lecture attendance may be taken, even if not for DP purposes. However,
your attendance should not be enforced so much as a matter of your
personal commitment. Missing lectures is ALWAYS to a student’s
detriment. This will be even more so in this year’s format, in which the line
between ‘lectures’ and ‘seminars’ may be blurred, and may demand
studious, active and prepared participation on the student’s part.
6. SEMINAR ELECTIVES
6.1 Independent study
The seminar elective paper has the same status and weighting as a core
paper, but instead of having both lectures and tutorials on the prescribed
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works, students meet once a week in a small seminar class where the
emphasis is on class participation and independent study. The precise
structure of the elective will vary, and you will be given information on the
specific teaching format and written requirements of your elective once it
commences. There is no examination on the elective paper.
6.2 Reading, thinking, talking and writing
ALWAYS BRING THE RELEVANT TEXT AND HANDOUT MATERIALS WITH YOU TO
LECTURES.
There is much enjoyment to be had in reading, thinking, talking, and
writing about literature. Success in English studies depends upon bringing
to these four fundamental skills your own particular gifts of insight,
temperament and energy, and trying to achieve a sufficient degree of
competence in each of them to enhance your enjoyment of literature
significantly.
Seminars electives provide an opportunity to practise three of the above
skills – reading, thinking and talking – and to prepare for exercising the
fourth in the writing of assignments. Joining in the discussion is important:
a tutorial is a collective undertaking, and you have a responsibility to your
fellow students to participate – especially if you have been asked
beforehand to present or lead a discussion group. They and your lecturer
are not there to judge you but to learn with you: try to overcome your
shyness, and work on the premise that your opinion is as valuable as
anybody else’s. Feel free, too, to introduce new questions or ideas if you
think they are relevant to the discussion.
Your lecturer will chair the discussion and try to respond to any difficulties
that arise, but it is not the sole responsibility of the lecturer to ensure that
an interesting and stimulating discussion occurs – nor can you expect from
him/her “the last word” on any issue being discussed.
Page | 17
It is important to be prepared, to have done the required reading, and to
have given the issues to be discussed considerable thought: the benefit
you receive from a seminar depends to a significant extent on how much
you are prepared to put into it.
Your lecturer is also available for individual consultation, by appointment.
6.3 Seminar elective attendance
100% attendance at elective seminars is a DP requirement. This is less a
policing matter than our concern to keep track of any problematic
situations that might arise. If, on medical, compassionate or other valid
grounds, you are unable to attend a seminar, an LOA form must be
obtained from the Office Administrator, completed, and returned to her
together with the relevant documentation in support of your application
(e.g. doctor’s certificate, memorandum from counsellor, letter from
parent/warden, notification from sports body). All LOA applications
received by the Office Administrator are forwarded to the Head of
Department for consideration, after which you will be informed whether
your LOA has been granted.
Normally, an LOA application will only be considered if it is submitted
before the scheduled seminar. Under exceptional circumstances, however,
an LOA application submitted after the seminar has taken place will be
considered, provided this application is received within one week of the
missed seminar class.
At the end of each term, an email will be sent to students who have missed
seminars without having submitted an LOA application, stating that they
have lost their DP and have one week in which to appeal against this ruling
by submitting a DP Appeal form available from the Administrative Officer.
Appeals against the loss of a DP are forwarded to the Head of Department
for consideration.
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7. WRITTEN ASSIGNMENTS
In addition to the work required for your seminar elective, you are
expected to hand in four essays during the year, two per core paper. The
maximum length of standard third-year essays is 1800 words.
7.1 Assignment dates
March 20
May 8
August 14
October 2
Spenser (Early Modern) / Ngugi & Salih (African)
Lear (Early Modern) / Oral Literature (African)
Defoe (Realism) / Mpe (Post-Apartheid)
Dickens (Realism) / Duiker (Post-Apartheid)
Assignments for Electives will be arranged individually.
7.2 Submission of assignments
Submission of all written assignments is a DP requirement (see section 4).
When: Assignments are due by 09h35 on Fridays, and submission dates are
listed on your lecture timetable (see section 15.1). If you anticipate a
problem handing in on time, see the Office Administrator well in advance,
as you will need to apply for an extension (see section 8.3 below). Do not
simply hand your essay in late with an excuse.
