marking criteria - University of Leicester

School of English
University of Leicester
University Road
Course Director
Dr Emma Parker
School of English Postgraduate Office
Attenborough 1312
Postgraduate Administrator: Dr Paula Warrington
Tel: (0116) 252 3943
Fax: (0116) 252 2065
E-mail: [email protected]
Cover illustration: ‘La Liseuse Distraite’, 1919, Henri Matisse, THE TATE GALLERY, LONDON;
© Succession of H. Matisse/DACS 1991. Photo credit John Webb.
Welcome to the MA in Modern Literature
This course combines an intensive introduction to twentieth-century and contemporary literature with
critical exploration of literary and cultural theory and creative writing options. The first part of the year
is structured by taught modules that will introduce you to new texts and ideas, and enhance your powers
of analysis. The second part of the year is devoted to the dissertation, which allows you to pursue an
interest of your own, working on a one-to-one basis with a supervisor who has expertise in your chosen
field. Students have the opportunity to graduate with an MA in Modern Literature and Creative
Writing by taking at least one creative option module and writing a creative dissertation. Whichever
path you choose to follow, by offering a range of exciting intellectual challenges in the context of a
vibrant and supportive academic community, this MA will equip you with a detailed knowledge of
themes and issues in modern literature as well as valuable research skills.
The MA brings together a unique group of students from diverse academic and cultural backgrounds.
Your wealth of experience and broad range of perspectives will enrich the course. Everyone has a
worthwhile contribution to make and student input plays a key part in making the programme an
intellectually invigorating and rewarding one.
This handbook contains important information about the course and University: the course structure,
module outlines, reading lists, marking criteria, staff details, facts about the library and computing
facilities, and more. Please read the handbook carefully and keep it safe – you’ll need to refer to it
throughout the course.
All the tutors on the MA look forward to teaching you and wish you an enjoyable and successful year.
Dr Emma Parker, Course Director
September 2010
Timetable – Course
Timetable – Bibliography, Research Methods and Writing
Skills for Postgraduates …
Modern Literature Research Seminar Series …
Module Descriptions
Full reading list
o A Movement: Modernism …
o An Author: Muriel Spark …
o The Caribbean Short Story…
o Option Module I:
Literature and Gender: Deviant Bodies and Dissident Desires
Poetry Writing and Contemporary Poetry …
o A Decade: The 1940s
o A Genre: AIDS Narratives
o Women’s Travel Writing and Postcolonial Feminist Theory
o Option Module 2:
Literature in Exile: American Writers in Paris…
Writing Fiction
Code of Practice
Rules for the Submission of Assessed Work (including Turnitin)
Academic Obligations
Marking Criteria – for Bibliography Presentation
Marking Criteria – for Essays and the Critical Dissertation
Marking Criteria – for Creative Writing
Marking Criteria – for Reflective Commentaries on Creative Writing
Academic Honesty and Plagiarism …
Tutors and their locations
Safety information
Postgraduate Personal Development Planning (PDP)
University services and facilities …
IT Services (including Blackboard)…
University Bookshop
The Library
University Regulations
SPELL and the Postgraduate Forum
A. Cover sheet – Written Work
B. Cover sheet – Creative Writing …
C. Cover sheet – Reflective Commentaries on Creative Writing
D. Dissertation Proposal Form
E. Computer User Area Information
F. Notification of Change of Address
G. Notification of Ill health
H. Postgraduate PDP Form – Semester I
I. Postgraduate PDP Form – Semester II
Important telephone numbers
Academic year
University map
Information contained within this Handbook was correct as at 1 September 2010, but changes may
exceptionally have to be made in the light of unforeseen circumstances.
A copy of the Handbook
3 is available on Blackboard.
*See for help in locating venues.
SEMESTER 1 (Autumn Term)
To be advised
Week 1
6 Oct
Introduction to Course
To be advised
All Tutors
Week 1
6 Oct
To be advised
Postgraduate Reception
To be advised
All Postgraduate
Students &
Week 2
13 Oct
Bibliography, Research Methods and
Writing Skills course
Various Tutors
Week 2
Week 3
Week 4
13 Oct
20 Oct
27 Oct
A Movement I: Modernism
A Movement II: Modernism
A Movement III: Modernism
See separate
timetable for
Att 202
Att 202
Att 202
Week 5
Week 6
Week 7
3 Nov
10 Nov
17 Nov
Author I:
Author II:
Author III:
Att 202
Att 202
Att 202
M.J. Stannard
M.J. Stannard
M.J. Stannard
Week 8
24 Nov
Muriel Spark
Muriel Spark
Muriel Spark
C. Morley
C. Morley
C. Morley
––– Writing Week –––
but please note that you may need to attend the:
Week 8
24 Nov
Week 9
Week 10
Week 11
Week 11
1 Dec
8 Dec
15 Dec
15 Dec
Bibliography, Research Methods and
Writing Skills course
A Genre I: The Caribbean Short Story
A Genre II: The Caribbean Short Story
A Genre III: The Caribbean Short Story
Bibliography Presentations
See separate
Att 202
Att 202
Att 202
(Physics Lecture
Theatre C)
L. Evans
L. Evans
L. Evans
E. Parker/
N. Everett
Option Module I
Literature and Gender: Deviant Bodies and Dissident Desires (FT and PT2)
(10:00am–12:00noon, Mondays, 11, 18 October, 1, 15, 29 November, 13 December in Att.1405)
E. Parker
Poetry Writing and Contemporary Poetry (FT and PT2)
(14:00-16:00, Thursdays, 14, 21, 28 October, 4, 11, 18 November, 2 December in Att. 1301)
N. Everett
Core I essay 1 due:
Core I essay 2 due:
Option Module I essay due:
12noon Wednesday 1 December 2010
12noon Wednesday 2 February 2011
12noon Wednesday 2 February 2011
SEMESTER 2 (Spring Term)
Week 13
26 Jan
–––– Writing Week ––––
Week 14
2 Feb
A Decade I: The 1940s
Att 210
V. Stewart
Week 15
9 Feb
A Decade II: The 1940s
Att 210
V. Stewart
Week 16
Week 17
16 Feb
22 Feb
23 Feb
A Decade III: The 1940s
Film screening prior to Wednesday
AIDS Narratives
Att 210
V. Stewart
S. Graham
Att 210
S. Graham
1 Mar
2 Mar
Film screening prior to Wednesday
AIDS Narratives
S. Graham
Att 210
S. Graham
Film screening prior to Wednesday
AIDS Narratives
S. Graham
Att 210
S. Graham
Week 20
8 Mar
9 Mar
16 Mar
Att 210
C. Fowler
Week 21
23 Mar
Att 210
C. Fowler
Week 22
30 Mar
Women's Travel Writing and Postcolonial
Feminist Theory I
Women's Travel Writing and Postcolonial
Feminist Theory II
Women's Travel Writing and Postcolonial
Feminist Theory III
Att 210
C. Fowler
Week 17
Week 18
Week 18
Week 19
Week 19
Option Module 2
Literature in Exile: American Writers in Paris (FT and PT2)
(2pm-4pm, Tuesdays, five meetings, commencing 1 February 2011, in Att. 1302)
M. Halliwell
Writing Fiction (FT and PT2)
(to be arranged)
P/T 2 dissertation proposals due:
(see pp.17 & 81)
SEMESTER 2 (Summer Term)
Week 24
18 May 2pm-4pm
12noon Wednesday 9 February 2011
Week 25
25 May
Dissertation Proposals Preparation
Dissertation Proposals presentations
Week 25
25 May
End-of-Course Tea
Option Module II essay due:
Core II essay 3 due:
F/T dissertation proposals due:
(see pp.17 & 81)
Dissertations (FT and PT2) due:
To be advised
Students only
To be advised
To be advised
All tutors and
All tutors and
12noon Wednesday 11 May 2011
12noon Wednesday 11 May 2011
12noon Wednesday 1 June 2011
12noon Thursday 15 September 2011
Part-time students take the two core modules (Literature and Theory) and the Bibliography module in their first year.
They take two option modules and the dissertation in their second year.
Students are able to substitute relevant option modules offered by the MA in Victorian Studies and the MA in English
Studies for the option modules noted here. Any such request should be made to the Course Director. Further details of
those option modules are available via the website or from the School’s postgraduate office (Att.1312; email
[email protected]).
TIMETABLE 2010/2011
The module is compulsory for all new postgraduates in the School of English and in the Victorian Studies Centre.
It meets on Wednesday mornings from 10.00am to 12.00noon beginning on 13 October 2010.
13 October
Dr D'Arcy,
Dr Dawson,
Dr Lund,
Dr Morley
INFORMATION I: Search strategies and
online catalogues
Mr B Marshall
(Library 1st Floor)
20 October
27 October
3 November
10 November
17 November
24 November
8 December
Mr B Marshall
Mr B Marshall
Ms E Cornell
Dr A M D’Arcy
Contact NE
for details
Nick Everett
Dr S Graham
Dr Duncan Stanley
(Student Development)
Dr G Dawson &
Dr J North
Att 1315
1 December
INFORMATION II: Online databases and web
CITATIONS: RefWorks. Hands-on session
Dr D'Arcy,
Dr Dawson,
Dr Lund,
Dr Morley
Dr J North
(Victorian Studies only)
Prof R Colls
Att 1315
Nick Everett
15 December
Student Presentations:
Att 1315
I. Research and MA English Studies
Dr Sarah Knight &
Dr O Da Rold
II. MA Victorian Studies
Dr G Dawson &
Dr J North
III. MA Modern Literature
Dr E Parker &
Nick Everett
Modern Literature Research Seminar Series
(venue to be confirmed)
Semester I
20 October: Dr Rachel Potter (University of East Anglia), ‘Obscene
10 November: Dr Ling Lin (Shanghai International Studies University),
‘The Girl in the Tangerine Scarf: Conceptualizing
Hybrid Identity in the Coming-of-Age Story’.
8 December: Dr Nicole King (Royal Holloway, University of
London), ‘“Like a dark road revealing its secrets one at a
time”: Black Authenticity and the Child’s Perspective in
Contemporary African-American Fiction’.
Module Descriptions
(FT and PT1)
Aims: Compulsory for all new postgraduates in the School of English, this module aims to train
students in the essential skills and resources of literary research at postgraduate level. The module is
designed to give students both knowledge and practical experience of research methods vital to the
literary scholar (and to the creative writer), and to ensure that all students are familiar with the academic
conventions governing the presentation of a bibliography, an essential part of essays and the
Content: The module covers a wide range of useful sources of information, both printed and
electronic, including catalogues, special collections, periodicals, databases and web resources. It also
contains instruction and advice on academic writing, on presentation skills and on the preparation of
critical and creative dissertations.
Learning and Teaching: The module’s weekly two-hour sessions are taught in a variety of forms to
suit the different areas covered. As well as lectures, there are hands-on seminars and workshops in
which students gain practical experience of the research skills they are learning.
Learning Outcomes: By the end of the module students will be able to:
 locate relevant research materials on electronic databases, the internet, and in printed
catalogues and reference works
 utilize the resources of a range of academic libraries, public record offices, and other
repositories both in the UK and abroad
 undertake a range of academic writing from a seminar paper to a book-length study
 produce appropriately referenced bibliographies and footnotes in all academic writing
 undertake a range of academic writing from a seminar paper to a book-length study
 pursue appropriate research strategies in support of creative projects in prose or verse
 explain, via an oral presentation, the process by which different sources of information have
been assessed and construct a bibliography
Assessment: Students will submit a bibliography of between 25 and 50 items – a list of primary and
secondary works that includes monographs, essay collections, journal articles, and possibly films or TV
documentaries - that it would be appropriate to investigate if undertaking research on a chosen topic
related to the field of Modern Literature. Students may choose their own topic or select one from the
list below but must not choose a topic for which an extensive bibliography is provided in the course
handbook. It is not necessary to consult the works listed in the bibliography for this task; what is being
tested is the ability to use research tools effectively and identify appropriate sources for a research or
creative project.
Students will give an oral presentation, of no more than five minutes, explaining how and why they
constructed the bibliography as they did, attending to the process of discovering as well as selecting
relevant material. Which sources were used and why? What makes some sources better than others?
How do you establish the relevance / significance of the items selected in relation to the proposed
project? Credit will be given for the use of appropriate conventions in terms of the presentation of the
bibliography, the range and relevance of items in the bibliography, and the clarity and insight of the
commentary on the bibliography offered in the oral presentation. Students may use PowerPoint when
delivering the presentation if they wish but this is not a formal requirement. Students must supply a
copy of their bibliography to each member of the group. Marking criteria for the bibliography
presentation can be found on p.53.
Deadline: Students will submit two copies of their bibliography and deliver their presentation in the last
seminar of the module on 15 December 2010.
Suggested Topics
Virginia Woolf and Autobiography
The Country House Novel
Feminist Fiction in the 1970s
Disability in Literature
Black British Writing
Eco Literature
Literature and Imperialism: Writing Africa Since 1900
Literature and War in the 1930s
Middlebrow Fiction
Science Fiction
Poetry of the Harlem Renaissance
Scottish Fiction
Representations of New York
Modern Literature and Literary Theory I (FT and PT1)
Aims: The aim of the module is to explore and assess three well-established ways of interpreting
literature, through the study of a movement (Modernism), an author (Muriel Spark), and a genre (The
Caribbean Short Story). The module encourages students to set texts in their socio-historical context.
Content: This 30-credit module is divided into three sections. The first section, ‘Modernism’ explores
conceptions of this movement from a literary perspective. The second section, ‘Muriel Spark’,
examines six novels by this one author alongside some of her poetry, short fiction and criticism, and
concentrates on the concepts of identity, self-transformation, modernism, post-modernism and the
nouveau roman. The third section on ‘The Caribbean Short Story’ will consider the part that the short
story played in the emergence of a Caribbean literary tradition, and analyse how the Caribbean form of
this genre differs from its European counterpart.
Learning and Teaching: There will be nine two-hour seminars. Students may be expected to make
presentations at some point in the module.
Learning Outcomes: By the end of the module students will be able to:
 assess the literary, historical, cultural and aesthetic significance of Modernism
 define and illustrate the defining features of Modernism in relation to the work of specific
 make informed judgements about how the concept of the author informs our
understanding of modern literature
 make informed judgements about how knowledge of genre influences the study of modern
 comment on how and why a genre develops in particular ways in a particular time and
 identify the central concerns of the Caribbean short story
 describe and analyse the themes and formal characteristics of the texts they have studied
Assessment: two x 2,500-word essays, each on one of the three sections of the module. The higher of
the two marks will count for 70% of the module mark. Marking criteria for essays can be found on
Deadline for Core I essay 1: 12noon on 1 December 2010.
Deadline for Core I essay 2: 12noon on 2 February 2011.
Modern Literature and Literary Theory II (FT and PT1)
Aims: The aim of this module is to explore further ways of interpreting literature, through the study of
a decade (The 1940s), and in relation to new issues (AIDS) and developments in literary theory (postcolonial theory).
Content: This 30-credit module is divided into three sections. The first section, ‘The 1940s’, examines
novels and short fiction published during this decade and considers their treatment of key concerns of
the period, particularly the effects of war on everyday life and consciousness. The second part, ‘AIDS
Narratives’, studies the way in which a variety of representations, literary and visual, of the HIV/AIDS
epidemic in America, examine attitudes to sexuality, gender, and illness. The final section, ‘Women’s
Travel Writing and Feminist Postcolonial Theory’, considers the challenges of theorising women’s
travel writing about Afghanistan, Fiji and West Africa by drawing on influential feminist postcolonial
thinkers such as Gayatri Spivak, Sara Mills, Meyda Yeg˘enog˘lu and Reina Lewis.
Learning and Teaching: There will be nine two-hour taught seminars in which students will discuss
literary works within three distinct theoretical and cultural frameworks. Students may be expected to
make presentations at some point.
Learning Outcomes: By the end of the module students will be able to:
 describe and analyse the key characteristics of the literary culture of the 1940s
 assess the depiction of the Second World War and its effects in selected literary texts from the
 identify and analyse the themes and issues raised by AIDS narratives
 critically analyse, and compare and contrast, the textual strategies employed by different AIDS
 engage critically with key debates about women’s relationship to the discourses of colonialism
 demonstrate a knowledge of a range of postcolonial feminist approaches to theorising women’s
travel writing
 respond to questions about the usefulness and desirability of applying theoretical approaches
to literary study
 reflect upon the relationships between literary works, other cultural forms and the period in
which they were first produced
Assessment: a 5,000-word essay dealing with issues raised on one of the taught sections of the module.
Marking criteria for essays can be found on p. 54.
Deadline for Core II essay 3: 12 noon on 11 May 2011.
(Tutor: Emma Parker)
Aims: This module aims to explore the way that gender is constructed and represented in literature, and
to consider the fictional strategies through which writers endorse or contest dominant ideologies of
gender. It also aims to familiarise students with critical and theoretical debates about the representation
of gender and the relationship between gender, sex and sexuality, primarily drawing on the discourse of
queer theory.
Content: The module focuses on a range of twentieth-century and contemporary fiction that explores
what it means to be a man or a woman and probes the relationship between gender, sex and sexuality,
often creating what Judith Butler terms ‘gender trouble’ by highlighting the fluidity, multiplicity and
performativity of gender in a way that challenges heteropatriarchal norms. The literature presents a
range of identities that subvert binary categories such as ‘male’ and ‘female’, ‘masculine’ and
‘feminine’, ‘heterosexual’ and ‘homosexual’ - androgyny, intersex, transvestism, transsexuality - and
investigates concepts such as ‘passing’ and ‘realness’. We will also consider the way that ideologies of
gender intersect with ideologies of race, class and national identity. Texts will be studied in the sociohistorical and literary contexts of modernism and postmodernism and analysis will draw on feminist and
queer theory.
Learning and Teaching: A series of six (fortnightly) 2-hour seminars will provide students with an
opportunity to reflect upon and discuss key texts within the relevant literary, theoretical and sociohistorical frameworks established. Study weeks between seminars will enable students to read
secondary material to inform their responses to primary texts. Supplementary documentary material will
be available.
Learning Outcomes: By the end of the module students will be able to:
 demonstrate a knowledge of a body of modern and postmodern fiction that explores the
concept of gender
 analyse the literary strategies writers employ to probe the relationship between gender, sex and
 identify key issues in debates about gender, sex and sexuality in the period
 critically assess the strengths, limitations and usefulness of feminist and queer theory in a
literary context
Assessment: one 4,000-word essay focusing on at least two literary texts.
Deadline: 12 noon 2 February 2011.
