Documentary America: Non-Fiction Writing
MODULE DESCRIPTION
The study of American fiction often precludes an examination of some of the best writing and forms of
self-representation that America has produced: political and photo-essays, social science publications,
journalism, reportage, and documentary film. This module examines the development of iconic nonfictional American literature and its relation with other forms of visual representation (such as film and
photography) from the 19th century to the 20th centuries. We will look at the style, content and
circulation of non-fictional forms and examine their relationship within wider discourses of cultural,
social and political representation in America. We will also look at the ways that these forms intersect
with the development of modernist and postmodernist literature in the US more broadly. For this module
you will have to read from a broad selection of materials that do not necessarily fit into conventional
literary genres and you will be watching a number of realist and neo-realist American documentaries. We
will analyse why writers and artists have chosen to represent events in the way that they do and the
wider cultural impact of those forms.
ASSESSMENT
One 6000 word dissertation - 100%
SEMINARS
A 2 hour seminar each week supplemented by film screenings on allocated weeks.
PRESENTATIONS
You and at least one partner will be asked to present a critically informed response to material allocated
for one of the weeks in the Spring term.
Preparing & Giving Presentations
For your presentations, you and your partner need to:
Research and read materials related to that week’s topic. Feel free to supplement your talk with texts
related to the material on the reading list. Present a critical response to some of this material , and let us
know what you think of those points. I advise focusing on one or two important points. Try to present
alternative views and perspectives – including counter-arguments and then trying to refute them is
always a good way of advancing your arguments in a critically informed way.
Relevant passages from the materials and from the primary reading should be provided to the class either
in a handout or in a (very) short PowerPoint presentation. See this as an opportunity to have
a conversation with a room of experts in the relevant topic you’re discussing. After your presentation, you
should be prepared to answer questions from class-members.
Presentations are a starting point for seminar group discussion. They are NOT mini-essays that you
simply read out, thus sending everyone else to sleep right at the beginning of the seminar! Don’t worry
about being formal – the main aim is to communicate your own ideas and generate some interesting
discussion.
There are various ways of making a presentation useful without doing ridiculous amounts of work in
preparing it:
· you can present, very simply, a set of questions for the whole seminar group to discuss
· you can begin with your personal reactions to the reading you have done and then invite reactions
from the rest of the group
· you can present some extra research you have done (in the library, or on the web) that you found
helpful, and explain why
· you can prepare a role-play where each of you presents a different side of an argument
· you can split the seminar group up into smaller sub-groups and give them a task to do
By all means, use your creativity and work together as a team so you benefit from each other’s thoughts
(plus, not having sole responsibility helps with nerves too).
Your tutor will tell you whom you will be presenting with, and when.
Presentations should be no shorter than 15 minutes and no longer than 20 minutes. Make sure
you leave at least 20 minutes for post-presentation discussions. Useful tips on giving academic
presentations can be found on the following sites:
http://www.studyskills.soton.ac.uk/studytips/presentations.htm
http://www.brunel.ac.uk/learnhigher/giving-oral-presentations/
http://www.canberra.edu.au/studyskills/learning/oral
Weekly Reaction and Response Papers
After week one all students will be asked to complete a brief non-assessed writing task in preparation for
the seminar. You must produce a brief piece of writing (no more than 400 words and preferably just one
page) which engages in some way with the material allocated for that week. This is an opportunity for you
to be creative in your response to the materials on the module and to say what you want without fear of
being "wrong". It will also keep you writing in practice for your dissertation. By week 10 you will have
compiled a collection of written pieces which you will be able to use/rewrite or refer to as a resource for
writing your dissertation. When you have chosen your dissertation topic, you may use any of the material
you have already created if you wish. The main point of the exercise is to stimlate your ability to critically
reflect and write on the formal properties and the thematic content of the non-fiction primary texts
(visual and verbal) on the module and should help you focus and refine your ideas as you embark on the
process of writing your dissertation.
NOTE RE. MATERIALS AND READING
Note: the reading for week one and two is available either on-line or in the case of the secondary reading
in pdf form in the relevant week - see the sections for weeks one and two. Reading for subsequent weeks
will need to be purchased (in the case of primary materials) or accessed in the library (secondary). I'm
aware there is a substantial amount of primary reading to do for many seminars and I'll try to keep the
prescribed secondary reading to manageable proportions. There will, however, be at least some
secondary reading that you will need to do in advance of seminars.