Where: Assignments are placed in the boxes bearing the relevant lecturers’
names, in the foyer of the Department. The boxes designated for the
submission of assignments are on the right-hand side: the boxes on the left
are for marked assignments awaiting collection by students. It is NOT
advisable to give an assignment to a friend to hand in, because of the risk
that it may end up in the wrong box and be mislaid. Assignments
submitted are ticked off against the class-list as soon as they are received.
Please remember to include all the relevant information on the front page
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(see section 1.3 of the Guide to Essay Writing), together with a Plagiarism
Declaration and your Turn-it-in report. A stapler will be provided in the
foyer for use on assignment submission dates.
Late assignments: The boxes are locked at 09h35. Assignments handed in
after that time, but before 10h30, may be penalised 10% by the Office
Administrator. Assignments submitted after 10h30 and up to noon on the
seventh day thereafter, without an accompanying LOA application form
and supporting documentation, will be accepted for DP purposes, provided
this does not occur more than twice in the year. Such assignments will,
however, score “0”, and will therefore make no contribution towards your
class record. A third late submission without an accompanying LOA
application form will not be accepted and will result in the loss of the DP.
7.3 Extensions for assignments
If you have a legitimate reason for not handing in an assignment on time,
an LOA form must be obtained from the Office Administrator, completed,
and returned to her together with the relevant documentation in support
of your application (e.g. doctor’s certificate, memorandum from
counsellor, letter from parent, notification from sports body). All
applications received by the Office Administrator are forwarded to the
Head of Department for consideration, after which you will be informed
whether your LOA has been granted.
Normally, an LOA application will only be considered if it is submitted
before the due date of the relevant assignment. Under exceptional
circumstances, however, LOA applications submitted after the due date
will be considered, provided these applications are received within one
week of the due date.
An application for an LOA does not automatically grant a student an
extension for a written assignment. The application requires approval by
the Head of Department and extensions are granted only for medical,
Page | 20
compassionate or other valid reasons. YOUR LECTURER IS NOT EMPOWERED TO
GRANT YOU AN EXTENSION. A maximum of one extension per semester will be
granted.
Should you fail to submit an assignment on the due date without having
applied for an LOA, you will receive an email from the Office Administrator
stating that the relevant assignment must be submitted within seven days
to be considered for DP purposes, and that the assignment will receive a
score of “0”. You will also be informed that you may, within seven days,
and under exceptional circumstances only, apply for an LOA. If you apply
for an LOA and it is granted, the assignment must be submitted within
seven days of the submission of the LOA application.
If, after seven days, you have not submitted your assignment and have not
applied for an LOA, you will receive another email stating that you have
lost your DP and have one week in which to appeal against this ruling by
completing and submitting the relevant DP Appeal form available from the
Office Administrator. Appeals against the loss of a DP are forwarded to the
Head of Department for consideration.
7.4 Getting your assignment back
Assignments are designed to help you constantly improve a number of
skills, such as reading, writing, self-editing, structuring arguments, and
providing evidence for your ideas in the form of quotations from the text.
In order to improve, you need to engage seriously with the feedback you
receive from your lecturers: when you get an assignment back, re-read it,
and read all the written feedback provided by your lecturer. Attending to
this individual feedback is the best way to learn from your mistakes, find
out what you have done well, and prepare to do better in future
assignments. It is also a good idea to re-read a previous assignment just
before you begin to write another one, so that the previous feedback on
how to improve is fresh in your mind. Make an appointment to consult
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with your lecturer if you have any questions about an assignment you have
written.
8.5 Departmental marking notch system
Your essay will have been marked according to the following scheme. The
Department uses this scheme to ensure that, despite students having
different markers, the standard of marking is consistent. On your scripts,
markers will allocate ONLY the percentages listed in the right-hand column
below; for example, an essay assessed at 2.2- is always allocated 62%, and
so on. However, although only certain percentages are used (and not the
full range), your final percentage for the year will most likely fall
somewhere within the entire range from 0 – 100, and it is on this basis that
you will be confirmed as, for example, an upper second.
DEPARTMENTAL MARKING NOTCH SYSTEM
Symbol
1
Equivalent
100
95
92
88
82
1.1
78
(The range for the first class is 75-100%.)
2.1
72
2.2+
68
2.262
(The range for the second class is
70-74% for an upper second and
60-69% for a lower second.)
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3+
58
352
(The range for the third class is 50-59%.)