(Tutor: Nick Everett)
Aims: This module offers an introduction to contemporary poetry for students who would also like a go
at creative writing. The module is driven equally by complementary academic and creative aims.
Students will discover some of the distinctive challenges contemporary poets face by writing poems
themselves; and at the same time develop their own poetry writing by examining the work of a number
of established contemporary figures. Students need have no previous experience of poetic composition
(nor for that matter of contemporary poetry) to enrol on the course.
Content: Another significant objective is to study poetry across the boundaries - national, ideological
and technical - within which critical accounts and academic courses tend to confine it. Thus we will
read British and Irish alongside American poems, and experimental (or countercultural) alongside
mainstream ones. Poets featured will include John Ashbery, Simon Armitage, Carol Ann Duffy,
Michael Hofmann, Louise Gluck, Douglas Dunn, Sharon Olds, Glyn Maxwell, Alice Oswald, Mark
Ford, Ron Silliman, Lyn Hejinian, Marilyn Hacker, Paul Muldoon and Jorie Graham. The organisation
and focus of our study will come not from nation, movement or author, then, but from a series of
generic and thematic groupings each providing its distinctive insights into contemporary poetry (and the
contemporary world). These groupings will be arranged under the following five headings:
1. An Issue: Reference
2. A Genre: Elegy
3. A Mode: Narrative
4. A Subject: Landscape
5. A Form: Villanelle
Learning and Teaching: In preparation for each seminar students will write a poem (of not more than
40 lines) on the theme introduced in the previous seminar, and read the distributed poems on the next
theme. Students must submit their poems electronically to the Poetry Writing Group in the MA in
Modern Literature Blackboard site at least twenty-four hours before the seminar starts. Students must
read each other's work before the seminar, and may post constructive comments about it either before or
after it has been discussed in class. The Poetry Writing Group on Blackboard and how it works will be
explained in the course's introductory seminar. Each seminar will begin with discussion of students’
poems and then move on to consider the primary and secondary reading for the next theme.
Learning Outcomes: By the end of the module students will be able to:
identify significant issues in, and features of, contemporary British, Irish
and American poetry
appreciate the issue of reference, the uses of narrative and villanelle and the
roles of elegy and landscape in contemporary poetry
demonstrate competence in their practical control of poetic theme, form and
demonstrate a practical and creative understanding of certain poetic themes, genres and forms
in their poetic compositions
Assessment: The module will be assessed by a portfolio of between 4 and 6 poems written on the
course; and either a reflective commentary of no more than 2,000 words on the poems or an essay of no
more than 2,000 words about one (or possibly more) of the perspectives on contemporary poetry
offered in the seminars. The reflective commentary should place the poems in their literary (and where
appropriate critical) context, particularly the context of the contemporary poetry studied on the course.
It should aim to account for the poems’ significant features, examine the decisions made and challenges
encountered in their composition and revision, and explain how feedback from tutor and fellow students
informed the process of revision. Essay questions will be distributed at the start of the module.
Marking criteria for essays, creative writing and reflective commentaries can be found on pp.46-8.
Assessment elements will account for the final module mark in one of two ways, depending on whether
students write an essay or a reflective commentary. The final module mark for students who submit an
essay will be either poems 80%, essay 20%, or poems 20%, essay 80%, whichever yields the higher
mark. The module mark for students who submit a reflective commentary will be poems 80%,
reflective commentary 20%.
Deadline: 12 noon 2 February 2011.
(Tutor: Martin Halliwell)
Aims: The aim of this module is to offer MA students a way of focusing on a number of crucial
questions that have emerged in twentieth-century literary studies: What is transatlantic writing? How
has the clash between American and European cultural perspectives influenced the development of
modern literature? In what ways has Paris, the definitive ‘modern’ city, provided writers with a focus
for literary experimentation? By discussing a range of American writers from the 1910s to the 1950s
the module aims to offer historical and cultural frameworks to examine the relationship between literary
exile and the metropolitan experience from the early to the mid-twentieth century.
Content: American writers have always had a tense relationship with European culture. In the postRevolutionary period European art strongly influenced the emergence of a distinctive American
literature, but by the mid-nineteenth century writers began to distance themselves from European
culture as failing to address their own national circumstances. However, by the early twentieth century
writers such as Gertrude Stein, Ernest Hemingway, F. Scott Fitzgerald, Henry Miller and Anaïs Nin
began to blend elements of American and European writing in order to embrace the international spirit
of modernism. Paris proved particularly exciting for these writers as a cultural metropolis, representing
artistic and sexual freedom in an age of American Prohibition, mass commercialism and political
intolerance. This Special Subject module explores a range of creative work by Americans living in
Paris after World War I. It focuses particularly on the 1920s and 1930s, considering issues of exile,
cultural pessimism, artistic experimentation and sexuality, and concludes with a session on AfricanAmerican writers in Paris in the 1940s and 1950s.
Learning and Teaching: The module will challenge students’ interpretive skills in its integration of
three approaches to literary studies: (1) literary criticism – considering the relationship between
critical writing on cultural expatriation and the close study of literary works exploring the theme of
exile; (2) literary history – exploring the relationship between memoirs, biographical material and
creative work, focusing on American writing produced in the early to mid-twentieth century; and (3)
cultural geography – assessing the historical significance, the cultural role and the symbolic
representation of Paris in modern writing. A series of five two-hour seminars will provide students with
the opportunity to reflect upon and discuss key texts within these literary, historical and cultural
frameworks. Study weeks between seminars will enable students to read secondary material to inform
their responses to the primary texts. Texts will include Ernest Hemingway’s The Sun Also Rises, F.
Scott Fitzgerald’s ‘Babylon Revisited’, Gertrude Stein’s Tender Buttons, Henry Miller’s Tropic of
Cancer, Anaïs Nin’s Henry and June, and James Baldwin’s Giovanni’s Room.
Learning Outcomes: By the end of the module students will be able to:
 demonstrate their cultural knowledge of American expatriate writing produced in the first half
of the twentieth-century
 assess the actual and symbolic relationship between Paris and the literary work of American
writers living in France
 evaluate the usefulness of the notion of literary exile in terms of modern transatlantic writing
 respond to questions relating to city space, cultural pessimism, artistic experimentation,
sexuality and race in modern American writing.
Assessment: A 4,000-word essay focusing on the Paris work of one or more of a given list of American
Deadline: 12 noon 11 May 2011.
Aims and Content: This module offers students an opportunity to develop their own creative writing
by examining a number of aspects of the process of writing fiction and putting these into practice in
their own work. Looking at writing fiction through a number of themes, the module will encourage
students to experiment and develop their own writing craft in areas such as description and sense of
place, creating characters with depth, writing effective dialogue, understanding the role of genre and
convention, using different points of view, and structuring plot and narrative. Students need have no
previous experience of writing fiction to enrol on the course.
Learning and Teaching: The module will be taught, after an introductory session, in five practical
workshops which will include group discussions, writing exercises, examination of examples from
published fiction, and opportunities for students to share their own work with the group and to give and
receive constructive criticism.
Learning Outcomes: By the end of the module, students will be able to:
 produce effective description and dialogue
demonstrate control of basic elements of fiction, such as plot, characterisation and point of
identify the role of genre and convention in fiction
recognise the basic elements of narrative structure
give, receive and reflect on constructive criticism
Assessment: Students will submit one or two short stories or novel chapters (around 3000 words)
which will account for 80% of the final module mark and a reflective commentary (around 500-1000
words) which will account for 20%. The marking criteria for creative writing and reflective
commentaries can be found on pp. 55 & 56.
Deadline: 12 noon 11 May 2011.
Aims: This module aims to foster the ability to undertake a substantial piece of independent work and
to develop advanced research skills. It also aims to enhance analytical skills acquired through the core
modules and develop skills in written communication to a high level whilst enabling students to develop
expertise in one particular area or aspect of modern literature.
Content: Students choose the subject or subjects on which their critical dissertation focuses. The idea
for the dissertation may arise from material encountered on one of the MA modules, or it may not have
been covered on the course, but it must be within the field of modern literature, criticism or theory.
Subject and approach are then developed and revised with the help of advice from the supervisor.
Learning and Teaching: see pp. 16-17 for details of the proposal presentation, the written proposal
and supervision.
Learning Outcomes: By the end of the module, students will have demonstrated the ability to:
 present an academic paper on their dissertation topic using appropriate handouts and
audiovisual aids
 identify a research topic and formulate research questions
 formulate appropriate objectives for a substantial research project, together with a
methodology for undertaking research
 carry out research of an appropriate volume and depth, which is relevant to their research
 address their research questions through close analysis of texts and concepts
 think independently about issues raised by their research topic
 locate their research project in its literary, historical and critical context
 identify and critically assess existing scholarship in their chosen field
 organise, structure and present their work appropriately
 reflect on, and improve, their work through a process of drafting and revision
 make effective and accurate use of the referencing, bibliographic, presentational and writing
skills covered by the Bibliography, Research Methods and Writing Skills course
Assessment: A 20,000-word dissertation with bibliography, which does not repeat material from other
modules. Students are required to submit three copies of the dissertation, word-processed and soft
bound. We recommend that dissertations be bound by the University of Leicester Reprographic Unit
(AVS Print), who require three days for binding, or ten days for copying and binding. Please ensure that
your title page is reproduced on the front cover. It is not possible for dissertations submitted after the
deadline to be considered by the next Board of Examiners. Thus, failure to submit by the deadline
means the award of the degree, and the opportunity to graduate, will be delayed. Please complete and
submit one cover sheet for each copy of the dissertation. (These will be available on Blackboard and a
sample is included herewith as Appendix A.)
Deadline: 12 noon 15 September 2011.
Aims: This module enables students to develop further the skills gained on one or both of the creative
option modules (EN7133 and EN7135) in an imaginative work or group of works more independently
conceived and more substantial in length and ambition. The module aims to further students’ skills in
the imaginative deployment and control of fictional and/or poetic genres and registers, and to foster
their ability to initiate and carry out independent creative work in fiction and/or poetry to a standard of
presentation appropriate for publication. As well as developing skills in written communication to a
high level, it aims to develop students’ sensitivity and understanding as readers; through composition
and disciplined reflection, students will deepen their imaginative engagement with modern literature.
Content: The main work of the module is the composition of an imaginative work or group of works in
poetry and/or prose. Students choose the subject and approach for their creative dissertation which may
arise from work they have written on one of the creative option modules and which are then developed
and revised with the help of advice from the supervisor. In addition students compose a reflective
commentary describing the creative process behind their imaginative work, and write and submit (but
not for formal assessment) a short prefatory synopsis outlining the creative work’s nature and aims.
Learning and Teaching: see pp. 16-17 for details of the proposal presentation, the written proposal
and supervision.
Learning Outcomes: By the end of the module, students will be able to:
 identify a viable extended creative project consisting of fiction and/or poetry
 present a short paper on their dissertation using appropriate handouts and audiovisual aids
 organise research material relevant to the accomplishment of the project
 compose fictional prose and/or verse showing control of register and genre
 organise and structure their creative work appropriately and present it in a format suitable
for publication
 improve their creative work through a process of drafting
 reflect clearly on, showing understanding of the strengths and weaknesses, of their
creative work
 situate their creative work in a literary (and where appropriate critical) context
 show genuine insights into modern literature in extended creative work and a reflective
 demonstrate the creative writing skills necessary to proceed to an M.Phil. or Ph.D.
Assessment: Students must submit:
1) A Final Draft of Creative Work (80% of module mark)
This may consist of around 15,000 words of fiction which may be comprised of the first few chapters of
a novel, or an entire novella, or between 2 and 4 short stories.
Or it may consist of between 20 and 30 pages of poetry (normally 12 to 20 poems; fewer longer poems
may be allowed).
Or it may consist of a portfolio combining fiction and poetry, which will normally be comprised of 2
short stories totalling around 7,500 words and between 10 and 20 pages of poetry (6 to 10 poems).
2) A Reflective Commentary of around 3,000 words (20% of module mark)
This will describe the creative process behind the development of students’ creative projects. It must
primarily cover the significant decisions made and challenges encountered in attempting to realise their
creative aims, and a context, or contexts, in existing genres and published literature (and, where
applicable, literary criticism) from which the work emerged and in which it can be understood. It
might, for instance, examine how and why the aims and ambitions of the project changed, or how
literary, critical or theoretical works studied on the MA influenced the project, or how the project
yielded certain insights into the literature studied on the MA.
Students must submit in addition (though not for formal assessment):
3) A Synopsis of not more than 500 words outlining the creative project’s nature and aims.
4) One earlier draft of the creative project.
Students are required to submit three copies of the Creative Dissertation, word-processed and soft
bound. Each of these should contain first the synopsis, then the final draft of creative work and lastly
the reflective commentary. Only one copy of the earlier draft should be submitted and need not be
bound. We recommend that dissertations be bound by the University of Leicester Reprographic Unit
(AVS Print), who require three days for binding, or ten days for copying and binding. Please ensure
that your title page is reproduced on the front cover. It is not possible for dissertations submitted after
the deadline to be considered by the next Board of Examiners. Thus, failure to submit by the deadline
means the award of the degree, and the opportunity to graduate, will be delayed. Please complete and
submit one Creative Writing cover sheet for each copy of the dissertation. (These will be available on
Blackboard and a sample is included herewith as Appendix B.)
Deadline: 12 noon 15 September 2011.
1. Students must not submit work that has already been submitted and assessed for either of the
creative option modules (EN7133 and EN7135).
2. Please note that places on this module are limited and will be allocated on the basis of performance
and potential as demonstrated in previous modules.
Learning and Teaching for the
Critical Dissertation (EN7033) and
Creative Dissertation (EN7034)
The Presentation
Proposals for the dissertation are presented at a special seminar in the summer term (see course
timetable). All full-time students present dissertation proposals at this seminar. First-year
part-time students are strongly encouraged to present proposals too, even if they are still very
provisional, to assist them in preparing for the dissertation they will be writing next academic
year. Second-year part-time students may also find it useful to participate though they will
already have been allocated supervisors and have been working on their dissertations for
several months.
A week before the formal presentation session, students meet together without staff present
(see course timetable). This first meeting is informal but mandatory. The purpose of the
session is to help students assess together the scope and nature of each other’s chosen topic, as
well as to begin planning the research necessary to complete their dissertation. The second
session is more formal, although not assessed. At this meeting, students present their proposals
to all members of the MA staff, who offer new perspectives on specific projects as well as
advice on more general issues.
The presentation should:
 not be any longer than five minutes
 give a general outline of the topic and address two or three specific issues relating to it
 comment on the appeal and potential of the project
 include a list of key research questions
 indicate methodology and, where appropriate, relevant theoretical frameworks
 consider how the material in the dissertation might be best organised
 identify gaps in knowledge and outline areas that require development
 comment on any problems students envisage they may encounter
 be of a professional standard (including, for instance, the use of a handout and /or
audio-visual equipment, such as PowerPoint)
 demonstrate that students have developed good presentation skills.
Please notify the School’s postgraduate administrator of any audio-visual equipment you will
require for the pre-presentation meeting and for the main presentations meeting. If you require a
laptop computer for a PowerPoint presentation, please also let her know the drive you require
(CD, floppy or USB port).
The Written Proposal
Students are required to submit a written proposal in typescript on the Dissertation Proposal
form (see Appendix D), available electronically on Blackboard, to the School of English
Postgraduate Office (Att.1312). The proposal must include a proposed title, a brief outline of
the subject and focus of the project (no more than 200 words), an account of its aims and
methods (no more than 400 words) and a short bibliography featuring key primary and
secondary sources. See below for deadlines.
The key questions a proposal should address are what, why and how? For a Critical
Dissertation (EN7033), the questions are:
 What is the topic? What questions will I be asking about this topic as I undertake
research? (You may, if you wish, include a list of research questions in your
 Why am I writing it; that is, why is this topic interesting and significant? What is the
rationale? How will my work challenge or extend existing scholarship?
 How am I going to do it? Which texts will I use? How will it be structured?
 What is my methodology and/or theoretical framework?
For a Creative Dissertation (EN7034), the questions are:
 What genre(s) will I be adopting? What characters will feature? What themes am I
going to explore?
 Why am I writing in this genre and about these characters and themes?
 How do I propose to use the genre, characters and themes, to achieve what effects?
How does my work relate to works I have read or studied?
The deadlines for written proposals are:
for second-year part-time students, 12 noon on Wednesday 9 February 2011,
and for full-time students, 12 noon on Wednesday 1 June 2011.
This is an independent project but at every stage, from conception through composition and
revision to final submission, staff are available to offer support and feedback. With the help of
the supervisor’s advice and guidance, students plan, develop, revise and improve their work
through a series of drafts. They are provided with up to five hours of one-to-one supervision
and must meet with their supervisor on a formal basis on at least three occasions during the
process of writing the dissertation (between May and September). (In exceptional cases,
students may make alternative arrangements for supervision (e.g. via email), but must then keep
a record of all communications with their supervisor.) In addition, students are expected to
spend 445 hours on private study. Supervisors may read and offer feedback on all of the rough
draft but no more than one third of the final draft. After supervisions, students are required to
submit a short summary of the meeting (of no more than one page of A4) to their supervisor as
an aid to self-reflection and a record of progress.
Second-year part-time students will be allocated supervisors by 23 February 2011, full-time
students by 15 June 2011.
See also p.49.
AUTUMN TERM (Semester I)
(Catherine Morley)
Weeks 2, 3, 4
What is modernism? In what sense was modernism a movement? How much did modernist writers have
in common? On first approaching such questions one is inclined to list the various ‘cultures’ of
modernism, a plural phenomenon in terms of meaning, scope and geography. One might look to mid to
late 19th-century Paris, early 20th-century London, or even pre- and early post-Treaty Dublin as the
national capitals where modernism was unearthed. Such, of course, is undoubtedly the case. One might
add New York to the list, in terms of either the Harlem Renaissance or the 1913 Armory show of the
visual arts, or even other European centres such as Berlin and Vienna. This kind of response invokes
the importance of the modern city to the term ‘modernism’.
One might also look at ‘modernism’ in terms of innovations in literary form: Symbolism, Imagism,
Expressionism, Futurism, theatrical and cinematic abstraction and minimalism, and the philosophical
concerns with the chaotic modern ‘Real’ and its representations. The term might refer to the massive
social shifts of the period (which itself is variable, ranging from the 1840s in France through to the
beginnings of the Second World War): the end of Empire, the colonial and postcolonial experience, the
trauma of war, technological innovations, changes in gender politics, and the shifting dynamics of class.