Dissertations - Guidelines E D I T

dissertation - guidelines (summary) E D I T

Dissertation - Research Proposal E D I T
Week One. Journalism: Selections from Whitman, Twain, Hemingway and Steinbeck.
Week Two. Documenting the City: the Photo-Journalism and Social Reform of Jacob Riis and Lewis
Hine.
Week Three: Documentary Film invented: Nanook of the North (1922).
Week Four: Oral History and Ethnography WPA Life Histories and Hurston's Folk Life Research
Week Five: Documenting the Great Depression
Week Seven: The Sociological imagination : Conformism and the 1950s: David Reisman
Week Eight: Women and Non-Fiction writing.
Week Nine: The Vietnam Reality Effect: Reports and Vietnam photography
Week Ten: New Journalism: selections from Tom Wolfe and Hunter S. Thompson.
Week Eleven: Fly on the wall? The reality fictions of Frederick Wiseman.
Week Twelve: Documenting American death and module review
Dissertation
Marking and Feedback information
Week One. Journalism: Selections from Whitman, Twain, Hemingway and Steinbeck.
Reading
Whitman : Prose Work selections:
http://www.whitmanarchive.org/published/other/CompleteProse.html#leaf012r1 - Students read and
print out the following brief sections from Specimen Days :
Abraham Lincoln; Hospitals Ensemble; Down at the Front; Union Prisoners South;A Glimpse of War's
Hell-Scenes; Female Nurses for Soldiers; The Inauguration; Death of President Lincoln; Death of a
Pennsylvania Soldier; Scenes On Ferry And River - Last Winter's Nights; Two City Areas, Certain Hours;
Central Park Walks and Talks; The Prairies; On to Denver - A Frontier Incident; Steam Power, Telegraphs
Etc.; Denver Impressions; The Prairies and Great Plains in Poetry;
Twain : Mark Twain's journalism at Gutenberg: http://gutenberg.net.au/ebooks09/0900821h.html
Students read and print out selections from Roughing It. Go to:
http://etext.virginia.edu/railton/roughingit/rihp.html.Students read chapters 40, 42;
'The Private History of a Campaign That Failed ' - online available at :
http://en.wikisource.org/wiki/The_Private_History_of_a_Campaign_That_Failed - Also available in
numerous editions of Twain's work in the Library, including Sketches .
Hemingway , " Who Murdered the Vets? A First-Hand Report on the Florida Hurricane," New Masses 16
(Sept. 17, 1935): essay in Joseph North, ed., New Masses: An Anthology of the Rebel Thirties (New York:
International Publishers, 1969). [Nb: see below for pdf file - print out and bring to class]
Steinbeck : "Harvest Gypsies". See http://newdeal.feri.org/steinbeck/hg01.htm
Secondary (non-essential) but also of interest: Steinbeck and photographer Robert Capa's, A Russian
Journal (1948) is a compellingly written account of their journey through Cold War Russia. However,
Steinbeck's Travels with Charley: In Search of America (1962) is now thought to be more fiction than
eyewitness account.
Secondary Reading
Shelly Fishkin : From Fact to Fiction: Journalism & Imaginative Writing in America , [Nb: see below for an
extract from Fishkin's book: read, print-out the pdf document and bring to Seminar 1.]
Further Secondary Reading: Ernest Hemingway, Cub Reporter. Ed. Matthew J. Bruccoli. Pittsburgh:
University of Pittsburgh Press.
Thomas B. Connery, ed., A Sourcebook of American Literary Journalism: Representative Writers in an
Emerging Genre (New York: Greenwood Press, 1992).
Jack London, The People of the Abyss (1903). Online with illustrations
at: http://london.sonoma.edu/Writings/PeopleOfTheAbyss/
Study Questions:
What characteristics distinguish non-fiction texts from other kinds of texts?
What are the limitations of such categorization?
What functions does American journalism have in the 19th and early twentieth centuries?
Is there evidence in this week's texts that the 'reporter' is presented as a particularly American
personality?
What are the various implications of the use of the first-person authorial persona in the texts by Whitman,
Twain and Hemingway?