F
45
40
35
30
25
15
0
(Anything below 50% is a failure.)
The following gives an indication of what the Department expects of an
essay graded according to these categories:
1
82-100
Highly original thought; critical attitude towards text and any
relevant secondary reading; evidence of independent reading;
comprehensive and focused answer to the question; virtually
flawless expression, organisation and presentation. One can
scarcely imagine a better answer at its level; it teaches and
surprises the marker.
1-
78
Unusually competent if not entirely original; strong evidence of
secondary reading, where appropopriate; evidence of a critical,
thought-provoking and independent argument; accurate
referencing; excellent command of detail of text; high level of
conceptualisation; very polished if not entirely flawless expression
and organisation.
2.1 72
Very competent; not necessarily original, but well-marshalled
argument; accurate knowledge of, and attention paid to, details
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of the text; possibly but not necessarily (depending on year of
study) some treatment of secondary works; strong
conceptualisation; lucid expression and organisation containing
only a sprinkling of errors; strongly nuanced vocabulary.
2.2 62-68
Solid, but not particularly exciting, with little originality; good
knowledge of and attention paid to text; some argumentative
assertions viable, but possibly arguable or bordering on
inaccurate; relatively little use of (or over-dependence on)
secondary works; expression and organisation generally lucid,
containing some errors but not such as to destroy sense.
3
52-58
Passable; shows basic knowledge of text, despite some
misreadings or factual errors; shows some effort at argument and
remaining relevant to the question, though not entirely
successfully; naive; almost no originality of thought; expression
and organisation regularly flawed but almost always
followable.
F
45
Almost passable, but too flawed by lack of adequate knowledge of
the basics of the text; lacks coherent argument; does not go
beyond pointing out the obvious; expression and organisation
regularly flawed to the extent of obscuring sense; vocabulary
seriously impoverished.
35 etc.
Seriously lacks basic knowledge of the mechanics of the text;
factual errors; sense consistently lost in errors of language and
expression; no argument; fundamentally incompetent in language
skills.
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8. EXAMINATIONS AND CALCULATION OF MARKS
8.1 June and November examinations
You write ONE three-hour examination in June (corresponding with the
core paper taken in the first semester) and ONE three-hour examination in
November (corresponding with the core paper taken in the second
semester).
The structure, format and content of individual examinations may vary
from year to year, and previous examination questions are not necessarily
a reliable guide. Important information about the content and
arrangement of examinations will be posted on the English 3 noticeboard
in good time, and conveyed to you in lectures. Please note that any
examination may contain a compulsory question on a particular text or
topic.
Assessment of the electives is arranged individually.
8.2 Class mark, exam mark and final mark
The final mark for the year is calculated by weighting each paper equally
(the two core papers and the two elective papers; each comprise 25% of
the final mark. In the core papers, the essays count 50% and the exam
50%. The calculation of the mark for the seminar elective you have taken
will differ from elective to elective.
Please note that marks awarded for first semester papers are provisional
and subject to moderation by the Department’s external examiner in
November.
The core paper and the elective paper completed in the first semester will
contribute towards a June mark. The core paper and the elective paper
completed in the second semester will contribute towards a November
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mark. The June mark and November mark will be added together and
divided by 2 in calculating your final mark.
9. USING THE LIBRARY
Aside from relevant knowledge and skills imparted in lectures and
tutorials, an obvious resource for the completion of assignments and the
writing of examinations is the library. Pamphlets providing detailed
information on use of the library and the resources it contains are available
in the library foyer, and additional information is available via the library
link on the Rhodes website. Material that you might wish to consult is
found on the open shelves, in the reference section, and at the Short Loan
desk.
Even though you may be directed by a lecturer to specific critical works,
you are advised to concentrate on getting to know and understand your
set texts really well. There is no substitute for such knowledge. Useful
approaches to the set works are suggested in lectures and tutorials. What
is looked for in discussions and essays, however, is your response to the
text in the light of this guidance, not a summary of critical opinions derived
from other readers and commentators.
9.1 Open shelves
Books on the open shelves are arranged according to the Dewey Decimal
classification system. The classification numbers most relevant to you are:
800-809
810-819
820-829
828.909-828.939
828.99
General literary theory
American literature
English literature
South African literature
African literature
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Numbers within these ranges vary according to literary form and historical
period, e.g. Elizabethan plays are classified at 822.3, twentieth-century
English novels at 823.91. A book’s classification number is completed by
the addition of three letters, usually the first three letters of the author’s
surname: e.g. Hard Times by Charles Dickens would be found at 823.8 DIC.