‘Modernism’ might even be taken to represent the myriad governing concerns of modernist artists and
thinkers: how to represent subjectivity, psychology, historical civilisation and mythology, the chaos and
flux that constitutes modernity, the reconciliation of the permanent and the ephemeral, and the problems
with language as a interlocutor between subject and object.
We will discuss all of these questions and issues through analysis of various primary texts. We will
explore the ‘difficulty’ of modernism and the difficulties associated with definition and temporal
Primary Texts and Schedule
Week 1: The Name and Nature of Modernism and the Modern
Arthur Schnitzler, Dream Story (1926)
James Joyce, Ulysses (1922): Chapters 1, 9, 11, 12 and 18.
A selection of readings and modernist manifestos will be provided in advance of the class.
Week 2: Sexual and Textual Politics
Ford Madox Ford, The Good Soldier (1915)
Virginia Woolf, Between the Acts (1941)
Week 3: ‘A Heap of Broken Images’ : A Selection of Modern Poetry
A selection of poetry will be provided in advance of the class. It will include poems by the following:
Richard Aldington, W.H. Auden, Rupert Brooke, e.e. cummings, H.D., T.S. Eliot, Robert Frost,
Langston Hughes, Amy Lowell, Mina Loy, Louis Mac Neice, George Oppen, Ezra Pound, Carl
Sandburg, Gertrude Stein, Wallace Stevens, William Carlos Williams, W.B. Yeats, Louis Zukofsky.
Secondary Reading
The secondary material below is grouped by author and topic; at the beginning is a list of general texts
relating to the period. Secondary reading lists are indicative rather than exhaustive; you may find it
useful to research beyond these lists for your essays, looking for articles and books on specific writers
and topics.
Armstrong, Tim, Modernism, Technology and the Body (Oxford: Oxford University Press, 1998).
Armstrong, Tim, Modernism: A Cultural History (Cambridge: Polity, 2005).
Bell, Michael, Literature, Modernism and Myth (Oxford: Oxford University Press, 1997).
Bergonzi, Bernard, The Myth of Modernism (Brighton: Harvester, 1985).
Berman, Marshall, All That is Solid Melts to Air (London: Verso, 1982).
Boone, Joseph Allen, Libidinal Currents: Sexuality and the Shaping of Modernism (London: University
of Chicago Press, 1998).
Bornstein, George, ed., Representing Modernist Texts: Editing as Interpretation (Ann Arbor:
University of Michigan Press, 1991).
Bradbury, Malcolm, The Modern British Novel (London: Secker & Warburg, 1993).
Bradbury, Malcolm and James MacFarlane, eds., Modernism 1890-1930 (Harmondsworth: Penguin,
Bradbury, Malcolm, The Social Context of Modern English Literature (Oxford: Blackwell, 1971).
Bradshaw, David, ed., A Companion to Modernist Literature and Culture (Oxford: Blackwell, 2006).
Brooker, Peter, ed., Modernism/Postmodernism (London: Longman, 1992).
Brown, Denis, Intertextual Dynamics in the Literary Group (Basingstoke: Macmillan, 1990).
Bürger, Peter, The Decline of Modernism (Cambridge: Polity, 1992).
Butler, Christopher, Early Modernism (Oxford: Clarendon Press, 1994).
Cardinal, Agnès, Dorothy Goldman, and Judith Hattaway, eds., Women’s Writing on the First World
War (Oxford: Oxford UP, 1999).
Carey, John, The Intellectuals and the Masses (London: Faber, 1992).
Chedfor, Monique, Ricardo Quinones and Albert Wachtel, eds., Modernism: Challenges and
Perspectives (Urbana: University of Illinois Press, 1986).
Chernaik, Warren, Warwick Gould and Ian R. Willison, eds., Modernist Writers and the Marketplace
(New York: St. Martin’s Press, 1995).
Cheyette, Bryan and Laura Marcus, eds., Modernity, Culture, and ‘the Jew’ (Stanford: Stanford UP,
Cheyette, Bryan, Constructions of ‘the Jew’ in English Literature and Society: Racial Representations
1875-1945 (Cambridge: Cambridge UP, 1994).
Childs, Peter, Modernism (London and New York: Routledge, 2000).
Diepeveen, Leonard, The Difficulties of Modernism (London: Routledge, 2003).
Eysteinsson, Astradur, The Concept of Modernism (Ithaca, N.Y. and London: Cornell University Press,
Faulkner, Peter, ed., Modernism (London: Methuen, 1977).
Faulkner, Peter, ed., A Modernist Reader (London: Batsford, 1988).
Fokkema, Douwe, Modernist Conjectures (London: Hurst, 1987).
Ford, Boris, ed., The Modern Age (Harmondsworth: Penguin, 1963).
Friedman, Alan, The Turn of the Novel (New York: Oxford University Press, 1967).
Halliwell, Martin, Modernism and Morality (Basingstoke: Palgrave, 2001).
Hargreaves, Tracy, Androgyny in Modern Literature (Basingstoke: Palgrave Macmillan, 2005).
Harrison, Elizabeth Jane and Shirley Peterson, eds., Unmanning Modernism: Gendered Re-Readings
(Knoxville: University of Tennessee Press, 1997).
Kolocotroni, Vassiliki, Jane Goldman and Olga Taxidou, eds., Modernism: an Anthology of Sources
and Documents (Edinburgh: Edinburgh UP, 1998).
Lassner, Phyllis, British Women Writers of World War II: Battlegrounds of their Own (Basingstoke:
Macmillan, 1997).
Levenson, Michael, ed., The Cambridge Companion to Modernism (Cambridge: Cambridge UP, 1999).
Levenson, Michael, A Genealogy of Modernism: A Study of English Literacy Doctrine, 1908-1922
(Cambridge: Cambridge UP, 1984).
Litz, A. Walton, The Cambridge History of Literary Criticism, vol 7, Modernism and the New Criticism
(Cambridge: Cambridge University Press, 2000).
Lodge, David, The Modes of Modern Writing (London: Methuen, 1977).
Lunn, Eugene, Marxism and Modernism (London: Verso, 1982).
McHale, Brian, Postmodernist Fiction (London: Methuen, 1987).
MacKay, Marina, Modernism and the Second World War (Cambridge: Cambridge UP, 2007).
Martin, Graham and P.N. Furbank, eds., Twentieth Century Critical Essays and Documents (Milton
Keynes: Open University Press, 1975).
Matthews, Steven, Modernism (London: Arnold, 2004).
Matthews, Steven, ed., Modernism: A Sourcebook (Basingstoke: Palgrave, 2008).
Menand, Louis, Discovering Modernism (New York: Oxford University Press, 1987).
Miller, Jane Eldridge, Rebel Women: Feminism, Modernism and the Edwardian Novel (London:
Virago, 1994).
Miller, Tyrus, Late Modernism: Politics, Fiction and the Arts Between the World Wars (Berkeley:
University of California Press, 1998).
Morley, Catherine and Alex Goody, eds., American Modernism: Cultural Transactions (Durham:
Cambridge Scholars’ Press, 2009).
Morrisson, Mark, The Public Face of Modernism (Madison: University of Wisconsin Press, 2001).
Nicholls, Peter, Modernisms: A Literary Guide (Basingstoke: Macmillan, 1995).
Nochlin, Linda and Tamar Garb, eds., The Jew in the Text: Modernity and the Construction of Identity
(London: Thames and Hudson, 1995).
North, Michael, The Dialect of Modernism: Race, Language and Twentieth-Century Literature
(Oxford; New York: Oxford UP, 1994).
Parsons, Deborah, Streetwalking the Metropolis: Women, the City and Modernity (Oxford: Oxford UP,
Perkins, David, Is Literary History Possible? (Baltimore and London: Johns Hopkins University Press,
Perkins, David, Theoretical Essays in Literary History (Cambridge, Mass. and London: Harvard
University Press, 1991).
Perloff, Marjorie, The Futurist Moment (Illinois and London: University of Chicago Press, 1986).
Perloff, Marjorie, 21st-Century Modernism (Oxford: Blackwell, 2002).
Piette, Adam, Imagination at War: British Fiction and Poetry 1939-1945 (London: Papermac, 1995).
Poplawski, Paul, ed., An Encyclopedia of Literary Modernism (Westport: Greenwood Press, 2003).
Potter, Rachel, Modernism and Democracy (Oxford: OUP, 2006).
Rainey, Laurence, Institutions of Modernism (London: Yale University Press, 1998).
Quinones, Ricardo, Mapping Literary Modernism (Princeton and Guildford: Princeton University
Press, 1985).
Rawlinson, Mark, British Writing of the Second World War (Oxford: Oxford University Press, 2000).
Schwarz, Daniel, The Transformation of the English Novel (Basingstoke, Macmillan, 1989).
Scott, Bonnie Kime, ed., The Gender of Modernism (Bloomington: Indiana University Press, 1990).
Scott, Bonnie Kime, Refiguring Modernism, vol 1, The Women of 1928 (Bloomington: Indiana
University Press, 1995)
Sherry, Vincent B., The Great War and the Language of Modernism (Oxford: Oxford UP, 2003).
Sherry, Vincent, Ezra Pound, Wyndham Lewis and Radical Modernism (Oxford; New: Oxford UP,
Shiach, Morag, The Cambridge Companion to the Modernist Novel (Cambridge: Cambridge University
Press, 2007)
Smith, Andrew and Jeff Wallace, eds., Gothic Modernisms (Basingstoke: Palgrave, 2001).
Stevens, Hugh and Caroline Howlett, eds., Modernist Sexualities (Manchester: Manchester UP, 2000).
Stevenson, Randall, Modernist Fiction (London: Prentice Hall, rev. ed., 1997).
Stewart, Victoria, Narratives of Memory: British Writing of the 1940s (Basingstoke: Palgrave, 2006).
Tate, Trudi and Suzanne Rait, eds., Women’s Fiction and the Great War (Oxford: Clarendon Press,
Tate, Trudi, Modernism, History and the Great War (Manchester: Manchester University Press, 1998)
Thormählen, Marianne, ed., Rethinking Modernism (Basingstoke: Palgrave Macmillan, 2003).
Trotter, David, The English Novel in History 1895-1920 (London: Routledge, 1993).
Trotter, David, Paranoid Modernism (Oxford: Oxford University Press, 2001).
Waugh, Patricia, ed., Revolutions of the Word: Intellectual Contexts for Studying Modern Literature
(London: Edward Arnold, 1997).
Williams, Keith, and Steven Matthews, eds., Rewriting the Thirties: After Modernism (London:
Longman, 1997).
Williams, Raymond, The Politics of Modernism, ed. Tony Pinkney (London: Verso, 1989).
Wirth-Nesher, Hana. City Codes: Reading the Modern Urban Novel (Cambridge: Cambridge UP,
Witemeyer, Hugh. Ed. The Future of Modernism (Ann Arbor: University of Michigan Press, 1997).
Arthur Schnitzler
Anderson, Susan, ‘The Power of the Gaze: Visual Metaphors in Schnitzler’s Prose Works and Dramas’
in A Companion to the Works of Arthur Schnitzler, ed. Dagmar Lorenz (New York: Camden
House, 2003), pp. 303-324.
Arens, Katherine, ‘Schnitzler and Characterilogy: From Empire to Third Reich’, Modern Austrian
Literature 19:3-4 (1986): 97-127.
Baummer, Franz, Arthur Schnitzler (Berlin: Colloquium, 1992).
Ferguson, Harvie, The Lure of Dreams: Sigmund Freud and the Construction of Modernity (London:
Routledge, 1996).
Genno, Charles and Heinz Wetzel, eds. The First World War in German Narrative Prose (Toronto:
University of Toronto Press, 1980)
Huyssen, Andreas, ‘The Disturbance of Vision in Vienna Modernism’, Modernism/modernity 5:3
(1998): 33-47.
Keiser, Brenda, Deadly Dishonour: The Duel and the Honor Code in the Works of Arthur Schnitzler
(New York: Peter Lang, 1990).
Kuttenberg, E., ‘Soma, Psyche, Corpse and Gaze: Perception and Vision in Arthur Schnitzler’s Early
Prose’, Modern Austrian Literature 40.2 (2007): 21-42.
Marten, L., ‘A Dream Narrative: Schnitzler’s Der Sekundant’, Modern Austrian Literature 23.1 (1990):
Lorenz, Dagmar, ed., A Companion to the Works of Arthur Schnitzler (New York: Camden House,
Otis, Laura, ‘The Language of Infection: Disease and Identity in Schnitzler’s Reigen’, The Germanic
Review 70.2 (1995): 65-75.
Perlmann, Michaela L., Arthur Schnitzler (Stuttgart: Metzler, 1987).
Roberts, Adrian, Arthur Schnitzler and Politics, (Riverside, CA: Ariadne, 1989).
Santner, Eric L., ‘Of Masters, Slaves and Other Seducers: Arthur Schnitzler’s Traumnovelle’, Modern
Austrian Literature 19:3-4 (1986): 33-48
Schmidt, Willa Elizabeth, The Changing Role of Women in the Works of Arthur Schnitzler (Madison:
University of Wisconsin Press, 1973).
Stock, Irwin, Fiction as Wisdom: From Goethe to Bellow (Philadelphia: Penn State University Press,
Swales, Martin, Arthur Schnitzler: A Critical Study (Oxford: Clarendon Press, 1971).
Thompson, Bruce, Schnitzer’s Vienna: Image of a Society (New York: Routledge, 1990).
Tweraser, Felix W., Political Dimensions of Arthur Schnitzler’s Late Fiction (Columbia: Camden
House, 1998).
Weinburger, G.J., Arthur Schnitzler’s Late Plays: A Critical Study (NY: Peter Lang, 1997).
Wisely, Andrew C., Arthur Schnitzler and the Discourse of Honor and Dueling (New York: Peter
Lang, 1996).
Wisely, Andrew C., Arthur Schnitzler and Twentieth Century Criticism (New York: Camden House,
James Joyce
Attridge, Derek, ed., The Cambridge Companion to James Joyce (Cambridge: Cambridge UP, 2004).
Attridge, Derek and Marjorie Howes, eds., Semicolonial Joyce (Cambridge: Cambridge UP, 2000).
Attridge, Derek, Joyce Effects (Cambridge: Cambridge UP, 2000).
Blamires, Harry, The Bloomsday Book (London: Methuen, 1966).
Burgess, Anthony, Joysprick (London: Deutsch, 1975).
Cheng, Vincent, Race, Joyce and Empire (Cambridge: Cambridge UP, 1995). Connor, Steven, James
Joyce (London: Northcote House, 1996).
Denning, Robert H., ed., James Joyce: The Critical Heritage (London: Routledge, 1970).
Eco, Umberto, The Middle Ages of James Joyce (London: Hutchinson, 1982).
Eide, Marian, ‘The Woman of the Ballyhoura Hills: James Joyce and the Politics of Creativity’,
Twentieth Century Literature 44.4 (Winter 1998): 377-91.
Ellmann, Richard, James Joyce (Oxford; New York: Oxford UP, 1982). Rev. ed. Ellmann, Richard,
Ulysses on the Liffey (London: Faber, 1972).
Fairhall, James, James Joyce and the Question of History (Cambridge: Cambridge UP, 1993).
Gifford, Don, Ulysses Annotated (Berkeley: University of California Press, rev.ed. 1987).
Gilbert, Stuart, James Joyce’s ‘Ulysses’ (rev.ed. 1952).
Herr, Cheryl, Joyce’s Anatomy of Culture (Urbana: University of Illinois Press, 1986).
Iser, Wolfgang, The Implied Reader (Baltimore, MD: Johns Hopkins UP, 1974).
Jacobs, Joshua, ‘Joyce’s Epiphanic Mode: Material Language and the Representation of Sexuality in
Stephen Hero and Portrait’, Twentieth
Century Literature 46.2 (Spring 2000): 20-33.
Kenner, Hugh, Dublin’s Joyce (New York; Guildford: Columbia UP, 1987).
Kenner, Hugh, Joyce’s Voices (London: Faber, 1978).
Klein, Scott, The Fictions of James Joyce and Wyndham Lewis (Cambridge: CUP, 1994).
Lawrence, Karen, The Odyssey of Style in Ulysses (Princeton: Princeton UP, 1981).
Litz, A. Walton, The Art of James Joyce (Oxford: OUP, 1961).
McCabe, Colin, James Joyce and the Revolution of the Word (London: Macmillan, 1979).
McCormack, W. J. & A. Stead (eds.), James Joyce and Modern Literature (London: Routledge and
Kegan Paul, 1982)
Mahaffey, Vicki, Reauthorizing Joyce (Cambridge: CUP, 1988).
Manganiello, Dominic, Joyce’s Politics (London: Routledge & Kegan Paul, 1980).
Mulrooney, Jonathan, ‘Stephen Dedalus and the Politics of Confession’, Studies in the Novel 33.2
(Summer 2001): 160-79.
Nolan, Emer, James Joyce and Nationalism (London: Routledge, 1995).
Piette, Adam, Remembering and the Sound of Words (Oxford: Clarendon Press, 1996).
Roughley, Alan, James Joyce and Critical Theory (Brighton: Harvester, 1991).
Roughley, Alan, Reading Derrida Reading Joyce (Gainesville: University of Florida Press, 1999).
Schwarz, Daniel, Reading Joyce’s Ulysses (London: Macmillan, 1987).
Scott, Bonne Kime, Joyce and Feminism (Brighton; Bloomington: Indiana UP, 1984).
Seidel, Michael, James Joyce (Oxford, Blackwell, 2002).
Spoo, Robert, James Joyce and the History of Language (Oxford; New York: Oxford UP, 1994).
Vanderham, Paul, James Joyce and Censorship (London, Macmillan, 1998).
Ford Madox Ford
Cassell, Richard A. ed., Critical Essays on Ford Madox Ford (Boston, Mass.: G.K. Hall, 1987).
Foss, Chris, ‘Abjection and Appropriation: Male Subjectivity in The Good Soldier’, LIT: Literature
Interpretation Theory 9.3 (Dec. 1998): 225-44
Fowles, Anthony, Student Guide to Ford Madox Ford: The Principle Fiction (London: Greenwich
Exchange, 2002).
Hampson, Robert and Max Saunders, eds., Ford Madox Ford’s Modernity (Amsterdam: Rodopi, 2003).
Haslam, Sara, Fragmenting Modernism: Ford Madox Ford, the Novel and the Great War (Manchester:
Manchester UP, 2002).
Hoffman, Karen A., ‘“Am I no better than a eunuch?”: Narrating Masculinity and Empire in Ford
Madox Ford’s The Good Soldier’, Journal of Modern Literature 27.3 (Winter 2004): 30-46.