Shelly Fishkin: From Fact to Fiction - Extract E D I T

Ernest Hemingway: 'Who Murdered the Vets?' (in New Masses, editor Joseph North) E D I T

Seminar Handout - Week One E D I T

Civil War Photo Archive Library of Congress - context for Whitman E D I T

Week 1 Reading E D I T

Specimen Days selections E D I T

Mark Twain Roughing It E D I T

A Private History of a Campaign that Failed E D I T

The Spanish Earth E D I T
Week Two. Documenting the City: the Photo-Journalism and Social Reform of Jacob Riis and Lewis
Hine.
Students all to study the selections
at : http://xroads.virginia.edu/~ma01/davis/photography/riis/riis.html
How The Other Half Lives (full text online)
http://xroads.virginia.edu/~ma01/davis/photography/hine/hine.html
Link to the photography
slideshow http://xroads.virginia.edu/~MA01/Davis/photography/slideshows/slideshows.html
Secondary Reading
Theorizing documentary - Renov, Michael, 1993. Read introduction for seminar. see below for an extract Introduction and Chapter One 'Towards a Poetics of Documentary'. The first document contains the first
page only - the rest is in the second document. Read, print out and bring to class.]
The virtues of the vicious: Jacob Riis, Stephen Crane, and the spectacle of the slum - Gandal, Keith, 199.
[Sections on Riis are very useful]
You might also be interested in Luc Sante's Low Life (1991).
and....Jack London, The People of the Abyss (1903). Online with illustrations
at: http://london.sonoma.edu/Writings/PeopleOfTheAbyss/
Seminar Questions
1. Renov argues that all discursive forms, including documentary, are to some extent 'fictive'. To what
extent does American nonfiction writing, photography and film narrativize the real?
2. How does Riis's and Hine's work deploy narrative in its representation of reality?
3. Do you think their aim is to be advocates of social reform or does their work have other aims?
4. What relationship do we have, as spectators, to the spectacles documented in these texts and images?
NOTE ON SCREENING: The screening for Week 3 - Nanook of the North - location and time TBC

Michael Renov: Theorizing Documentary - Introduction and Chapter One E D I T

Michael Renov: Theorizing Documentary - Introduction and Chapter One E D I T

Jabob Riis - How the Other Half Lives E D I T

Riis - How the Other Half Lives - Bandits Roost E D I T

Article on Lewis Hine E D I T

Article on Jacob Riis E D I T

Muybridge and documenting the body E D I T

Taylorized spectacle E D I T

Stephen Crane's 'An Experiment in Misery' E D I T

Up From,the Streets: Hine in Survey E D I T
Week Three: Documentary Film invented: Nanook of the North (1922).
Screening: Robert Flaherty, Nanook of the North (1922).
Reading
Rothman, William. "The Filmmaker as Hunter: Robert Flaherty's Nanook of the North ." In Documenting
the Documentary: Close Readings of Documentary Film and Video , edited by Barry Keith Grant and
Jeannette Sloniowski, 23–39. Detroit, MI: Wayne State University Press, 1998. [NB: see below for pdf
version - Read and bring to class]
Eric Barnouw, Documentary: A History of Non-Fiction Film (read chapter 2).
Documenting the documentary: close readings of documentary film and video - Grant, Barry Keith,
Sloniowski, Jeannette, 1998
Book | Essential | Read chapter by William Rothman on Nanook of the North [Chapter available in pdf
form below]
Documentary: a history of the non-fiction film - Barnouw, Erik, 1993
Book | Essential | Read chapter 2 [relevant excerpt available in pdf form below]
American documentary film: projecting the nation - Geiger, Jeffrey, 2011
Book | Essential | Read chapter 2, case study on Nanook

Jeffrey Geiger American Documentary Film Chapter 2: Virtual Travels and the Tourist
GazeEDIT

Eric Barnouw: Documentary: a history of non-fiction film: Chapter 2 (Flaherty case
study)EDIT