Locate a book by obtaining its classification number at an OPAC
(computerised catalogue) terminal on the ground floor of the library, or via
the library link on the Rhodes website.
9.2 Reference section
Books in the reference section on the ground floor of the library include
dictionaries, encyclopaedias, and general bibliographies. The most
important bibliographies are now available online, including the MLA
[Modern Language Association] International Bibliography, which can be
accessed via the library’s webpage.
Dictionaries and encyclopaedias of literature and literary criticism are
useful sources of information about literary terms and concepts, authors,
literary movements, and individual literary works and their critical
reception.
Major works include the following:
Cassell’s Encyclopaedia of World Literature R803 CAS
Dictionary of World Literary Terms R803 DIC
Longman Companion to Twentieth-Century Literature R803 LON
Encyclopaedia of Poetry and Poetics R803.1 PRI
Nineteenth-Century Literary Criticism R809.04 NIN
Twentieth-Century Literary Criticism R809.04 TWE
Contemporary Literary Criticism R809.04 CON
Oxford Companion to American Literature R810.9 OXF
British Writers R820.9 BRI
Cambridge Guide to English Literature R820.9 CAM
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Oxford Companion to English Literature R820.9 OXF
Encyclopaedia of Post-Colonial Literature in English R820.991712 ENC
9.3 Periodicals section
Journals devoted to English studies are to be found in the Periodicals
stacks on the top floor of the library. Check the catalogue to find the
location of particular journals. You may not always be required to seek out
journal material yourself as individual articles may well be placed on Short
Loan for your use (see below). The periodicals section is, however, a
rewarding place to browse, and you are expected to consult journal
articles in order to prepare for essays and examinations. Many journals are
now available online (via the e-journal link under “Resources”), and can be
accessed via databases such as JSTOR and EBSCO.
9.4 Short loan
Copies of recommended readings on texts with which students are
currently engaged are placed on Short Loan in the library (the loan period
is one hour at a time). When lectures on the text have been completed,
the material will be shifted to 48-hour loan. To find out which materials
have been placed on Short Loan for a specific course, or by any particular
lecturer, consult the “short loan” link under “Catalogue” on the library’s
webpage.
9.5 English Subject Guide and Faculty Librarian
The English Subject Guide, which is located under “Resources” on the
library website (Libguides), contains a wealth of useful and interesting
information, plus links to relevant online resources.
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The Humanities Faculty Librarian is Ms Linda Cartwright. Her office is on
Level 4 in the library. If you need help with finding books or retrieving
online information, she is the person to approach.
10. USING THE INTERNET
The Internet can be a very useful tool, but you are encouraged to use it
wisely. Do not be duped into thinking that, because something is posted
on the web, the information it contains is reliable or correct. Make sure
that the site you are using is a reputable and scholarly source. Check for
the letters “ac” or “edu” in the URL: this indicates that the page is from a
university website, and therefore that the information provided on literary
texts is likely to be accurate. Many websites, designed to “help” students
with English literature essays, provide information that is simplistic,
misleading, and sometimes erroneous. Avoid these sites, e.g.
Sparknotes.com. The information there may well have been written by an
undergraduate student like yourself, in order to earn a little extra money.
Why trust these sources above your own ideas?
The Rhodes Library has access to a vast range of online databases for
academic purposes. Good website sources include the online Oxford
English Dictionary (OED.com); JSTOR, a database of downloadable scholarly
articles from good journals in many disciplines; the MLA bibliography, one
of the largest collections of academic papers in the world; and the GALE
group literary website, which provides reliable information on authors and
their work. Ask your lecturer or a Rhodes librarian for advice on reliable
websites to use.
Useful websites offering guidance on academic writing, specifically, include
the following:
www.columbia.edu/acis/bartlby/strunk/strunk.htm
www.infoplease.com/homework/writingskills1.html
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www.ccc.commnet.edu/grammar/
www.mindtools.com/CommSkill/Writing_Skills.htm
www.studygs.net
11. FURTHER RESOURCES AND SUPPORT
11.1 Recommended reference works
Copies of the following reference works are available at the University
Bookstore (Van Schaik’s) and/or in the Main Library (Short Loan or
Reference):
Sheridan Baker’s The Practical Stylist (8th ed. London: Longman, 1997):
Most students who fail to do well in English I have not learned the basic
principles of good writing by the end of the year. The Department
recommends this text to help you with various aspects of essay writing.