Hood, Richard, ‘“Constant Reduction”: Modernism and the Narrative Structure if The Good Soldier’,
Journal of Modern Literature 14.4 (Spring 1988): 445-64.
MacShane, Frank, ed., Ford Madox Ford: The Critical Heritage (London: Routledge & Kegan Paul,
Mickalites, Carey J., ‘The Good Soldier and Capital’s Interiority Complex’, Studies in the Novel 38.3
(Fall 2006): 288-303.
Nigro, Frank G., ‘Who framed The Good Soldier? Dowell’s story in search of a Form’, Studies in the
Novel 24.4 (Winter 1992): 381-91.
Young, Kenneth, Ford Madox Ford (London: Longmans, Green, 1956).
Virginia Woolf
Abel, Elizabeth, Virginia Woolf and the Fictions of Psychoanalysis (Chicago: Chicago UP, 1989).
Adolph, Andrea, ‘Luncheon at “The Leaning Tower”: Consumption and Class in Virginia Woolf’s
Between the Acts.’ Women’s Studies 34.6 (Sep. 2005): 439-59.
Ames, Christopher, ‘The Modernist Canon: Woolf’s Between the Acts and Joyce’s “Oxen of the Sun”’,
Twentieth Century Literature 37.4 (Winter 1991): 390-404.
Barrett, Eileen, and Patricia Cramer, eds., Virginia Woolf: Lesbian Readings (London; New York: New
York UP, 1997).
Bowlby, Rachel, Feminist Destinations and Further Essays on Virginia Woolf (Edinburgh: Edinburgh
UP, 1997).
Bowlby, Rachel, ed., Virginia Woolf (London: Longman, 1992).
Briggs, Julia, Reading Virginia Woolf (Edinburgh: Edinburgh UP, 2006).
Caughie, Pamela, ed., Virginia Woolf in the Age of Mechanical Reproduction (London; New York:
Garland, 2000).
Caughie, Pamela, Virginia Woolf and Postmodernism: Literature in Quest and Question of Itself
(Urbana: University of Illinois Press, 1991).
Cuddy-Keane, Melba, Virginia Woolf, The Intellectual and the Public Sphere.
(Cambridge: Cambridge UP, 2003).
Detloff, Madelyn. ‘Thinking Peace into Existence: The Spectacle of History in Between the Acts’,
Women’s Studies 28.4 (Sep 1999): 403-433.
Goldman, Jane, The Feminist Aesthetics of Virginia Woolf: Modernism, Post-Modernism and the
Politics of the Visual (Cambridge: Cambridge UP, 1998).
Greene, Sally, ed., Virginia Woolf: Reading the Renaissance (Athens: Ohio UP, 1999).
Hanson, Clare, Virginia Woolf (Basingstoke: Macmillan, 1994).
Haule, James M. and J.H. Stape, eds., Editing Virginia Woolf: Interpreting the Modernist Text
(Basingstoke: Palgrave, 2002).
Hussey, Mark, ed., Virginia Woolf and the War: Fiction, Reality, and Myth(Syracuse: Syracuse UP,
Lee, Hermione, Virginia Woolf (London: Vintage, 1997).
Levenback, Karen L., Virginia Woolf and the Great War (Syracuse: Syracuse UP, 1999).
Marcus, Jane, Virginia Woolf and the Languages of Patriarchy (Bloomington: Indiana UP, 1987).
Marcus, Jane, New Feminist Essays on Virginia Woolf (London: Macmillan, 1981).
Marcus, Laura, Virginia Woolf (Plymouth: Northcote House, 2004).
Marsh, Nicholas, Virginia Woolf: The Novels (Basingstoke; New York: Macmillan Press; St. Martin’s
Press, 1998).
Miller, Andrew John, ‘“Our Representative, Our Spokesman”: Modernity,
Professionalism, and Representation in Virginia Woolf’s Between The Acts’, Studies in the Novel 33.1
(2001): 34-50.
Miller, Marlowe A., ‘Unveiling “the dialect of culture and barbarism” in British pageantry.’ Papers on
Language & Literature 34.2 (Spring 1998): 134-61.
Miller, Tyrus, Late Modernism: Politics, Fiction and the Arts Between the World Wars (Berkeley:
University of California Press, 1998).
Moran, P., Word of Mouth: Body Language in Katherine Mansfield and Virginia Woolf
(Charlottesville: University Press of Virginia, 1996).
Morgan, Clare, ‘Vanishing Horizons: Virginia Woolf and the Neo-Romantic Landscape in Between the
Acts and “Anon”.’ Worldviews: Environment Culture Religion 5.1 (2001): 35-57.
Pawlowski, Merry M., ed., Virginia Woolf and Fascism: Resisting the Dictators’ Seduction
(Basingstoke: Palgrave, 2001).
Peach, Linden, Virginia Woolf (Basingstoke; New York, N.Y.: Macmillan; St. Martin’s Press, 2000).
Roe, Sue and Susan Sellers, eds., The Cambridge Companion to Virginia Woolf (Cambridge:
Cambridge UP, 2000).
Smith, Angela, Katherine Mansfield and Virginia Woolf: A Public of Two (Oxford: Clarendon Press,
Westman, Karin E., ‘“For her generation the newspaper was a book”: Media, Mediation, and
Oscillation in Virginia Woolf’s Between the Acts’, Journal of Modern Literature 29.2 (Winter
2006): 1-18.
Williams, Lisa, The Artist as Outsider in the Novels of Toni Morrison and Virginia Woolf (Westport:
Greenwood Press, 2000).
Woolf, Virginia, On Women and Writing. Sel. and Ed. Michèle Barrett (London: Women’s Press,
Yoshino, Ayako, ‘Between the Acts and Louis Napoleon-Parker – the Creator of the Modern English
Pageant’, Critical Survey 15.2 (2003): 49-60.
Modern Poetry
Carter, Ronald, ed., Thirties Poets: A Casebook: ‘The Auden Group’ (London: Macmillan, 1984).
Davis, Alex and Lee M. Jenkins, eds., Locations of Literary Modernism: Region and Nation in British
and American Modernist Poetry (Cambridge: Cambridge UP, 2000).
Davis, Alex, The Cambridge Companion to Modernist Poetry (Cambridge: Cambridge University
Press, 2007).
Dickie, Margaret and Thomas Travisano, eds., Gendered Modernisms: American Women Poets and
Their Readers (Philadelphia: University of Pennsylvania Press, 1996).
Dowson, Jane, ed., Women’s Poetry of the 1930s: A Critical Anthology (London: Routledge, 1996).
Dowson, Jane, Women, Modernism and British Poetry 1910 –1939: Resisting Femininity (Aldershot:
Ashgate, 2002).
Eliot, T.S., Selected Essays (1932; London: Faber, 1999).
Eliot, T.S., Selected Prose of T.S. Eliot, ed. Frank Kermode (London: Faber, 1975).
Ellmann, Richard, Eminent Domain: Yeats among Wilde, Joyce, Pound, Eliot and Auden (New York:
Oxford UP, 1967).
Emig, Rainer, W.H. Auden: Towards a Postmodern Poetics (Basingstoke: Palgrave, 2000).
Emig, Rainer, Modernism in Poetry: Motivation, Structures, and Limits (London: Longman, 1995).
Gish, Nancy K., Time in the Poetry of T.S. Eliot: A Study in Structure and Theme (London: Macmillan,
Longenbach, James, Modernist Poetics of History: Pound, Eliot and a Sense of the Past (Guildford;
Princeton: Princeton UP, 1987).
Longenbach, James, Modern Poetry After Modernism (New York: Oxford University Press, 1997)
Moody, A. David, ed., The Cambridge Companion to T.S. Eliot (Cambridge: Cambridge UP, 1994).
Perkins, David, A History of Modern Poetry: From the 1890s to the High Modernist Mode (London;
Cambridge, Mass.: Belknap Press of Harvard UP, 1976).
Perkins, David, A History of Modern Poetry, vol 2 Modernism and After (Cambridge and London:
Harvard University Press, 1987).
Perloff, Marjorie, 21st-Century Modernism: The “New” Poetics (Oxford: Blackwell, 2003).
Perloff, Marjorie, Poetic License: Essays on Modernist and Postmodernist Lyric (Evanston, Illinois:
Northwestern UP, 1990).
Rosenthal, M. L. The Modern Poets: A Critical Introduction (New York: Oxford UP, 1965).
Schwartz, Sanford. The Matrix of Modernism: Pound, Eliot, and Early Twentieth-Century Thought
(Guildford; Princeton: Princeton UP, 1985).
Sherry, Vincent B. The Great War and the Language of Modernism (Oxford: Oxford UP, 2003).
Spears, Monroe K., Auden: A Collection of Critical Essays (Englewood Cliffs, NJ: Prentice Hall,
Stead, C.K., Pound, Yeats, Eliot and the Modernist Movement (Basingstoke: Macmillan, 1986).
Stead, C.K., The New Poetic: Yeats to Eliot (Harmondsworth: Penguin, 1967).
Wasley, Aidan, ‘Auden and Poetic Inheritance’, Raritan 19.2 (Fall 1999): 128-57.
(Martin Stannard)
Weeks 5, 6, 7
The three seminars will each deal with two novels. The first seminar will cover The Comforters (1957)
and Memento Mori (1959), and focus on the nature of Spark’s experimental satire, its literary roots
(Waugh, Ivy Compton-Burnett, Beerbohm, Wilde) and its avant-garde metafictional form. For this you
should also read her short stories ‘The Go-Away Bird’ and ‘The Portobello Road’. The second seminar
will examine two novels written at the height of Spark’s fame in the 1960s: The Prime of Miss Jean
Brodie (1961) and The Girls of Slender Means (1963). Here the questions of education, exile,
feminism, fascism, race, and the historical novel will be raised. For this, you should also read her
autobiographical story ‘The Gentile Jewesses’. The third seminar will discuss two novels indebted to
the nouveau roman both of which address the nature of identity and celebrity: The Public Image (1968)
and The Driver's Seat (1970). For this you should read her essay ‘The Desegregation of Art’
(photocopy supplied).
Primary Texts
The Comforters, Memento Mori and Muriel Spark, The Complete Short Stories (Penguin).
The Prime of Miss Jean Brodie and The Girls of Slender Means (Penguin).
The Public Image and The Driver’s Seat (Penguin).
Secondary Reading
Bold, Alan, Muriel Spark. Contemporary Writers series (London: Methuen, 1986).
---, ed., An Odd Capacity for Vision (London: Vision Press, 1984).
Cheyette, Bryan, Muriel Spark. Writers and Their Work series (Harlow: Longman for the British
Council, 2000); see also Patricia Stubbs, below.
Hynes, Joseph, The Art of the Real: Muriel Spark’s Novels (Rutherford, N.J.: Fairleigh Dickinson
University Press; London and Toronto, Associated University Presses, 1988).
---, ed., Critical Essays on Muriel Spark (New York: G.K. Hall & Co./Macmillan Publishing Company,
Kane, Richard C., Iris Murdoch, Muriel Spark and John Fowles. Didactic Demons in Modern Fiction
(Cranbury, N.J. and London: Associated University Presses, 1988).
Kemp, Peter, Muriel Spark. Novelists and Their World series (London: Paul Elek, 1974).
Kermode, Frank, ‘The House of Fiction. Interviews With Seven Novelists’, in Malcolm Bradbury, ed.,
The Novel Today (London: Fontana, 1977), pp.131-35.
Little, Judy, Comedy and the Woman Writer: Woolf, Spark and Feminism (Lincoln and London:
University of Nebraska Press, 1983).
McQuillan, Martin, ed., Theorising Muriel Spark: Gender, Race, Deconstruction (London: Palgrave,
2002). Contains the most up-to-date published bibliography of critical reading on Spark
Malkoff, Karl, Muriel Spark. Columbia Essays on Modern Writers series (New York and London:
Columbia University Press, 1968).
Massie, Allan, Muriel Spark (Edinburgh: Ramsay Head Press, 1979).
Page, Norman, Muriel Spark. Macmillan Modern Novelists series (London: Macmillan, 1990).
Sproxton, Judy, The Women of Muriel Spark (London: Constable, 1992).
Stanford, Derek, Muriel Spark: A Biographical and Critical Study (Fontwell: Centaur Press, 1963).
Stannard, Martin, ‘Nativities: Muriel Spark, Baudelaire, and the Quest for Religious Faith’, RES, New
Series, Vol. 55, No. 218 (2003), 91-105.
---, ‘Muriel Spark’ in David Kastan (ed.), The Oxford Encyclopedia of British Literature, Vol. 5 (New
York: Oxford University Press, 2006), pp. 63-66.
---, Muriel Spark: The Biography (Weidenfeld & Nicolson, 2009).
Stonebridge, Lyndsey, ‘Hearing Them Speak: Voices in Wilfred Bion, Muriel Spark and Penelope
Fitzgerald’, Textual Practice, 19.4 (2005), 445-465.
Stubbs, Patricia, Muriel Spark. Writers and Their Work series (Harlow: Longman for the British
Council, 1973); see new and extended Spark volume by Bryan Cheyette (2000), above.
Whittaker, Ruth, The Faith and Fiction of Muriel Spark (New York: St. Martin’s Press, 1982).
(Lucy Evans)
Weeks 9, 10, 11
In these seminars, we will examine the significance of short stories to Caribbean cultural production in
the twentieth and twenty-first centuries, considering how Caribbean writers have employed this literary
form and how it has been transformed in the process. The first seminar will deal with texts produced in
the period leading up to the political independence of Caribbean nations. We will explore the
foundational role played by these texts in forging a Caribbean literary tradition, focusing on the
tendency towards social realism and the use of comedy to expose inequalities along the lines of
ethnicity, class and gender. We will investigate the extent to which the borrowed form of these stories
conflicts with their Caribbean setting. The second seminar will take us through to the postindependence period, covering stories published in the 1980s and early 90s. We will identify how these
later stories break with European literary conventions through experimentation with language and an
engagement with oral storytelling practices, leading to the development of a mode of short story writing
which is distinctively Caribbean in form as well as content. The third seminar will look at how short
story writers of the late twentieth and early twenty-first century reflect upon an increasingly dispersed
and globalised Caribbean, juxtaposing regional and diasporic settings and in doing so inviting us to
reassess what it means to be a Caribbean writer or reader. An emphasis will be placed on the stylistic
changes accompanying this shift.
Primary Texts
Seminar 1
C. L. R James, ‘Triumph’
Jean Rhys, ‘Pioneers, Oh, Pioneers’
V. S. Naipaul, ‘B. Wordsworth’ and ‘Until the Soldiers Came’
Sam Selvon, ‘The Cricket Match’
Seminar 2
Olive Senior, ‘Do Angels Wear Brassieres?’ and ‘Love Orange’
Earl Lovelace, ‘Victory and the Blight’
Willi Chen, ‘Trotters’
Lawrence Scott, ‘Ballad for the New World’
Seminar 3
Makeda Silvera, ‘Caribbean Chameleon’
Jamaica Kincaid, ‘Song of Roland’
Edwidge Danticat, ‘Nineteen Thirty-Seven’
Robert Antoni, ‘The Tale of the Boy Who Was Born a Monkey’
E. A. Markham, ‘A Short History of St. Caesare’ and ‘Seminar on the Frank Worrell Roundabout,
Texts for Purchase
V. S. Naipaul, Miguel Street (Heinemann, 2000 [1959])
Stewart Brown and John Wickham, eds, The Oxford Book of Caribbean Short Stories (Oxford
University Press, 1999)
E. A. Markham, Taking the Drawing Room Through Customs (Peepal Tree Press, 2002)
Copies of stories not contained in the above three collections will be available on Blackboard (Olive
Senior’s ‘Love Orange’, Jamaica Kincaid’s ‘Song of Roland’ and Robert Antoni’s ‘The Tale of the Boy
Who Was Born a Monkey’.
Secondary Reading on Caribbean Literature and Culture
Anim-addo, Joan, Centre of Remembrance: Memory and Caribbean Women’s Literature (Mango,
Ashcroft, Bill, Gareth Griffiths and Helen Tiffin, The Empire Writes Back: Theory and Practice in
Post-Colonial Literatures (Routledge, 1989)
Benítez-Rojo, Antonio The Repeating Island: The Caribbean and the Postmodern Perspective, trans.