William Rothman The Filmmaker as HunterEDIT
Week Four: Oral History and Ethnography WPA Life Histories and Hurston's Folk Life Research
1.
Reading
American Life Histories: http://lcweb2.loc.gov/wpaintro/wpahome.html
Task: Survey and search this database: find one story to bring into class to discuss.
Zora Neale Hurston Mules and Men: at http://xroads.virginia.edu/%7EMA01/GrandJean/Hurston/Chapters/index.html
Secondary reading on WPA Life Histories
Mangione, Jerre. The Dream and the Deal: The Federal Writers' Project, 1935-1943.
M. N. Penkower, The Federal Writers' Project: a study in Government patronage of the arts (1977)
Jerrold Hirsch, Portrait of America: A Cultural History of the Federal Writers' Project. (Chapel Hill and
London: University of North Carolina Press, 2003)
Week Five: Documenting the Great Depression
Selections from photo essays with photos by Dorothea Lange, Walker Evans, Russell Lee and Margaret
Bourke-White. See the following photo Essay on the 1930s
at: http://www.english.illinois.edu/maps/depression/photoessay.htm
View one of the following New Deal Documentary films: King Vidor's Our Daily Bread, Pare Lorentz, The
Plow that Broke the Plains, The River. [Available on youtube and in the Library]: King Vidor's Our Daily
Bread, Pare Lorentz, The Plow that Broke the Plains
[http://www.youtube.com/watch?v=fQCwhjWNcH8&list=PLD47D9F44CB7A7E03&index=1&feature=plp
p_video], The River [http://www.youtube.com/watch?v=ium31et6rd8]
The following website is a useful source for documentaries on American life in the years preceding the
outbreak of World War II. http://xroads.virginia.edu/~ma01/huffman/frontier/frontier.html
Stott, William. Documentary Expression and Thirties America. Chicago: University of Chicago Press, 1986.
[Note: see below for an extract to read in preparation for the seminar]
Guimond, James American Photography and the American Dream Ch. 4 "The Signs of Hard Times". [Note:
see below for an extract to read in preparation for the seminar]
Secondary:
 Allred, Jeff. American Modernism and Depression Documentary, Oxford University Press, 2010.
 Lange, Dorothea, and Paul Schuster Taylor. An American Exodus: A Record of Human Erosion in the
Thirties.1939. Revised edition. New Haven: Yale University Press, 1969.
 Bourke-White,Margaret and Erskine Caldwell You Have Seen Their Faces
 Richard Wright, Twelve Million Black Voices
 James Curtis, Mind's Eye, Mind's Truth: FSA Photography Reconsidered (Philadelphia: Temple
University Press, 1989)
 North, Joseph, ed. New Masses: An Anthology of the Rebel Thirties. NY: International Publishers, 1969.
For further interest and consideration -- can other genres from this period also be considered as creating
a new form of "documentary"? Look at the following....
Documentary Music? Woody Guthrie's, Struggle: Documentary No. 1, originally released by Moses Asch,
founder of the Folkways label, on Asch Records in 1941.
Documentary Dance? Martha Graham's dance-drama American Document (1938)

James Guimond: American Photography and the American Dream E D I T

Stott: American Expressions from the Thirties: Extract from Chapter 6 E D I T
Week Seven: The Sociological imagination : Conformism and the 1950s: David Reisman
Riesman et al, The Lonely Crowd: a Study of the Changing American Character (1950). Read the following
chapters for the seminar - Part One: chapters I, IV, V, VI; Part Two, chapters VIII, XI; Part Three: chapters
XII, XIII.
Carl N. Degler, "The Sociologist as Historian: Riesman's 'The Lonely Crowd'", American Quarterly, 15:4
(Winter, 1963), pp. 483-497. Stable URL: http://www.jstor.org/stable/2710970
Photos by Diane Arbus: http://diane-arbus-photography.com/
Secondary Reading
 Selections from Organization Man William H. Whyte (not required reading for seminar), and Betty
Friedan's The Feminine Mystique [see below for extracts from Friedan]
 C. Wright Mills The Sociological Imagination
 Narrative and Sociology -- Journal of Contemporary Ethnography April 1990 vol. 19 no. 1 116-135
[see pdf below -optional reading for seminar]
 'The Lonely Crowd' Kim Philips-Fein [see below for pdf file. Optional reading but concise and helpful
as an overveiw of The Lonely Crowd]
Also of interest/contrast this week:
Black Like Me John Howard Griffin, 1961 : To document the African American experience in the South
during the 1950s, John Howard Griffin, a white journalist, artificially darkened his skin using medication
and UV lamps. He spoke as little as possible and maintained his name and biography. The only thing that
had changed was the color of his skin. He traveled through Louisiana, Alabama and Georgia discovering
the nuances of race relations in the segregated South. The reaction was varied: Griffin was hanged in
effigy in his Texas hometown, but many recognized the book, which sold 10 million copies and was
translated into 14 languages, as an important step in human rights activism.