Study the book carefully and selectively to correct and improve the
grammar, style, and organisation of your written work, particularly where
specific faults have been pointed out to you by your lecturer.
Nicholas Visser’s Handbook for Writers of Essays and Theses (2nd ed. Cape
Town: Maskew Miller Longman, 1992): This handbook contains invaluable
information on style and usage, punctuation, grammar, the presentation of
essays, and the documentation of sources.
M.H. Abrams’s A Glossary of Literary Terms (10th ed. New York:
Wadsworth Cengage, 2010): Every academic discipline has its own
terminology. This glossary gives short, clear explanations of important
literary terms and their backgrounds. Beyond knowing those terms which
are essential to the course, you are encouraged to explore the entire book
to acquaint yourself with the fundamental concepts of literary studies.
Dictionary: The wider your vocabulary, the better. Make a habit of learning
the meaning of every new word you come across, paying attention to the
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context in which you found it. Accurate spelling is also important: check
that every word is correctly spelt before handing in an essay.
11.2 The English Department’s homepage
Students can access the English Department’s homepage via the Rhodes’
website (under “Academic” – “Departments”), or directly at:
http://www.ru.ac.za/english/. The homepage contains information about
staff, courses, current events, and resources on the Internet. It also
contains a sample of undergraduate essays, which provides examples of
the best students’ academic writing, and pages on crucial academic and
literary skills. For example, the entry entitled “Essential Resource Pack”
contains detailed guidelines on paragraph- and essay-writing skills, the
analysis of poems and passages, argumentation and theory, and much
more. Increasingly, too, messages and links to recommended readings are
posted on the website, and on RUConnected.
11.3 Noticeboards and filing cabinet
In the foyer of the English Department there are noticeboards for each
course. These provide students with essential information on lecture and
tutorial groups, current essay topics, and the format of forthcoming exams.
It is important to check the English 3 noticeboard regularly, so that you are
up-to-date. The foyer also has display boards, on which news cuttings and
notices of forthcoming seminars are posted, and cabinets which contain
materials relevant to courses currently being taught.
This year you should acquaint yourself with the third year filing cabinet in
the English Department foyer, as this is where handouts will be distributed
and essays usually returned. You will have your own file in the filing
cabinet that you should keep an eye on, in addition to the third-year
noticeboard.
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11.4 The audiovisual room
The Audiovisual (AV) Room is number 14 on the middle floor of the
Department. It contains a comprehensive collection of audio recordings,
videos and DVDs – of plays, poetry readings, adaptations of novels, and
other useful background material – together with audio equipment and a
large flat-screen monitor. A list of what is available can be consulted in the
Office Administrator’s office. If you wish to watch a video or listen to a
recording, you must make a booking with her so that you can do so during
office hours. Audiovisual material may not be removed from the
Department. Occasionally lecturers will arrange viewings of a popular or
course-related DVD/video, and a notice to this effect will be posted on the
English III noticeboard, indicating the screening time(s).
11.5 Consultations
Consultations with lecturers may be arranged in advance. Some lecturers
post their office hours and the times at which they are available for
consultation on their office doors. You may also communicate with
lecturers via e-mail, if you have an urgent query or wish to arrange a
meeting, but Twitter and Facebook should not be used for this purpose!
12. STUDENT SUPPORT AND ACADEMIC DEVELOPMENT
This section deals with whom you can consult if you are experiencing
problems, either of a personal or academic/course-related nature.
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12.1 Course coordinator
The English 3 Course Coordinator, Prof. Dan Wylie (Room 10), is available
to answer questions, provide guidance and assist you, if you need support.
12.2 Class representatives
Class representatives are elected during the first weeks of the academic
year. They serve as an additional channel of communication between
students and the Department’s teaching staff. The Head of Department
meets the class representatives, together with Course Coordinators, twice
each semester. These meetings are important opportunities to give and
receive feedback. Frequently ideas for the improvement of the
Department’s activities emerge from the discussions. Students often find it
useful to communicate opinions on courses or individual members of staff,
favourable or not, to the Head of Department, who can then respond
appropriately.