James E. Maraniss, 2nd end (Duke University Press, 1996 [1989])
Boyce Davies, Carole and Elaine Savory Fido (eds), Out of the Kumbla: Caribbean Women and
Literature (Africa World Press, 1990)
Brathwaite, Edward Kamau, History of the Voice: The Development of Nation Language in
Anglophone Caribbean Poetry (New Beacon, 1984)
Chew, Shirley (ed.), Moving Worlds, 3:2 (2003), Masquerade (Caribbean issue)
Condé, Mary and Thorunn Lonsdale (eds), Caribbean Women Writers: Fiction in English (Macmillan,
Cooper, Carolyn, Noises in the Blood: Orality, Gender and the ‘Vulgar’ Body of Jamaican Popular
Culture (Macmillan, 1993)
Donnell, Alison, The Routledge Reader in Caribbean Literature (Routledge, 1966)
Donnell, Alison, Twentieth-Century Caribbean Literature (Routledge, 2006)
Döring, Tobias, Caribbean-English Passages: Intertextuality in a Postcolonial Tradition (Routledge,
Emery, Mary Lou, Modernism, the Visual, and Caribbean Literature (Cambridge University Press,
2007) – deals with several of the writers studied on this module (C. L. R. James, Jean Rhys,
Jamaica Kincaid)
Ferguson, Moira, Colonialism and gender relations from Mary Wollstonecraft to Jamaica Kincaid :
East Caribbean connections (Columbia University Press, 1993)
Fowler, Corinne and Graham Mort (eds), Moving Worlds, 9:2 (2009), Region/Writing/Home:
Relocating Diasporic Writing in Britain
Glissant, Édouard, Caribbean Discourse: Selected Essays, trans J. Michael Dash (University Press of
Virginia, 1989 [1981])
Harney, Stefano, Nationalism and Identity: Culture and the Imagination in a Caribbean Diaspora (Zed
Books, 1996)
Harris, Wilson, Selected Essays of Wilson Harris: The Unfinished Genesis of the Imagination, ed. by
Andrew Bundy (Routledge, 1999)
Inghilleri, Moira, Swinging Her Breasts At History (Mango, 2004)
James, C. L. R., Beyond a Boundary (Yellow Jersey Press, 2005 [1963])
James, Louis, Caribbean Literature in English (Longman, 1999)
Juneja, Renu, Caribbean Transactions: The Making of West Indian Culture in Literature (Macmillan
Caribbean, 1996)
King, Bruce (ed.), West Indian Literature, 2nd edn (Macmillan, 1995)
Lamming, George, The Pleasures of Exile (Allison & Busby, 1984 [1960])
Marsh-Lockett, Carol P., New Critical Essays on Caribbean Literature (Garland, 2000)
Mehta, Brinda J., Notions of identity, diaspora, and gender in Caribbean women’s writing (Palgrave
Macmillan, 2009) – chapter on Edwidge Danticat
Miller, Paul B., Elusive Origins:The Enlightenment in the Modern Caribbean Historical Imagination
(University of Virginia Press, 2010) – discusses C. L. R. James
Ong, Walter J., Orality and Literacy: The Technologizing of the Word (Methuen, 1982)
Puri, Shalini, The Caribbean Postcolonial: Social Equality, Post-Nationalism, and Cultural Hybridity
(Macmillan, 2004)
Ramchand, Kenneth, An Introduction to the Study of West Indian Literature (Nelson Caribbean, 1976)
Ramchand, Kenneth, The West Indian Novel and its Background, 2nd edn (Heinemann, 1983)
Selvon, Sam, Foreday Morning: Selected Prose 1946–1986, ed. by Kenneth Ramchand and Susheila
Nasta (Longman, 1989)
Torres-Saillant, Silvio, Caribbean Poetics: Toward an Aesthetic of West Indian Literature (Cambridge
University Press, 1997)
Walcott, Derek, What the Twilight Says: Essays (Faber & Faber, 1998)
Secondary Reading on Writers Covered
Bogues, Anthony, Caliban’s freedom: the early political thought of C. L. R. James (Pluto, 1997)
Brown, Stewart, Interview with Willi Chen, Journal of West Indian Literature, 5:1–2 (1992), 106–12
Carr, Helen, Jean Rhys (Northcote House, 1996)
Chancy, Myriam, Framing Silence: Revolutionary Novels by Haitian Women (Rutgers University Press,
Collins, Michael S., ‘An Interview with Edwidge Danticat’, Callaloo, 30:2 (2007), 471–74 [available
online through the library catalogue]
Cooper, Carolyn, ‘“Self Searching for Substance”: The Politics of Style in Earl Lovelace’s A Brief
Conversion and Other Stories’, Anthurium, 4:2 (2006) [open access journal:]
Covi, Giovanna, Jamaica Kincaid’s Prismatic Subjects: Making Sense of Being in the World (Mango,
Dubois, Dominique, ‘Ballad for the New World or the Remembrance of a Lost World’, Journal of the
Short Story in English, 26 (1996), 87–93
Ferguson, Moira, Jamaica Kincaid: Where the Land Meets the Body (University Press of Virginia,
Harney, Steve, ‘Willi Chen and Carnival Nationalism in Trinidad’, Journal of Commonwealth
Literature, 25:1 (1990), 120–31 [available online through the library catalogue]
Jussawalla, Feroza F., Conversations with V. S. Naipaul (University Press of Mississippi, 1997)
Malcolm, Cheryl Alexander and David Malcolm, Jean Rhys: A Study of the Short Fiction (Twayne,
King, Bruce, The Internationalization of English Literature (Oxford University Press, 2004) – see
discussion of E. A. Markham’s work, pp. 115–16
King, Bruce, V.S. Naipaul, 2nd edn. (Basingstoke and New York: Palgrave Macmillan, 2003)
King, Nicole, ‘Performance and Tradition in Earl Lovelace’s A Brief Conversion: The Drama of the
Everyday’, in Caribbean Literature After Independence: The Case of Earl Lovelace, ed. by Bill
Schwarz (Institute for the Study of the Americas, 2008)
Kruk, Laurie, ‘Storytellers: Circling Family Voice in Stories by Thomas King, Olive Senior, Alistair
MacLeod and Guy Vanderhaeghe’, Journal of the Short Story in English, 47 (Autumn 2006),
111–26 [open access journal:]
Maurel, Sylvie, Jean Rhys (Macmillan, 1998)
Misrahi-Barak, Judith, ‘My Mouth is the Keeper of Both Speech and Silence...’, or the Vocalisation of
Silence in Caribbean Short Stories by Edwidge Danticat’, Journal of the Short Story in English,
47 (Autumn 2006), 155–66 [open access journal:]
Morrell, A. C., ‘The World of Jean Rhys’s Short Stories’, in Critical Perspectives on Jean Rhys, ed. by
Pierrette Frickey (Three Continents, 1990), pp. 95–102
Mustafa, Fawzia, V. S. Naipaul (Cambridge University Press, 1995)
Nasta, Susheila, Critical Perspectives on Sam Selvon (Three Continents Press, 1988)
N’Zengou-Tayo, Marie-Jose, ‘Rewriting Folklore: Traditional Beliefs and Popular Culture in Edwidge
Danticat’s Breath, Eyes, Memory and Krik? Krak!’, MaComère: Journal of the Association of
Caribbean Women Writers and Scholars, 3 (2000), 123–40
Patteson, Richard F., ‘The Fiction of Olive Senior: Traditional Society and the Wider World’, ARIEL,
24:1 (1993), 13–33
Pollard, Velma, ‘Mothertongue Voices in the Writing of Olive Senior and Lorna Goodison’, in
Motherlands: Black Women’s Writing from Africa, the Caribbean and South Asia, ed. by
Susheila Nasta (The Women’s press, 1991), pp. 238–53
Procter, James, ‘A “Limited Situation”: Brevity and Lovelace's A Brief Conversion’, in Caribbean
Literature After Independence: The Case of Earl Lovelace, ed. by Bill Schwarz (Institute for the
Study of the Americas, 2008), pp. 130–45
Rohlehr, Gordon, ‘The Ironic Approach: The Novels of V. S. Naipaul’, in Critical Perspectives on V. S.
Naipaul, ed. by Robert D. Hamner (Heinemann Educational, 1979), pp. 178–93
Savory, Elaine, The Cambridge Companion to Jean Rhys (Cambridge University Press, 2009)
Savory, Elaine, Jean Rhys (Cambridge University Press, 1998)
Senior, Olive, ‘Lessons from the Fruit Stand: Or, Writing for the Listener’, Journal of Modern
Literature, 10:1 (1996), 39–44 [available online through the library catalogue]
Simpson, Hyacinth M., ‘The Making of an Oral Poetics in Olive Senior’s Short Fiction’, Callaloo, 27:3
(2004), 829–43 [available online through the library catalogue]
Thomas, Sue, The Worlding of Jean Rhys (Greenwood Press, 1955)
Westall, Claire, ‘Men in the Yard and On the Street: Cricket and Calypso in Moon on a Rainbow Shawl
and Miguel Street’, Anthurium, 3:2 (2005) [open access journal:]
White, Landeg, V. S. Naipaul: A Critical Introduction (Macmillan, 1975)
Whitlock, Gillian, ‘The Bush, the Barrack-Yard and the Clearing: “Colonial Realism” in the Sketches
and Stories of Susanna Moodie, C. L. R. James and Henry Lawson’, The Journal of
Commonwealth Literature, 20:1 (1985), 36–48 [this website contains interviews, critical writing and reviews]
Secondary Reading on the Short Story
Allen, Walter, The Short Story in English (1981)
Bardolph, Jacqueline (ed.), Telling Stories: Postcolonial Short Fiction in English, (Rodopi, 2001)
Bates, H. E., The Modern Short Story: A Critical Survey (Joseph, 1972)
Hanson, Clare, ed., Re-Reading the Short Story (Macmillan, 1989)
Hanson, Clare, Short Stories and Short Fictions, 1880–1980 (Macmillan, 1985)
Head, Dominic, The Modernist Short Story: A Study in Theory and Practice (Cambridge University
Press, 1992)
Hunter, Adrian, The Cambridge Introduction to the Short Story in English (Cambridge University
Press, 2007)
Hunter, W. F., The Short Story: Structure and Statement (Elm Bank, 1996)
Lee, Maurice A. (ed.), Journal of Modern Literature, 10:1 (1996) – special issue on ‘The Multicultural
Short Story in the Americas and the Third World’ [available online through the library
March-Russell, Paul, The Short Story: An Introduction (Edinburgh University Press, 2009)
May, Charles E., The New Short Story Theories (Ohio University Press, 1994)
Myszor, Frank, The Modern Short Story (Cambridge University Press, 2000)
O’Connor, Frank, The Lonely Voice: A Study of the Short Story (Macmillan, 1963)
Pratt, Mary Louise, ‘The Short Story: The Long and the Short of It’, Poetics, 10:2–3 (1981), 175–94
[available online through the library catalogue]
Ramchand, Kenneth, ‘The West Indian Short Story’, Journal of Caribbean Literatures, 1:1 (1997), 21–
Reid, Ian, The Short Story (Methuen, 1977)
Shaw, Valerie, The Short Story: A Critical Introduction (Longman, 1983)
Simpson, Hyacinth, ‘Patterns and Periods: Oral Aesthetics and a Century of Jamaican Short Story
Writing’, Journal of West Indian Literature 12:1–2 (2004), 1–30
Relevant Journals
Anthurium – open access journal:
Callaloo – available online through the library catalogue
Journal of Commonwealth Literature – available online through the library catalogue
Journal of the Short Story in English – open access journal:
Studies in Short Fiction – available online through the library catalogue
(Emma Parker)
Weeks 2, 3, 5, 7, 9, 11
Primary Texts
Virginia Woolf, Orlando (1928).
Brigid Brophy, In Transit (1969).
Iain Banks, The Wasp Factory (1984).
Jackie Kay, Trumpet (1998).
Paul Magrs, Could It Be Magic? (1998)
You may also be interested in Radclyffe Hall’s The Well of Loneliness (1928), Josephine Tey’s To Love
and Be Wise (1950), Christine Brooke-Rose’s Between (1968), Gore Vidal’s Myra Breckinridge
(1968), Ursula Le Guin’s The Left Hand of Darkness (1969), Marge Piercy’s Woman on the Edge of
Time (1976), Manuel Puig’s Kiss of the Spider Woman (1976), Angela Carter’s The Passion of New
Eve (1977), Barbara Wilson’s Gaudi Afternoon (1990), Lindsay Clarke’s The Chymical Wedding
(1991), Rose Tremain’s Sacred Country (1992), Jeanette Winterson’s Written on the Body (1992), Will
Self’s Cock and Bull (1992), Leslie Feinberg’s Stone Butch Blues (1993), Susan Swan’s The Wives of
Bath (1993), Patrick McGrath’s Dr Haggard’s Disease (1993), Val McDermaid’s The Mermaids
Singing (1995), Judith Katz’s The Escape Artist (1997), Sarah Waters’ Tipping the Velvet (1998),
Patrick McCabe’s Breakfast on Pluto (1998), Patricia Duncker’s James Miranda Barry (1999), Chuck
Palahniuk’s Invisible Monsters (1999), Octavia Butler’s Lilith’s Brood (2000), Jeffrey Eugenides’
Middlesex (2002), Wesley Stace’s Misfortune (2004), and Christopher Wilson’s The Ballad of Lee
Cotton (2005), Nu Nu Yi’s Smile as They Bow (1994/2008), Rieko Matsuura, The Apprenticeship of
Big Toe P (1993/2009).
Background Reading: Key Texts
Bornstein, Kate, Gender Outlaw: On Men, Women and the Rest of Us (London: Routledge, 1994).
Butler, Judith, Gender Trouble: Feminism and the Subversion of Identity (London: Routledge, 1990).
---. Undoing Gender (London: Routledge, 2004).
Garber, Marjorie, Vested Interests: Cross Dressing and Cultural Anxiety (London: Routledge, 1992).
Halberstam, Judith. ‘F2M: The Making of Female Masculinity’ in Laura Doan ed., The Lesbian
Postmodern (New York: Columbia University Press, 1994 ). 210-228.
---. Female Masculinity (Durham: Duke UP, 1998).
Fausto-Sterling, Anne, Sexing the Body: Gender Politics and the Construction of Sexuality (New York:
Basic Books, 2000).
Feinberg, Leslie, Transgender Warriors: Making History from Joan of Arc to RuPaul (Boston: Beacon
Press, 1996).
---., Trans Liberation: Beyond Pink or Blue (Boston: Beacon Press, 1998).
Nestle, Joan, Clare Howell, and Riki Wilchins ed., GenderQueer: Voices From Beyond the Sexual
Binary (Los Angeles: Alyson Books, 2002).
Stryker, Susan and Stephen Whittle ed., The Transgender Studies Reader (London: Routledge, 2006)
Wilchins, Riki, Read My Lips: Sexual Subversion and the End of Gender (Ithaca, NY: Firebrand,
Wittig, Monique, The Straight Mind and Other Essays (Hemel Hempstead: Harvester Wheatsheaf,
Further Secondary Reading
Butler, Judith, Bodies That Matter: On the Discursive Limits of Sex (London: Routledge, 1993).
Caserio, Robert L., ‘Queer Fiction: The Ambiguous Emergence of a Genre’ in James English ed., A
Concise Companion to Contemporary British Fiction (Oxford: Blackwell, 2006). 209-28.
Epstein, Julia and Kristina Straub ed., Body Guards: The Cultural Politics of Gender Ambiguity
(London: Routledge, 1991).
Fausto-Sterling, Anne, ‘How To Build a Man’ in Anna Tripp ed., Gender (Basingstoke: Palgrave,
Glover, David and Cora Kaplan, Genders (London: Routledge, 2000).
Halberstam, Judith, Female Masculinity (Durham, N.C.: Duke University Press, 1998).
---., In a Queer Time and Place: Transgender Bodies, Subcultural Lives (NY: NY University Press,
Hall, Donald E., Queer Theories (Houndmills: Palgrave Macmillan, 2003).
Hargreaves, Tracy, Androgyny in Modern Literature (Basingstoke: Palgrave Macmillan, 2005).
Jagose, Annamarie, Queer Theory (Melbourne: Melbourne UP, 1996).
Kirby, Viki, Judith Butler (London: Continuum, 2006).
Kosofsky Sedgwick, Eve, Epistemology of the Closet (London: Routledge, 1994).
---. Tendencies (London: Routledge, 1994).
---ed., Novel Gazing: Queer Reading in Fiction (Durham, N.C. and London: Duke UP, 1997).
Merck, Mandy, Naomi Segal and Elizabeth Wright ed., Coming Out of Feminism? (Oxford: Blackwell,
Moorland, Ian and Annabelle Willcox ed., Queer Theory (London: Palgrave, 2005).
Phelan, Shane, Playing with Fire: Queer Politics, Queer Theories (London: Routledge, 1997).
Prosser, Jay, Second Skins: The Body Narratives of Transsexuality (New York: Columbia University
Press, 1998).
Rado, Lisa, The Modern Androgyne Imagination: A Failed Sublime (Charlottesville: University of
Virginia Press, 2000).
Salih, Sara, Judith Butler (London: Routledge, 2002).
Self, Will and David Gamble, Perfidious Man (London: Viking, 2000).
Spargo, Tamsin, Foucault and Queer Theory (Cambridge: Icon Books, 1999).
Straayer, Chris, Deviant Eyes, Deviant Bodies: Sexual Re-Orientations in Film and Video (NY:
Columbia UP, 1996). On order.
Stryker, Susan, Queer Pulp: Perverted Passions from the Golden Age of the Paperback (San Francisco:
Chronicle, 2001). On order.
Tiernay, William G., Academic Outlaws: Queer Theory and Cultural Studies in the Academy (London:
Sage, 1997).
Thomas, Calvin, Straight with a Twist: Queer Theory and the Subject of Heterosexuality (Chicago: U
of Illlinois P, 1999).
Weed, Elizabeth and Naomi Schor ed., Feminism Meets Queer Theory (Bloomington: Indiana UP,
Weedon, Chris, Feminism, Theory and the Politics of Difference (Oxford: Blackwell, 1999). See
Chapter 3 ‘Lesbian Difference, Feminism and Queer Theory’.
Wiegman, Robin & Elena Glasburg ed., Literature and Gender: Thinking Critically Through Fiction,
Poetry, and Drama (London: Longman, 1999).
Wilchins, Riki, Queer Theory, Gender Theory: An Instant Primer (Los Angeles: Alyson, 2004).
Zimmerman, Bonnie & Toni McNaron eds. The New Lesbian Studies: Into the Twenty-First Century
(NY: Feminist Press, 1997). Has a chapter on Queer.
Virginia Woolf
Barrett, Eileen & Patricia Cramer ed., Virginia Woolf: Lesbian Readings (New York: New York
University Press, 1997).
Bowlby, Rachel, Feminist Destinations and Further Essays on Virginia Woolf (Edinburgh: Edinburgh
University Press, 1997).
Boxwell, D.A., ‘(Dis)Orienting Spectacle: The Politics of Orlando’s Sapphic Camp’, Twentieth Century
Literature 44: 3 (Fall 1998): 306-327.
Caughie, Pamela, Virginia Woolf and Postmodernism: Literature in Quest and Question of Itself
(Urbana: University of Illinois Press, 1991).
Cervetti, Nancy, ‘In the Breeches, Petticoats and Pleasures of Orlando’, Journal of Modern Literature
20:2 (Winter 1996): 165-176.
Hanson, Clare, Virginia Woolf (Basingstoke: Macmillan, 1994).
Harris, Andrea L., Other Sexes: Rewriting Difference From Woolf to Winterson (Albany: State
University of New York, 2000).
Kaivola, Karen, ‘Revisiting Woolf's Representations of Androgyny: Gender, Race, Sexuality, and
Nation’, Tulsa Studies in Women's Literature 18:2 (Fall 1999): 235-61.
Marcus, Jane, New Feminist Essays on Virginia Woolf (London: Macmillan, 1981).
Minow-Pinkney, Makiko, Virginia Woolf and the Problem of the Subject (New Brunswick: Rutgers
University Press, 1987).
Parkes, Adam, ‘Lesbianism, History and Censorship: The Well of Loneliness and the Suppressed
Randiness of Virginia Woolf’s Orlando’, Twentieth Century Literature 40:4 (Winter 1994):
Peach, Linden, Virginia Woolf (Basingstoke: Macmillan, 1999).
Piggford, George, ‘“Who’s That Girl?” Annie Lennox, Woolf’s Orlando and Female Camp
Androgyny’, in Fabio Cleto ed. Camp: Queer Aesthetics and the Performing Subject
(Edinburgh: Edinburgh University Press, 1999).
Rado, Lisa, ‘Would the Real Virginia Woolf Please Stand Up? Feminist Criticism, the Androgyny
Debates and Orlando, Women’s Studies 26:2 (April 1997): 147-170.