The Lonely Crowd Kim Phillips-Fein E D I T

Narrative and Sociology E D I T

Betty Friedan: Extract 1 from The Feminine Mystique E D I T

Betty Friedan: Extract 2 from The Feminine Mystique E D I T
Week Eight: Women and Non-Fiction writing.
Martha Gellhorn, The View from the Ground. Read the following selections:
 30s: ‘My Dear Mr. Hopkins’;
 40s: 'Journey through a peaceful land'; 'Cry Shame'; 'The
 Forties';
 50s: 'The Most Unheard of Thing'; 'It doesn't matter who
 gets in, dear'; 'Home of the Brave'; 'The Fifties';
 60s: ‘Return to Poland’; ‘The Arabs of Palestine’; 'Eichmann
 and the Private Conscience'; ‘Spiral to a Gun’; ‘A Tale of Two Wars’; ‘The
 Vietcong’s Peacemaker’; ‘The Sixties’
 70s: ‘Beautiful Day of Dissent’; ‘When Franco Died’;


80s: ‘The Women of Greenham Common’; ‘Newness of Life’;
‘Cuba Revisited’
See below for two pdf articles related to this week's material.
Questions to consider for the seminar:
1.
Do you think Gellhorn’s writing displays any features characteristic of ‘documentary’?
2.
How helpful is it to frame Gellhorn’s and Lesueur’s journalism in terms of gender?
3.
How objective do you think Gelhorn’s approach is?
4.
Do you think Gellhorn’s focus on everyday experience rather than authoritative sources poses a
problem for her reader?
5.
When we talk about ‘New Journalism’ we often refer to the following writers: Wolfe, Thompson,
Capote and Mailer. Should Gellhorn be included in that list? Where does her writing stand in terms
of its relationship to fact and fiction?
6.
"The most essential gift for a good writer is a built-in, shockproof shit-detector" (Hemingway). How
useful is it to think of the journalism we are looking at this week in terms of scepticism and critique?
Secondary
Front-page Girls: Women Journalists in American Culture and Fiction, 1880-1930
Women and WW2 at the LC: http://www.loc.gov/exhibits/wcf/wcf0002.html
See also Meridel Le Sueur - selections available from:
http://www.marxists.org/subject/women/authors/lesueur/

'Women in Journalism' - Carolyn Kitch E D I T

Article on Martha Gellhorn's journalism E D I T
Week Nine: The Vietnam Reality Effect: Reports and Vietnam photography
Reporting Vietnam: American journalism, 1959-1975 - Just, Ward S., 2000 . Book | Essential
Read the following articles for the seminar : Time, 'Death at Intermission Time'; Malcolm W. Browne,
'Paddy War'; Bernard B. Fall, 'Master of the Red Jab'; U.S. News & World Report , 'We are Losing, Morale is
Bad ... If They'd Give Us Good Planes'; Ward S. Just, 'Reconnaissance'; Michael Herr, from Dispatches 'Hell
Sucks'; Mary McCarthy, 'Hanoi - March 1968'; Thomas A. Johnson, 'The U.S. Negro in Vietnam';Seymour M.
Hersh, 'The My-Lai Massacre'; James A. Michener, from Kent State: What Happened and Why ; Doris
Kearns, from Who Was Lyndon Baines Johnson; Donald Kirk, 'Who Wants To Be the Last American Killed
in Vietnam'; 'John S. McCain III, 'HOw the POW's Fought Back'; Donald Kirk, 'I Watched Them Saw Him
Three Days'; Keyes Beech, 'We Clawed For Our Lives!'; Malcolm W. Browne, 'Tenderness, Hate and
Grief ...'
NB: The Chronology at the end of the book is very useful as a summary of the main developments during
the war
Vietnam images : war and representation / edited by Jeffrey Walsh and James Aulich.