Class representatives are encouraged to approach the Course Coordinator
and Head of Department at any time, should the need arise. In addition, all
students should feel free to consult the latter about any subject at any
time. He is generally available in his office, but students may also contact
him by e-mail (d.klopper@ru.ac.za), or arrange an appointment with him.
12.3 Course evaluations
As per University requirements, the Department conducts regular course
and teaching evaluations or surveys. Course evaluation is conducted by the
Course Coordinators, and teaching evaluation by the individual member of
staff concerned. Responses are then referred to the Head of Department.
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Any policy decisions arising from such evaluations are posted on the course
noticeboards, and/or communicated to students directly in lectures.
13. DROPPING ENGLISH
If you find that you are over-committed or that, for some reason, English is
simply not for you, please inform the Office Administrator Ms Carol Booth
before you disappear. If you decide to drop English at any stage during the
year, even if only after a week or two, you must first arrange to see the
Dean of Humanities (in the Faculty of Humanities building/Randell House,
on the corner of Somerset and Prince Alfred Streets) to discuss the matter,
and inform an administrative staff member in the Student Bureau in Eden
Grove. If you do not follow these steps, i.e. deregister officially, you will be
liable for the full cost of course handouts and your name will remain both
on the Department’s class-list and on the University Administration’s
Student Record lists, creating confusion.
Feel free to ask the Course Coordinator and the Office Administrator if you
still have any questions.
We hope that you have a marvellous and successful year and that many of
you will consider applying to do Honours with us in 2016!
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14. LECTURE AND SEMINAR TIMETABLES, ESSAYS
FIRST SEMESTER
Week
beginning
EARLY MODERN LITERATURE
(Physics Upper)
AFRICAN LITERATURE
(Physics Upper)
SEMINAR ELECTIVES
Wed 09:35
Mon 16:05
Tues 08:40
Wed 16:05
Thurs 10:30
Feb 16
Intro Early Mod DS
Spenser JM
Intro African LS
Ngugi SN
Feb 23
Spenser
Spenser
Ngugi
Ngugi
March 2
Spenser
Spenser
Ngugi
Salih LS
March 9
Richard III JM
Richard III
Salih
Salih
March 16
Richard III
Richard III
Salih
Ba LS
March 23
King Lear DS
King Lear
Ba
Ba
April 13
King Lear
King Lear
Oral Lit DW
Oral Lit
April 20
King Lear
Donne DS
Oral Lit
Oral Lit
April 27
FREEDOM DAY
Donne
Oral Lit
Oral Lit
May 4
Donne
Donne
Morrison DS
Morrison
May 11
Donne
Milton
Morrison
Morrison
May 18
Milton
Milton
Adichie SN
Adichie
May 25
Milton
Milton
Adichie
Adichie
Assignments:
March 20: Spenser
May 8: Lear
PW
Fri 11:25
EASTER FRIDAY
WORKERS DAY
Assignments:
March 20: Ngugi & Salih
May 8: Oral Lit
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SECOND SEMESTER
Week
beginning
REALISM AND THE ENGLISH NOVEL
(Physics Upper)
SA POST-APARTHEID WRITING
(Physics Upper)
SEMINAR ELECTIVES
Wed 09:35
Mon 16:05
Tues 08:40
Wed 16:05
Thurs 10:30
July 20
Intro Realism MM
Defoe MM
Intro SA MD
Mpe MD
July 27
Defoe
Defoe
Mpe
Mpe
August 3
Sterne JM
Sterne
Mpe
Matlwa LS
August 10
WOMENS DAY
Sterne
Matlwa
Matlwa
August 17
Sterne
Austen MM
Shukri MD
Shukri
August 24
Austen
Austen
Shukri
Shukri
Sept 7
Austen
Dickens DK
Duiker SM
Duiker
Sept 14
Dickens
Dickens
Duiker
Duiker
Sept 21
Dickens
Hardy DK
Barris MM
HERITAGE DAY
Sept 28
Hardy
Hardy
Barris
Barris
Oct 5
Hardy
Fowles MM
Barris
Wicomb MD
Oct 12
Fowles
Fowles
Wicomb
Wicomb
Oct 19
Fowles
Revision
Wicomb
Revision
Assignments:
August 14: Defoe
October 2: Dickens
Fri 11:25
Assignments:
August 14: Mpe
October 2: Duiker
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