Taylor, Melanie, ‘True Stories: Orlando, Life-Writing and Transgender Narratives’ in Hugh Stevens &
Caroline Howlett ed. Modernist Sexualities (Manchester: Manchester UP, 2000), 202-18.
Brigid Brophy
Bauer, Dale M. and Susan Jaret McKinstry ed., Feminism, Bakhtin, and the Dialogic. Albany: State
University of New York Press, 1991. Has a chapter on Brophy.
Lawrence, Karen R. ‘In Transit: From James Joyce to Brigid Brophy’ in Transcultural Joyce, ed. Karen
Lawrence. Cambridge: Cambridge UP, 1998. pp. 37-45.
Review of Contemporary Fiction 15: 3, Fall 1995. Special issue on Brigid Brophy.
Iain Banks
Butler, Andrew M., ‘Strange Case of Mr. Banks: Doubles and The Wasp Factory’, Foundation: The
International Review of Science Fiction 28: 76 (Summer 1999): 7-27.
March, Christie L., Rewriting Scotland: Welsh, McLean, Warner, Banks, Galloway and Kennedy
(Manchester: MUP, 2002).
Nairn, Tom, ‘Iain Banks and the Fiction Factory’ in Gavin Wallace & Randall Stevenson ed., The
Scottish Novel Since the Seventies: New Visions, Old Dreams (Edinburgh: Edinburgh UP,
Punter, David, The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day
Vol.2: The Modern Gothic (Basingstoke: Longman, 1996).
Sage, Victor & Allan Lloyd Smith ed., Modern Gothic: A Reader (Manchester: Manchester University
Press, 1996).
Schoene-Harwood, Berthold, ‘Dams Burst: Devolving Gender in Iain Banks's The Wasp Factory’,
ARIEL: A Review of International English Literature 30:1 (Jan.1999): 131-48.
Jackie Kay
Anderson, Linda, ‘Autobiographical Travesties: The Nostalgic Self in Queer Writing’ in David
Alderson & Linda Anderson ed., Territories of Desire in Queer Culture: Refiguring
Contemporary Boundaries (Manchester: Manchester UP, 2000).
Clanfield, Peter, ‘What is in My Blood?’ Contemporary Black Scottishness and theWork of Jackie Kay’
in ed., Teresa Hubel and Neil Brooks, Literature and Racial Ambiguity (Amsterdam: Rodopi,
2002). 1-25
Halberstam, Judith, ‘Telling Tales: Brandon Teena, Billy Tipton, and Transgender Biography’ in María
Carla Sánchez & Linda Schlossberg ed., Passing: Identity and Interpretation in Sexuality, Race,
and Religion (New York: New York UP, 2001).
Hargreaves, Tracy. ‘The Power of the Ordinary Subversive in Jackie Kay’s Trumpet’, Feminist Review
74: 1(2003): 2-16.
Jones, Carole, ‘“An Imaginary Black Family”: Jazz, Diaspora, and the Construction of Scottish
Blackness in Jackie Kay’s Trumpet’’, Symbiosis: A Journal of Anglo-American Literary
Relations 8:2 (Oct. 2004): 191-202.
King, Jeanette ‘“A Woman’s a Man, for A’ That”: Jackie Kay’s Trumpet’, Scottish Studies Review 2:1
(Spring 2001): 101-108.
Rose, Irene, ‘Heralding New Possibilities: Female Masculinity in Jackie’ Kay’s Trumpet’ in Daniel Lea
and Berthold Schoene ed., Posting the Male: Masculinities in Post-War Contemporary British
Literature (Amsterdam: Rodopi, 2003), 141-57.
Williams, Patrick, ‘Significant Corporeality: Bodies and Identities in Jackie Kay's Fiction’ in Kadija
Sesay ed., Write Black, Write British: From Post Colonial to Black British Literature (Hertford:
Hansib, 2005). 41-55.
Whithead, Anne, Trauma Fiction (Edinburgh: EUP, 2004).
Paul Magrs
Knowles, James. ‘ “Hypothetical Hills”: Rethinking Northern Gay Identities in the Fiction of Paul
Magrs’ in David Alderson & Linda Anderson ed., Territories of Desire in Queer Culture:
Refiguring Contemporary Boundaries (Manchester: Manchester UP, 2000).
NB several of the journal essays listed here are on Blackboard and are available via Expanded
Academic ASAP.
(Nick Everett)
Weeks 2, 3, 4, 5, 6, 7, 9
All primary reading will be distributed on handouts at the start of the course. Here are some
recommended titles on the subjects the course covers; they include works giving advice on poetic
composition as well as anthologies of, and critical works about, contemporary poetry.
Poetry Writing
Bell, Julia & Paul Magrs, eds., The Creative Writing Coursebook: forty authors share advice and
exercises for poetry and prose (London: Macmillan, 2001).
Birkett, Julian, Word Power: A Guide to Creative Writing, 3rd ed (London: A & C Black, 1998).
Casterton, Julia, Creative Writing: A Practical Guide, 2nd ed (Basingstoke: Palgrave, 1998).
Chisholm, Alison, The Craft of Writing Poetry (London: Allison and Busby, 1992).
Mills, Paul, Writing in Action (London: Routledge, 1996).
--------, The Routledge Creative Writing Coursebook (London: Routledge, 2005).
Newman, Jenny, Edmund Cusick & Aileen La Tourette, eds., The Writer’s Workbook (London: Arnold,
Sansom, Peter, Writing Poems (Newcastle upon Tyne: Bloodaxe, 1994).
Singleton, John, & Mary Luckhurst, eds., The Creative Writing Handbook: Techniques for New
Writers, 2nd ed (Basingstoke: Palgrave, 2000).
Singleton, John, The Creative Writing Workbook (Basingstoke: Palgrave, 2001).
Wolf, Robert, Jump Start: How to Write from Everyday Life (OUP, 2001).
British and Irish
Armitage, Simon, & Robert Crawford, The Penguin Book of British and Irish Poetry Since 1945
(Harmondsworth: Penguin, 1998).
Crozier, Andrew, & Tim Longville (eds), A Various Art (Manchester: Carcanet, 1987).
Herbert, W.N., & Matthew Hollis (eds), Strong Words: Modern Poets on Modern Poetry (Newcastle
upon Tyne: Bloodaxe, 2000).
Hulse, Michael, David Kennedy & David Morley, eds., The New Poetry (Newcastle upon Tyne:
Bloodaxe, 1993).
Morrison, Blake & Andrew Motion, eds., The Penguin Book of Contemporary British Poetry
(Harmondsworth: Penguin, 1982).
Allen, Donald, ed., The New American Poetry (New York: Grove Press, 1960).
Hoover, Paul, ed., Postmodern American Poetry: A Norton Anthology (New York: Norton, 1994).
Poulin, Jr., A., & Michael Waters, eds., Contemporary American Poetry, 7th ed (Boston: Houghton
Mifflin, 2001).
British and Irish
Corcoran, Neil, English Poetry Since 1940 (Harlow: Longman, 1993).
Duncan, Andrew, The Failure of Conservatism in Modern British Poetry (Cambridge: Salt, 2003).
Maynard, Jessica, ‘British Poetry 1956 – 99’ in Clive Bloom & Gary Day, eds., Literature and Culture
in Modern Britain, vol 3 (Harlow: Longman, 2000).
O’Brien, Sean, The Deregulated Muse (Newcastle upon Tyne: Bloodaxe, 1998).
Blasing, Mutlu Konuk, Politics and Form in Postmodern Poetry (Cambridge: Cambridge University
Press, 1995).
Longenbach, James, Modern Poetry after Modernism (New York: Oxford University Press, 1997).
Perelman, Bob, The Marginalization of Poetry: Language Writing and Literary History (Princeton,
New Jersey: Princeton University Press, 1995).
Vendler, Helen, Soul Says: On Recent Poetry (Cambridge, Massachusetts: Harvard University Press,
An Issue: Reference
Altieri, Charles, Enlarging the Temple: New Directions in American Poetry in the 1960s (Lewisburg,
Pennsylvania: Bucknell University Press, 1979).
Bayley, John, ‘The Poetry of John Ashbery’ and ‘The Last Romantic: Philip Larkin’ in Selected Essays
(Cambridge: Cambridge University Press, 1984).
Bayley, John, ‘Larkin and the Romantic Tradition’ in The Order of Battle at Trafalgar and Other
Essays (London: Collins Harvill, 1987).
Blasing, Mutlu Konuk, Politics and Form in Postmodern Poetry (Cambridge: Cambridge University
Press 1995).
Draper, R.P., ‘Experiment and Tradition: Concrete Poetry, John Ashbery and Philip Larkin’ in An
Introduction to Twentieth-Century Poetry in English (Basingstoke: Macmillan, 1999).
Herd, David, John Ashbery and American Poetry (Manchester: Manchester University Press, 2000).
Hoover, Paul, Postmodern American Poetry: A Norton Anthology (New York: Norton, 1994).
Kirby-Smith, H.T., The Origins of Free Verse (Ann Arbor, Michigan: University of Michigan Press,
A Genre: Elegy
Dolan, John, ‘A Refusal to Mourn: Stevens and the Self-Centered Elegy’, Journal of Modern
Literature, vol 21, no 2 (1997), 209-222.
Gilbert, Sandra M., ed., Inventions of Farewell: A Book of Elegies (New York: Norton, 2001).
Pigman, G.W., Grief and English Renaissance Elegy (Cambridge: Cambridge University Press, 1985).
Ramazani, Jahan, Poetry of Mourning: The Modern Elegy from Hardy to Heaney (Chicago: University
of Chicago Press, 1994).
Sacks, Peter M., The English Elegy: Studies in Genre from Spenser to Yeats (Baltimore: Johns Hopkins
University Press, 1985).
Shaw, W. David, Elegy and Paradox: Testing the Conventions (Baltimore: Johns Hopkins, 1994).
Smith, Eric, By Mourning Tongues: Studies in English Elegy (London: Boydell Press, 1977).
Spargo, R. Clifton, The Ethics of Mourning: Grief and Responsibility in Elegiac Literature (Baltimore:
Johns Hopkins, 2004).
Staten, Henry, Eros in Mourning: Homer to Lacan (Baltimore: Johns Hopkins, 2001).
Strand, Mark, & Eavan Boland, eds., The Making of a Poem: A Norton Anthology of Poetic Forms
(New York: Norton, 2000).
Watkin, William, On Mourning: Theories of Loss in Modern Literature (Edinburgh: Edinburgh
University Press, 2004).
Zeiger, Melissa F., Beyond Consolation: Death, Sexuality and the Changing Shapes of Elegy (Ithaca:
Cornell University Press, 1997).
A Mode: Narrative
Bold, Alan, TheBallad (London: Methuen, 1979).
Feirstein, Frederick, ed., Expansive Poetry: Essays on the New Narrative and the New Formalism
(Ashland, Oregon: Story Line Press, 1989).
Gioia, Dana, ‘The Dilemma of the Long Poem’, in Can Poetry Matter? Essays on Poetry and American
Culture (St Paul, Minneapolis: Graywolf Press, 1992).
Gwynn, R.S., ed., New Expansive Poetry: Theory, Criticism, History (Ashland, Oregon: Story Line
Press, 1999).
Holden, Jonathan, ‘Contemporary Verse Storytelling’ in The Fate of American Poetry (Athens,
Georgia: University of Georgia Press, 1991).
Jarman, Mark, ‘Aspects of Robinson’ in Annie Finch, ed., After New Formalism: Poets on Form,
Narrative, and Tradition (Ashland, Oregon: Story Line Press, 1999).
Mason, David, ‘Other Voices, Other Lives’ in Annie Finch, ed., After New Formalism (Ashland,
Oregon: Story Line Press, 1999).
Perloff, Marjorie, ‘From Image to Action: The Return of Story in Postmodern Poetry’ in The Dance of
the Intellect: Studies in the Poetry of the Pound Tradition (Evanston, Illinois: Northwestern
University Press, 1996).
Reid, Christopher, ed., Not to Speak of the Dog: 101 Short Stories in Verse (London: Faber and Faber,
Roberts, Neil, Narrative and Voice in Postwar Poetry (Harlow: Longman, 1999).
Snodgrass, W.D., ‘The Folk Ballad’ in Annie Finch & Kathrine Varnes, eds., An Exaltation of Forms:
Contemporary Poets Celebrate the Diversity of Their Art (Ashland, Oregon: Story Line Press,
Strand, Mark, & Eavan Boland, eds., The Making of a Poem: A Norton Anthology of Poetic Forms
(New York: Norton, 2000).
A Subject: Landscape
Allister, Mark, Refiguring the Map of Sorrow: Nature Writing and Autobiography (Charlottesville,
University of Virginia Press, 2001).
Alpers, Paul, What Is Pastoral? (Chicago: University of Chicago Press, 1996).
Armbruster, Karla, & Kathleen R. Wallace, eds., Beyond Nature Writing: Expanding the Boundaries of
Ecocriticism (Charlottesville: University of Virginia Press, 2001).
Barry, Peter, Contemporary British Poetry and the City (Manchester: Manchester University Press,
Bate, Jonathan, The Song of the Earth (London: Picador, 2000).
Buell, Lawrence, The Environmental Imagination (Cambridge, Massachusetts: Harvard University
Press, 1995).
Elkins, Andrew, Another Place: An Ecocritical Study of Selected Western American Poets (Fort Worth:
Texas Christian University Press, 2002).
Fletcher, Angus, A New Theory for American Poetry: Democracy, the Environment and the Future of
Imagination (Cambridge, Massachusetts: Harvard University Press, 2006).
Gifford, Terry, Green Voices: Understanding Contemporary Nature Poetry (Manchester: Manchester
University Press, 1995).
Gilcrest, David. W., Greening the Lyre: Environmental Poetics and Ethics (Reno: University of
Nevada Press, 2002).
Oswald, Alice, ed., The Thunder Mutters: 101 Poems for the Planet (London: Faber and Faber, 2005).
Rasula, Jed, This Compost: Ecological Imperatives in American Poetry (Athens, Georgia: University of
Georgia Press, 2002).
Rooda, Randall, Dramas of Solitude: Narratives of Retreat in American Nature Writing (Albany, New
York: State University of New York Press, 1998).
Scheese, Don, Nature Writing (London: Routledge, 2002).
Scigaj, Leonard M., Sustainable Poetry: Four American Ecopoets (Lexington, Kentucky: University
Press of Kentucky, 1999).
Snyder, Gary, The Practice of the Wild: Essays (New York: North Point Press, 1990).
--------, A Place in Space: Ethics, Aesthetics, and Watersheds (Berkeley, California: Counterpoint,
A Form: Villanelle
Adams, Stephen, Poetic Designs: An Introduction to Meters, Verse Forms and Figures of Speech
(Calgary, Alberta: Broadview Press, 1997).
Fenton, James, An Introduction to English Poetry (Harmondsworth: Penguin, 2003).
Fry, Stephen, The Ode Less Travelled: Unlocking the Poet Within (London: Hutchinson, 2005).
Hobsbaum, Philip, Metre, Rhythm and Verse Form (London: Routledge, 1996).
Jason, Philip K., ‘Modern Versions of the Villanelle’, College Literature, vol 7 no 2 (Spring 1980),
MacFarland, Ronald, ‘The Contemporary Villanelle’, Modern Poetry Studies, vol 11 nos 1 & 2 (1982),
Matterson, Stephen, & Darryl Jones, Studying Poetry (London: Hodder Arnold, 2000).
Steele, Timothy, All the Fun’s in How You Say a Thing (Athens, Ohio: Ohio University Press, 1999).
Strand, Mark, & Eavan Boland, eds., The Making of a Poem: A Norton Anthology of Poetic Forms
(New York: Norton, 2000).
A Decade: THE 1940s
(Victoria Stewart)
Weeks 14, 15, 16
In these seminars, we will examine literary works published during the 1940s and consider their
treatment of key concerns of the period, particularly the effects of war on everyday life and
consciousness. We will also examine how these works were first received, in the context of the literary
culture of the 1940s. Until recently, this decade was relatively neglected by literary critics and we will
consider the various literary, cultural and political reasons why this might be the case, as well as
assessing the continuities and divergences between these works and those which came before and after.
Primary Texts
Hamilton, Patrick, Hangover Square (1941; Harmondsworth: Penguin, 2001).
Greene, Graham, The Ministry of Fear (1943; London: Vintage, 2006).
Bowen, Elizabeth, ‘The Demon Lover’ (1941), ‘Mysterious Kôr’ (1944), and ‘Ivy Gripped the Steps’
(1945). These stories can be found in The Collected Stories of Elizabeth Bowen (London:
Vintage, 1999); copies will be made available.
Secondary Reading - General
Bergonzi, Bernard, Wartime and Aftermath: English Literature and Its Background 1939-60 (Oxford:
Oxford University Press, 1993).
DeCoste, Damon Marcel, ‘The Literary Response to the Second World War’, Brian W. Shaffer, ed., A
Companion to the British and Irish Novel 1945-2000 (Oxford: Blackwell, 2005).
Fussell, Paul, Wartime: Understanding and Behaviour in the Second World War (New York: Oxford
University Press, 1989).
Hayes, Nick and Jeff Hill, eds., ‘Millions Like Us’? British Culture in the Second World War
(Liverpool: Liverpool University Press, 1999).
Hewison, Robert, Under Siege: Literary Life in London 1939-1945 (London: Quartet Books, 1979).
Lassner, Phyllis, British Women Writers of World War II: Battlegrounds of their Own (Basingstoke:
Macmillan, 1997).
MacKay, Marina, Modernism and the Second World War (Cambridge: Cambridge University Press,
Piette, Adam, Imagination at War: British Fiction and Poetry 1939-1945 (London: Papermac, 1995).
Rawlinson, Mark, British Writing of the Second World War (Oxford: Oxford University Press, 2000).
Patrick Hamilton
Anon. [Arthur Calder-Marshall], ‘Patrick Hamilton’s Novels’, Times Literary Supplement 7 September
1951: 564.
Earnshaw, Steven, The Pub in Literature: England’s Altered State (Manchester: Manchester University
Press, 2000).
Mepham, John, ‘Varieties of Modernism, Varieties of Incomprehension: Patrick Hamilton and
Elizabeth Bowen’, Lyndsey Stonebridge and Marina Mackay eds., British Fiction After
Modernism: the Novel at Mid-Century (Basingstoke: Palgrave, 2007).
Stewart, Victoria, Narratives of Memory: British Writing of the 1940s (Basingstoke: Palgrave, 2006).
Widdowson, Peter, ‘The Saloon Bar Society: Patrick Hamilton’s Fiction in the 1930s’, John Lucas, ed.,
The 1930s: A Challenge to Orthodoxy, Sussex: Harvester Press, 1978.