Philip Knightley 'Vietnam' in The First Casualty E D I T

Extract from Vietnam Images: War and Representation E D I T
Week Ten: New Journalism: selections from Tom Wolfe and Hunter S. Thompson.
Film Viewing: Gonzo: The Life and Work of Dr Hunter S Thompson, Director: Alex Gibney(2008)
Reading
Hunter S. Thompson, Fear and Loathing in Las Vegas (any edition)
Read the following essays from the New Journalism anthology: Norman Mailer, from The Armies of the
Night ; Hunter S. Thompson from Fear and Loathing on the Campaign Trail ; Tom Wolfe, 'The Truest
Sport';
See also the essay below in pdf form by Norman Mailer (from Advertisements For Myself) accompanied
with interviews - 'Sixth Advertisement For Myself: The White Negro - Superficial Reflections on the
Hipster';
Read the essays below in pdf form: extremely useful on contextualising New Journalism in terms of the
political, social and cultural climate of the sixties.
Secondary Reading
The New Journalism - Wolfe, Tom, Johnson, E. W., 1975 . Book | Essential [Not in print at the
moment] Fact & fiction: the new journalism and the nonfiction novel - Hollowell, John, c1977 Literary
Journalism in the Twentieth Century - Sims, Norman (ed), Northwestern University Press, 2008.
The literature of fact: literary nonfiction in American writing - Weber, Ronald, c1980
American journalism: history, principles, practices - Sloan, W. David, Parcell, Lisa Mullikin, c2002

John J Pauly : The Politics of New Journalism in Literaray Journalism in the Twentieth Century ed,
Norman Sims E D I T

David Eason: The New Journalism and the Image-World' in Literary Journalism in the Twentieth
Century ed, Norman Sims E D I T

Norman Mailer: from Advertisments from Myself - 'Sixth Advertisement for Myself' - includes the
essay 'The White Negro' E D I T

Tom Wolfe - 'The New Journalism' E D I T

Tom Wolfe - 'The New Journalism Appendix' E D I T
Week Eleven: Fly on the wall? The reality fictions of Frederick Wiseman.
Film Viewing: Titicutt Follies, directed by Frederick Wiseman (1967).
Students should view also "Capturing the Friedmans" Directed by Andrew Jarecki (2003)
Questions
1) What is observational cinema and how do either of this week's documentaries engage with this
approach to documentary?
2) Were you disturbed by either of the documentaries you watched this week? Think about why this
might be and whether documentary should aim to disturb the viewer.
4) What ethical issues are raised by Wiseman's and Jarecki's treatments of their subjects?
5) Wiseman sees his documentaries as works which present 'a natural history of the way we live'. Jean
Rouch labelled the work "ethnographic cinema in the first person". Is there a contradiction here? How far
do you agree that this tension is true of Titicult Follies and Capturing the Friedmans.
6) How successful is Titicut Follies as a critique of institutional power in America? How does this critique
relate to wider societal and cultural conflicts?
7) "Sequences in Wiseman's films may relate ... in terms of comparison, contrast, parallelism, inversion,
irony, evidence. summation and so on" [Grant]
How far do these documentaries problematise the viewer's 'fly on the wall' perspective?
Reading
"Ethnography in the First-Person: Frederick Wiseman's Titicut Follies" from Documenting the
Documentary (below)
Five films by Frederick Wiseman: Titicut Follies, High School, Welfare, High School II, Public Housing Grant, Barry Keith, 2006 (extracts below)
Further suggested:
Reality fictions: the films of Frederick Wiseman - Benson, Thomas W., Anderson, Carolyn, 2002
Voyages of discovery: the cinema of Frederick Wiseman - Grant, Barry Keith, c1992

"Ethnography in the First-Person: Frederick Wiseman's Titicut Follies' by Barry Keith Grant in
Documenting the Documentary: Close Readings of Documentary Films and Video, eds Barry Keith
Granta and Jeannette Sloniowski E D I T

Extracts from 5 Films by Frederic Wiseman -includes transcription of parts of Titicut Follies E D I T

Article on Capturing the Friedmans E D I T
Week Twelve: Documenting American death and module review
Film Viewing: Wisconsin Death Trip Directed by James Marsh (2004)
Reading: Selections from Wisconsin death trip - Lesy, Michael (1973)
Wisconsin death trip - Marsh, James, Lesy, Michael, c2004
Book | Selections will be provided.
Also of interest: Truman Capote In Cold Blood: A True Account of a Multiple Murder and its
Consequences (1966). A genre-bending "true crime non-fiction novel".
Dissertation
Dissertation Work TBA
Please note that the split Easter week will count as week 10 (Monday to Wednesday), and week 11
(Thursday and Friday); there are therefore 13 weeks to the term.
The submissions in the second assessment period have been split as follows:
Finalists – Monday 13th May (A2 week 1 Mon)
2nd years – Thursday 16th May (A2 week 1 Thurs)
1st years – Monday 20th May (A2 week 2 Mon)
MA – A2 week 2 Thurs)
The main mid-term submission date is Week 6, Wednesday 27th February.