Graham Greene
DeCoste, Damon, ‘Modernism’s Shell-Shocked History: Amnesia, Repetition and the War in Graham
Greene’s The Ministry of Fear’, Twentieth Century Literature 45.4 (Winter 1999): 428-51.
Diemert, Brian, Graham Greene’s Thrillers and the 1930s (Montreal: McGill-Queen’s University
Press, 1996).
Meyers, Jeffrey, Graham Greene: A Revaluation (Basingstoke: Macmillan, 1990).
Rau, Petra, ‘The Common Frontier: Fictions of Alterity in Elizabeth Bowen’s The Heat of the Day and
Graham Greene’s The Ministry of Fear’, Literature and History 14.1 (2005): 31-55.
Sherry, Norman. The Life of Graham Greene Volume 2 1939-1955 (London: Jonathan Cape, 1994).
Silverstein, Marc, ‘After the Fall: The World of Graham Greene’s Thrillers’, Novel 22.1 (1988): 24-44.
Stewart, Victoria, ‘The Auditory Uncanny in Wartime London: Graham Greene’s The Ministry of Fear,
Textual Practice 18.1 (2004): 65-81.
Elizabeth Bowen
Briggs, Julia, Night Visitors: The Rise and Fall of the English Ghost Story (London: Faber, 1977).
Brooke, Jocelyn, Elizabeth Bowen (London: Longmans. Green & Co, 1952).
Corcoran, Neil, Elizabeth Bowen: The Enforced Return (Oxford: Oxford University Press, 2004).
Ellmann, Maud, Elizabeth Bowen: The Shadow Across the Page (Edinburgh: Edinburgh University
Press, 2003).
Glendinning, Victoria, Elizabeth Bowen: Portrait of a Writer (London: Phoenix, 1993).
Hanson, Clare, Short Stories and Short Fictions, 1880-1980 (Basingstoke: Macmillan, 1985).
Hartley, Jenny, Millions Like Us: British Women’s Fiction of the Second World War (London: Virago,
Miller, Kristine A., ‘ “Even a Shelter’s Not Safe”: The Blitz on Homes in Elizabeth Bowen’s Wartime
Writing’, Twentieth Century Literature 45.2 (1999): 138-58.
(Sarah Graham)
Weeks 17, 18, 19
1992 saw diagnosed cases of AIDS reach an all-time high in the USA following a rapid climb since the
mid-1980s. The epidemic appeared to be out of control and provoked widespread fear as well as intense
anger. To many observers, the ‘plague’ of AIDS revealed the actual limits of governmental concern for
minorities such as gay people, drug users and African Americans, who were most affected by the
disease at this time. This module presents a ‘snapshot’ of a specific place, time and issue through a
variety of genres (novel, drama, poetry, film) that all represent the experience of living with AIDS in
the USA in the early 1990s, but use diverse strategies to do so.
Primary Texts
David B. Feinberg, Eighty-Sixed (New York: Penguin, 1990).
Thom Gunn, The Man With Night Sweats (London: Faber, 1992).
Tony Kushner, Angels in America, Parts 1 and 2 (1992/94)
Supplementary primary texts (films)
Philadelphia, dir. Jonathan Demme (1993).
Longtime Companion, dir. Norman René (1990).
The Living End, dir. Greg Araki (1992)
Please note that Feinberg’s text is currently out of print but is available at low price via the internet; the
university library also holds copies. Please contact me if you have difficulty locating a copy.
Additional primary material will be supplied in photocopy.
Seminar 1 (Fiction)
David B. Feinberg, Eighty-Sixed.
Film: Longtime Companion
Seminar 2 (Poetry)
Thom Gunn, The Man With Night Sweats.
Film: Philadelphia.
Seminar 3 (Drama)
Tony Kushner, Angels in America, Parts 1 and 2
Film: The Living End
A useful summary of the development of AIDS in the US and the issues it raises can be found on the
Avert website:
The Blackboard site for this module offers a range of links and electronic documents, with new material
added regularly.
Secondary texts (all held by the library in electronic or paper form)
Adnum, Mark, 'My Own Private New Queer Cinema' in Senses of Cinema:
Allen, Dennis, ‘Homosexuality and Narrative’, Modern Fiction Studies 41.3-4 (1995): 609-34.
Brophy, Sarah, Witnessing AIDS: Writing, Testimony, and the Work of Mourning (Toronto; London:
University of Toronto Press, 2004).
Chambers, Ross, Untimely Interventions: AIDS Writing, Testimonial and the Rhetoric of Haunting
(Ann Arbor: University of Michigan Press, 2004).
Clum, John, ‘The Time Before the War: AIDS, Memory and Desire’, American Literature 62.4 (1990):
Cohen, Peter F., Love and Anger: Essays on AIDS, Activism, and Politics (New York: Harrington Park
Press, 1998).
Corber, Robert J. 'Nationalizing the Gay Body: AIDS and Sentimental Pedagogy in Philadelphia',
American Literary History 15.1 (2003), 107-133.
Crimp, Douglas, AIDS: Cultural Analysis, Cultural Activism (Cambridge, Mass; London: MIT, 1988;
repr. 1993).
-- Melancholia and Moralism: Essays on AIDS and Queer Politics (Cambridge, Mass; London: MIT,
-- ‘Mourning and Militancy’, October 51 (1989), 3-18.
Curry, Renee (ed.), States of Rage: Emotional Eruption, Violence and Social Change (New York: New
York University Press, 1996).
Dean, James Joseph, 'Gays and Queers: From the Centering to the Decentering of Homosexuality in
American Films', Sexualities: Studies in Culture and Society 10.3 (2007) 363-86.
de Moor, Katrien, 'Diseased Pariahs and Difficult Patients: Humour and Sick Role Subversions in
Queer in HIV/AIDS Narratives', Cultural Studies 19.6 (2005) 737-754.
Dyer, Richard, Now You See It: Studies on Lesbian and Gay Film 2nd edn. (London; New York:
Routledge, 2003).
Feinberg, David, Queer and Loathing: Rants and Raves of a Raging AIDS Clone (London: Penguin,
Foertsch, Jacqueline, Enemies Within: The Cold War and the AIDS crisis in Literature, Film, and
Culture (Urbana, Ill.: U of Illinois P, 2001).
Forester, C.Q., 'Re-experiencing Thom Gunn’, The Gay & Lesbian Review Worldwide 12.5 (Sept-Oct
2005), 14-19.
Geis, Deborah R and Steven F. Kruger (eds.), Approaching the Millennium: Essays on Angels in
America (Ann Arbor: University of Michigan Press, 1997).
Gever, Martha, Pratibha Parmar and John Greyson, eds., Queer Looks: Perspectives on Lesbian and
Gay Film and Video (New York; London: Routledge, 1993).
Gill, Peter, Body Count: How They Turned AIDS into a Catastrophe (London: Profile, 2006).
Gove, Ben, Cruising Culture: Promiscuity and Desire in Contemporary Gay Culture (Edinburgh:
Edinburgh University Press, 2000).
Griffin, Gabriele, Representations of HIV/AIDS: Visibility Blues (Manchester: Manchester University
Press, 2000).
Hoffman, Tyler B., ‘Representing AIDS: Thom Gunn and the Modalities of Verse’, South Atlantic
Review, 65.2 (2000): 13-39.
Hunter, Susan, AIDS in America (New York: Palgrave Macmillan, 2006).
Jarraway, David, ‘From Spectacular to Speculative: The Shifting Rhetoric in Recent Gay AIDS
Memoirs’, Mosaic, 33.4 (2000): 115-28.
Kramer, Larry, Reports from the Holocaust: The Making of an AIDS Activist (Harmondsworth:
Penguin, 1989).
Kruger, Steven, AIDS Narratives: Gender and Sexuality, Fiction and Science (New York; London:
Garland, 1996).
Landau, Deborah, ‘How to Live, What to Do: The Poetics and Politics of AIDS’, American Literature,
68.1 (1996): 193-225.
Long, Thomas L., AIDS and American Apocalypticism (Albany: State University of New York Press,
McGrath, John, ‘Trusting in Rubber: Performing Boundaries during the AIDS Epidemic’, TDR: The
Drama Review, 39.2 (1995): 21-38.
Mills, Katie, 'Revitalizing the Road Genre' in The Road Movie Book edited by Steven Cohan and Ina
Rae Hark (London: Routledge, 1997), pp. 307-329.
Minton, Gretchen E., and Ray Schultz, ‘Angels in America: Adapting to a New Medium in a New
Millennium’, American Drama 15:1 (2006).
Murphy, Timothy F., Writing AIDS: Gay Literature, Language, and Analysis (New York: Columbia
University Press, 1993).
Omer-Sherman, Ranen, ‘Jewish/Queer: Thresholds of Vulnerable Identities in Tony Kushner's Angels
in America’ Shofar 25:4 (2007).
Omer-Sherman, Ranen. ‘The fate of the other in Tony Kushner's Angels in
America’, MELUS 32:2 (2007).
Patton, Cindy, Inventing AIDS (New York; London: Routledge, 1990).
Pearl, Monica, 'Messy, but Innocuous: Philadelphia AIDS Case' in Screen Methods: Comparative
Readings in Film Studies, edited by Jacqueline Furby and Karen Randell (London:
Wallflower Press, 2005).
Román, David, 'Remembering AIDS: A Reconsideration of the Film Longtime Companion', GLQ: A
Journal of Lesbian and Gay Studies 12.2 (2006) 281-301.
Savran, David, ‘Ambivalence, Utopia, and a Queer Sort of Materialism: How Angels in America
Reconstructs the Nation’, Theatre Journal 47:2 (1995).
Schulman, Sarah, Stagestruck: Theater, AIDS, and the Marketing of Gay America (Durham: Duke
University Press, 1998).
Shilts, Randy, And the Band Played On: Politics, People and the AIDS Epidemic (London: Penguin,
Sinfield, Alan, Cultural Politics – Queer Reading (London: Routledge, 1994).
Sontag, Susan, AIDS and its Metaphors (Harmondsworth: Penguin, 1990).
Sturken, Marita, Tangled Memories: The Vietnam War, the AIDS Epidemic, and the Politics of
Remembering (Berkeley: U of California P, 1997).
Treichler, Paula, How to have Theory in an Epidemic: Cultural Chronicles of AIDS (Durham; London:
Duke University Press, 1999).
Tuss, Alex J., ‘Resurrecting Masculine Spirituality in Tony Kushner’s Angels in America’, The Journal
of Men’s Studies 5.1 (1996), 49-63.
Vorlicky, Robert (ed.), Tony Kushner in Conversation (Ann Arbor: University of Michigan Press,
Whiteside, Alan, HIV/AIDS: A Very Short Introduction (Oxford: OUP, 2008).
Woods, Gregory, A History of Gay Literature: The Male Tradition (New Haven; London: Yale
University Press, 1998) [see especially Chapter 31, ‘The AIDS Epidemic’].
Yingling, Thomas E., AIDS and the National Body (Durham; London: Duke University Press, 1997).
(Corinne Fowler)
These seminars will consider the challenges of theorising white women’s involvement in colonial and
imperialist ventures. They will examine critically the travel narratives of three women from the early
nineteenth century to the present: Mary Kingsley (West Africa), Beatrice Grimshaw (Fiji) and Deborah
Rodriguez (Afghanistan). Drawing on feminist reworkings of Said’s Orientalism (1978) together with
influential postcolonial thinkers such as Gayatri Spivak, Sara Mills, Meyda Yeg˘enog˘lu and Reina
Lewis, we will consider the complications, tensions and contradictions that have attended cross-cultural
feminist solidarities in three social, political and historical contexts.
Primary Texts
Mary Kingsley, Travels in West Africa (1897)
Beatrice Grimshaw, From Fiji to the Cannibal Islands (1907)
Deborah Rodriguez, The Kabul Beauty School (2007)
Required Reading in advance of the module
Lewis, Reina, ‘Feminism and Orientalism’, Feminist Theory (2002, pp.211-219, to be provided as a
photocopy or available as an attachment from the tutor)
Seminar 1: Required Reading for Mary Kingsley
Mary Kingsley, Travels in West Africa (1897)
Blunt, Alison, Travel, Gender and Imperialism: Mary Kingsley and West Africa (Guildford: The
Guildford Press, 1994, pp.94-114)
Mills, Sara, Discourses of Difference: an analysis of women’s travel writing and colonialism
(London: Routledge, 1991, pp.153-175)
Seminar 1: Additional Reading
Russell, Mary, The Blessings of A Good Thick Skirt (London: Flamingo Press, Women Travellers and
Their World, 1984)
Youngs, Tim, ‘Africa / Congo: the politics of darkness’ in Hulme and Youngs eds, The Cambridge
Companion to Travel Writing (Cambridge: Cambridge University Press, 2002, pp. 156-173)
Sharpe, Jenny, ‘Figures of Colonial Resistance’ in Ashcroft, Griffiths and Tiffin, eds., The PostColonial Studies Reader (London: Routledge, 1995)
Showalter, Elaine, A Literature of Their Own. From Bronte to Lessing (Princeton: Princeton University
Press, 1997)
Smith, Sidonie, ‘The Other Woman and the Racial Politics of Beryl Markham in Kenya’ Sidonie Smith
and Julia Watson, eds., De/colonizing the Subject. The Politics of Gender in Women’s
Autobiography (Minneapolis: University of Minnesota Press, 1992)
Seminar 2: Required reading for Beatrice Grimshaw
Beatrice Grimshaw, From Fiji to the Cannibal Islands (1907) (available on amazon)
Foster, Shirley and Mills, Sara, An anthology of women’s travel writing (Manchester: Manchester
University Press, 2002, pp. 1-27; 87-97; 171-180)
Said, Edward, Orientalism (London: Penguin, 1978, Introduction)
Seminar 2: Additional Reading for Beatrice Grimshaw
Buzard, James, The Beaten Track. European Tourism, Literature and the Ways to Culture: 1800-1918
(Oxford: Oxford University Press, 1993)
Clifford, James, Routes: Travel and Translation in the Late Twentieth Century (Cambridge: Harvard
University Press)
Edmond, Rod, Representing the South Pacific: Colonial Discourse from Cook to Gaugin (Cambridge:
Cambridge University Press, 1996)
Fowler, Corinne, 'Feminist imperialism: travel writing and journalism past and present' in Yoke, ed. The
Politics of Gender (London: Routledge, 2009)
Fowler, Corinne, ‘Recuperating narratives with troublesome titles: a critical meta-commentary on the
problem of reading Beatrice Grimshaw’s From Fiji to the Cannibal Islands (Ecloga 5: 2006, pp.
Lawrence, Karen, Penelope Voyages. Women and Travel in the British Literary Tradition (London:
Cornell, 1994)
Mills, Sara, Discourses of Difference. An Analysis of Women’s Travel Writing and Colonialism
(London: Routledge, 1992)
Pratt, Mary Louise, ‘Fieldwork in Common Places’ in Clifford and Marcus, eds. Writing Culture. The
Poetics and Politics of Ethnography, (Berkeley: University of California Press, 1986)
Seminar 3: Required Reading for Deborah Rodriguez:
Deborah Rodriguez, The Kabul Beauty School (2007)
Rostami-Povey, Elaheh, Afghan Women. Identity and Invasion (London: Zed Books, pp. 1-39; pp.5974)
Usamah, Ansari, ‘“Should I go and pull her burqa off?’ Feminist compulsions, insider consent and a
Return to Kandahar’ Critical Studies in Media Communication 25:1 (2008, pp. 48-67. Available
electronically at:
Seminar 3: Additional Reading for Deborah Rodriguez:
Ahmed, Leila, Women and Gender in Islam (Yale: Yale University Press, 1992)
Boehmer, Elleke, Empire Writing: An Anthology of Colonial Literature 1870-1918 (Oxford: Oxford
University Press, pp.xv-xxxvi)
Fowler, Corinne, Chasing Tales: travel writing, journalism and the history of British ideas about
Afghanistan (Amsterdam: Rodopi, 2007)
Huggan, Graham, The Postcolonial Exotic: Marketing the Margins (London: Routledge, 2001)
Khalid, Adeeb, Islam After Communism. Religion and Politics in Central Asia (Berkeley: University of
California Press, 2007, especially ‘The Soviet Assault on Islam’, pp.51-83)
Lewis, Reina and Mills, Sara, Feminist Postcolonial Theory. A Reader. (Edinburgh: Edinburgh Press,
Macrory, Patrick, Kabul Catastrophe. The Invasion and Retreat, 1839-1842 (London: Prion, 2002,
especially material on Lady Sale’s travel narrative)
Mahmood, Saba, Politics of Piety. The Islamic Renewal and the Feminist Subject (Princeton: Princeton
University Press, pp.1-39)
Said, Edward, Orientalism (London: Penguin, 1978, pp. 1-30)
Saikal, Amin, Modern Afghanistan. A History of Struggle and Survival (London: IB Tauris, 2006)
Shah, Saira, The Storyteller’s Daughter (London: Penguin, 2003)
Tanner, Stephen, Afghanistan: A Military History From Alexander the Great to The War Against the
Taliban (Da Capo Press, 2009)
Lamb, Christina, The Sewing Circles of Herat (London: Harper Collins, 2002)
Kabbani, Rana, Imperial Fictions: Europe’s Myth of Orient (London: Saqi, 2008)
Warnock Fernea, Elizabeth, In Search of Islamic Feminism (New York: Anchor, 1998)
Yeg˘enog˘ lu, Meyda, Colonial Fantasies: Towards a Feminist Reading of Orientalism
(Cambridge: Cambridge University Press, 1998)
General Background Reading
Ahmed, Leila, Women and Gender in Islam: Historical Roots of a Modern Debate (New Haven: Yale
University Press, 1992)
Behar, Ruth and Gordon, Deborah, Women Writing Culture (Berkeley: University of California Press,
Boehmer, Elleke, Empire Writing: An Anthology of Colonial Literature 1870-1918 (Oxford: Oxford
University Press)
Lewis, Reina and Mills, Sara, Feminist Postcolonial Theory. A Reader. (Edinburgh: Edinburgh Press,
Loomba, Ania, Colonialism / Postcolonialism (London: Routledge, 1998)
McLeod, John, Beginning Postcolonialism (Manchester: Manchester University Press, 2000)
Mills, Sara, Discourses of Difference: an analysis of women’s travel writing and colonialism
(London: Routledge, 1991)
Pratt, Mary Louise, Imperial Eyes: Travel Writing and Transculturation (London: Routledge, 1992)
Quayson, Ato, Postcolonialism: Theory, Practice or Process? (Cambridge: Polity, 2000)
Spivak, Gayatari, Landry, Donna and MacLean, Gerald, The Spivak Reader (London: Routledge, 1996)
Yeg˘enog˘ lu, Meyda, Colonial Fantasies: Towards a Feminist Reading of Orientalism
(Cambridge: Cambridge University Press, 1998)
Young, Robert, Postcolonialism (Oxford: Blackwell, pp. 360-383)
Youngs, Tim and Hooper, Glynn, Perspectives on Travel Writing (Aldershot: Ashgate, 2004)
Youngs, Tim, Travel writing in the nineteenth century (London: Anthem, 2006)
Youngs, Tim and Hulme, Peter, Talking about travel writing: a conversation between Peter Hulme and
Tim Youngs (Leicester: English Association)
(Martin Halliwell)
Weeks 14, 15, 16, 18, 19
Preliminary Reading
Primary texts:
(1) Ernest Hemingway, The Sun Also Rises.
(2) F. Scott Fitzgerald, ‘Babylon Revisited’.
(3) Gertrude Stein, ‘Tender Buttons’.
(4) Henry Miller, Tropic of Cancer.
(5) Anaïs Nin, Henry and June.
(6) James Baldwin, Giovanni’s Room.
Good introductions to the subject are Malcolm Cowley, Exile’s Return (Penguin) and Chapter 8 of
Malcolm Bradbury, Dangerous Pilgrimages (Penguin).
Seminar Schedule (*items = distributed photocopies)
1. Paris and American Exile
Extracts from:
Malcolm Cowley, Exile’s Return (1934). *
Gertrude Stein, The Autobiography of Alice B. Toklas (1933). *
Ernest Hemingway, A Moveable Feast (1936). *
Adam Gopnik, From Paris to the Moon (2000). *
Edmund White, The Flâneur (2001). *
2. The Lost Generation
Ernest Hemingway, Fiesta: The Sun Also Rises (1925) [Arrow].
F. Scott Fitzgerald, ‘Babylon Revisited’ (1931). *
3. Modernist Experimentation
Gertrude Stein, ‘Tender Buttons’ (1914), ‘Geography’ (1923). *
A Selection of Imagist and Avant-Garde Poetry. *
4. Sexuality and Fiction
Henry Miller, Tropic of Cancer (w. 1934) [Flamingo].
Anaïs Nin, Henry and June (w. 1932) [Penguin].
5. African Americans in Paris
James Baldwin, Giovanni’s Room (1956) [Penguin].
Richard Wright, extracts from The Outsider (1953). *
Shay Youngblood, extracts from Black Girl in Paris (2000). *
Secondary Reading
Benstock, Shari, Women of the Left Bank: Paris, 1900-1940 (London: Virago, 1986).
Bernard, Catherine, Afro-American Artists in Paris, 1919-1939 (New York: Hunter College Art
Galleries, 1989).
Bradbury, Malcolm, The Expatriate Tradition in American Literature (Durham: BAAS Paperbacks,
--------, Dangerous Pilgrimages: Trans-Atlantic Mythologies and the American Novel (London:
Penguin, 1996).
Campbell, James, Paris Interzone: Richard Wright, Lolita, Boris Vian and others on the Left Bank,
1946-1960 (London: Secker & Warburg, 1994).
Carpenter, Humphrey, Geniuses Together: American Writers in Paris in the 1920s (London: Unwin,
Chambers, Iain, Migrancy, Culture, Identity (London: Routledge, 1994).
Cate, Phillip & Mary Shaw, The Spirit of Montmatre: Caberets, Humor and the Avant-Garde,18751905 (NJ, Voorheer Zimmerli Art Museum, 1996).
Cronin, Vincent, Paris: City of Light, 1919-1939 (London: HarperCollins, 1994).
Fabre, Michel, From Harlem to Paris: Black American Writers in France, 1840-1980 (Urbana, IL:
University of Illinois Press, 1991).
Fitch, Noel Riley, Sylvia Beach and the Lost Generation: A History of Literary Paris in the Twenties
and Thirties (New York: Norton, 1983).
Gambrell, Alice, Women Intellectuals, Modernism and Difference (Cambridge U.P., 1997).
Halliwell, Martin, Modernism and Morality: Ethical Devices in European and American Fiction
(London: Palgrave, 2001); you will also find this published in paperback (with an updated
conclusion) with the title Transatlantic Modernism: Moral Dilemmas in Modernist Fiction
(Edinburgh University Press, 2006).
Hansen, Arlen, Expatriate Paris: A Cultural and Literary Guide to Paris of the 1920s (New York:
Little, Brown, 1990).
Karnow, Stanley, Paris in the Fifties (New York: Three Rivers Press, 1999).
Kennedy, Gerald, Imagining Paris: Exile, Writing, and American Identity (New Haven, CT: Yale
University Press 1993).
Kolocotroni, Vassiliki, et al, eds, Modernism: An Anthology of Sources and Documents (Edinburgh:
Edinburgh U.P., 1998).
Lee, Brian, American Fiction 1865-1940 (London: Longman, 1987).
Lee, Jennifer, ed., Paris in Mind (New York: Vintage, 2003)
Lemke, Sieglinde, Primitivist Modernism: Black Culture and the Origins of Transatlantic Modernism
(Oxford: Oxford U.P., 1998).
Lotman, Herbert R., The Left bank: Writers, Artists, and Politics from the Popular Front to the Cold
War (Chicago: University of Chicago Press, 1984).
Massa, Ann & Alaistair Stead, ed., Forked Tongues? (London: Longman, 1994).
McMahon, Joseph, ‘City for Expatriates’, Yale French Studies, 32 (1964), 144-58.
Méral, Jean, Paris in American Literature, trans Laurette Long (Chapel Hill, NC: University of North
Carolina Press, 1989).
Minter, David, A Cultural History of the American Novel: James to Faulkner (Cambridge U.P., 1994).
Montefiore, Jan, Men and Women Writers of the 1930s (London: Routledge, 1996).
Moore, Harry, Age of the Modern and Other Literary Essays (Carbondale, IL: South Illinois U.P.,
Morton, Brian, Americans in Paris (Ann Arbor, MI: Olivia & Hill, 1986).
Pizer, Donald, American Expatriate Writing and the Paris Moment: Modernism and Place (Baton
Rouge, LA: Louisiana State U.P., 1996)
Roth, Joseph, The White Cities: Reports from Paris 1925-39 (London: Granta, 1999)
Sawyer-Lauçanne, Christopher, The Continual Pilgrimage: American Writers in Paris, 1944-1960 (San
Francisco: City Lights, 1992)
Stovall, Tyler, Paris Noir: African-Americans in the City of Light (New York: Houghton Mifflin,
Tucker, Martin, Literary Exile in the Twentieth Century: An Analysis and Biographical Dictionary
(New York: Greenwood, 1991).
Wickes, George, Americans in Paris (Garden City, NY: Doubleday, 1969).
Week 1: Memoirs & Journals
Baker, Josephine & Jo Bouillon, Josephine (New York: Paragon House, 1995).
Barnes, Djuna, Nightwood (London: Faber & Faber, 1988).
Beach, Sylvia, Shakespeare and Company (London: Faber, 1960).
Callaghan, Morley, That Summer in Paris (London: MacKinnon, 1963).
Cowley, Malcolm, Exile’s Return: A Narrative of Ideas (New York: Penguin, 1992).
Dos Passos, John, The Best Times: An Informal Memoir (New York: Deutsch, 1966)
cummings, e.e., i - six nonlectures (Cambridge, MA: Harvard U.P., 1953).
Fitzgerald, Zelda, The Collected Writings, ed. Matthew Bruccoli (Abacus, 1991).
Flanner, Janet, Paris Was Yesterday, 1925-1939 (New York: Viking, 1972).
Hemingway, Ernest, A Moveable Feast (New York: Scribner’s, 1960).
Josephson, Matthew, Life Among the Surrealists (New York: Rinehart, 1962).
Loeb, Harold, The Way It Was (New York: Criterion, 1959).
Munson, Gorham, The Awakening Twenties: A Memoir-History of a Literary Period (Baton Rouge,
LA: Louisiana State U.P., 1985).
Putnam, Samuel, Paris Was Our Mistress (Carbondale, IL: South Illinois U.P., 1947).
Stearns, Harold, The Street I Know (New York: Lee Furman, 1935).
Stein, Gertrude, Paris France: Personal Recollections (Covelo: Yolla Bolly, 1971).
-------------, The Autobiography of Alice B. Toklas (London: Penguin, 1996).
Toklas, Alice B., What is Remembered (London: Cardinal, 1989).
Week 2: Ernest Hemingway & F. Scott Fitzgerald
Baker, Carlos, Hemingway: The Writer as Artist, 4th edn, (U Chicago Press, 1972).
Beach, Joseph, American Fiction, 1920-1940 (New York: Russell & Russell, 1960).
Bloom, Harold, Ernest Hemingway (New York: Chelsea House, 1985).
Bruccoli, Matthew, Scott and Ernest: The Authority of Failure and the Authority of Success (London:
Bodley Head, 1978).
----------, Some Sort of Epic Grandeur (New York: Hodder & Stoughton, 1981).
----------, Fitzgerald and Hemingway: A Dangerous Friendship (New York: Deutsch, 1995).
Bryer, Jackson, The Short Stories of F. Scott Fitzgerald (U of Wisconsin Press, 1982)
Comley, Nancy, Hemingway’s Genders: Rereading the Hemingway Text (New Haven, CT: Yale U.P.,
Donaldson, Scott, ed., The Cambridge Companion to Hemingway (C.U.P., 1996).
Fitzgerald, F. Scott, The Crack Up and Other Stories (London: Penguin, 1965).
Goldhurst, William, F. Scott Fitzgerald and His Contemporaries (World Pub. Co., 1963)
Griffin, Peter, Along with Youth: Hemingway, The Early Years (Oxford U.P., 1985)
Gurko, Leo, Ernest Hemingway and the Pursuit of Heroism (Cornell U.P., 1986).
Hemingway, Ernest, By-Line: Selected Articles and Dispatches (Collins, 1968).
----------, Death in the Afternoon (London: Cape, 1932).
----------, In Our Time (New York: Scribner’s, 1986).
----------, The Sun Also Rises/Fiesta (New York: Scribner’s, 1986).
Leff, Leonard J., Hemingway and His Conspirators (Lanham, MD: Rowman & Littlefield, 1999).
Messent, Peter, Ernest Hemingway (London: Macmillan, 1992).
Miller, James, F. Scott Fitzgerald: His Art and Technique (New York U.P., 1963).
Nagel, James, ed., Ernest Hemingway: Writer in Context (U. Wisconsion Press, 1984).
Prigozy, Ruth, ed., The Cambridge Companion to F. Scott Fitzgerald (C.U.P., 2002)
Reynolds, Michael, Hemingway: The Paris Years (Oxford: Blackwell, 1996).
Spilka, Mark, Hemingway’s Quarrel With Androgyny (U. of Nebraska Press, 1990).
Watts, Emily, Ernest Hemingway and the Arts (Chicago: U. Chicago Press, 1971)
Way, Brian, F. Scott Fitzgerald and the Art of Social Fiction (London: Arnold, 1980).
Williams, Wirt, The Tragic Art of Ernest Hemingway (U. State Louisiana Press, 1981).
Wylder, Delbert, Hemingway’s Heroes (Albuquerque: U of New Mexico Press, 1961).
Week 3: Gertrude Stein & Avant-Garde Writing
Brinnin, John, The Third Rose: Gertrude Stein and Her World (P. Smith, 1968)
Caws, Mary Ann, et al., eds, Surrealist Women (Cambridge, MA: MIT Press, 1991).
Crunden, Robert, American Salons: Encounters with European Modernism, 1885-1917 (Oxford:
Oxford U.P., 1993).
DeKoven, Marianne, A Different Language: Gertrude Stein’s Experimental Writing (Madison, WI:
University of Wisconsin Press, 1983).
Dydo, Ulla, ed., A Stein Reader (Evanston: Northwestern U.P., 1993).
Galvin, Mary, Queer Poetics: Five Modernist Women Writers (NY: Praeger, 1999).
Gygax, Franziska, Gender and Genre in Gertrude Stein (Greenwood Press, 1998).
Hobhouse, Janet, Everybody who was Anybody: A Biography of Gertrude Stein (New York: Putnam,
Hoffman, Michael,The Development of Abstractionism in the Writings of Gertrude Stein (Philadelphia,
PA: University of Pennsylvania Press, 1965).
Jones, Peter, ed., Imagism (London: Penguin, 1972).
Kostelanetz, Richard, Gertrude Stein Advanced: An Anthology of Criticism (London: McFarland,
Motherwell, Robert, The Dada Painters and Poets: An Anthology (New York, 1951).
Neuman, S. C., Gertrude Stein: Autobiography and the Problem of Narration (1979).
Quartermain, Peter, Disjunctive Poetics: From Gertrude Stein and Louis Zukofsky to Susan Howe
(Cambridge: Cambridge U.P., 1992).
Stein, Gertrude, Tender Buttons (New York: Claire Marie, 1914).
---------, Bee Time Vine and Other Pieces 1913-1927 (Freeport: Books for Libraries Press, 1969).
---------, Look at Me Now and Here I Am: Writings and Lectures, 1909-45 (London: Penguin, 1971).
---------, Paris, France: Personal Recollections (London: Peter Owen, 1971).
---------, Picasso (New York: Dover, 1984).
Steiner, Wendy, Exact Resemblance to Exact Resemblance: The Literary Portraiture Of Gertrude Stein
(New Haven, CT: Yale U.P., 1978).
Tashjian, Dickran, A Boatload of Madmen: Surrealism and the American Avant-Garde, 1920-1950
(London: Thames & Hudson, 1995).
Watson, Steven, Strange Bedfellows: The First American Avant-Garde (New York: Abbeville, 1991).
Weinstein, Norman, Gertrude Stein and the Literature of the Modern Consciousness (New York:
Ungar, 1970).
Week 4: Henry Miller & Anaïs Nin
Cross, Robert, Henry Miller: The Paris Years (Big Sur, CA: PeerAmid Press, 1991).
Ferguson, Robert, Henry Miller: A Life (London: Hutchinson, 1991).
Fitch, Noel Riley, Anaïs: The Erotic Life of Anaïs Nin (Boston: Little, Brown, 1993).
Franklin, Benjamin & Duane Schneider, Anaïs Nin: An Introduction (Athens, OH: Ohio U.P., 1979).
Gordon, William, The Mind and Art of Henry Miller (London: Cape, 1968).
Hinz, Evelyn, The Mirror and the Garden: Realism and Reality in the Writings of Anaïs Nin (New
York: Harcourt Brace, 1973).
Mailer, Norman, Genius and Lust: A Journey Through the Major Writings of Henry Miller (New York:
Grove, 1976).
Miller, Henry, The Best of Henry Miller, ed. Lawrence Durrell (Heinemann, 1971).
--------, Selected Prose (London: MacGibbon & Kee, 1965).
--------, Letters to Anaïs Nin, ed. Gunter Stuhlmann (New York: Sheldon Press, 1979).
--------, Tropic of Cancer (London: Flamingo, 1993).
--------, Tropic of Capricorn (London: Flamingo, 1993).
Millet, Kate, Sexual Politics (London: Hart-Davis, 1971).
Mitchell, Edward, ed., Henry Miller: 3 Decades of Criticism (New York U.P., 1971).
Moore, Harry T., Age of the Modern and Other Literary Essays (S. Illinois U.P., 1971).
Nin, Anaïs, Anaïs Nin Reader, ed., Philip K. Jason (London: Peter Owen, 1973).
--------, Delta of Venus (London: Penguin, 1978).
--------, Henry and June (London: Penguin, 1998).
--------, A Woman Speaks (London: Penguin, 1996).
Stulmann, Gunter, ed., The Journals of Anaïs Nin, 7 Vols (Peter Owen, 1966-1980).
Wickes, George, Henry Miller (Minneapolis: University of Minnesota Press, 1966).
Week 5: James Baldwin & Richard Wright
Baldwin, James, Giovanni’s Room (London: Penguin, 1990).
--------, Notes of a Native Son [1964] (London: Penguin, 1995).
--------, Nobody Knows My Name [1964] (London: Penguin, 1991).
Balfour, Laurie, The Evidence of Things Not Said: James Baldwin and the Promise of American
Democracy (Ithaca, NY: Cornell U.P., 2001).
Bloom, Harold, ed., James Baldwin (New York: Chelsea House, 1986).
-------- ed., Richard Wright: Modern Critical Views (New York: Chelsea House, 1987).
Campbell, James, Paris Interzone: Richard Wright, Lolita, Boris Vian and others on the Left Bank,
1946-1960 (London: Secker & Warburg, 1994).
--------, Exiled in Paris: Richard Wright, James Baldwin, Samuel Beckett And Others on the Left Bank
(New York: Scribner’s, 1995) [a reprint of the above title].
Chametzky, Jules, ed., Black Writers Redefine the Struggle: A Tribute to James Baldwin (Amherst,
MA: University of Massachusetts Press, 1989).
Gates, Henry Louis, Jr. & K. A. Appiah, Richard Wright: Critical Perspectives Past and Present (New
York: Amistad, 1993).
Gibson, Donald, ed., Five Black Writers: Essays on Wright, Ellison, Baldwin, Hughes, and LeRoi Jones
(New York: New York U.P., 1970).
Gounard, Jean-Francois, The Racial Problem in the Works of Richard Wright and James Baldwin,
trans. Joseph Rodgers (Westport: Greenwood Press, 1992).
Kenan, Randall, James Baldwin (New York: Chelsea House, 1994).
Kinnamon, Keith, The Emergence of Richard Wright: A Study in Literature and Society (Urbana, IL:
University of Illinois Press, 1972).
Kollhofer, Jakob, ed., James Baldwin: His Place in American Literary History and His Reception in
Europe (New York: Peter Lang, 1991).
Leeming, David, James Baldwin: A Biography (London: Michael Joseph, 1994).
Polsgrove, Carol, Divided Minds: Intellectuals and the Civil Rights Movement (2001).
Porter, Horace, Stealing Fire: The Art and Protest of James Baldwin (Middletown, CT: Wesleyan U.P.,
Smith, Valerie, Self-Discovery and Authority in Afro-American Narrative (Cambridge, MA: Harvard
U.P., 1987).
Troupe, Quincey, ed., James Baldwin: The Legacy (New York: Touchstone, 1989).
Wright, Richard, ‘American Negroes in France’, Crisis (June-July 1951), 381-83.
--------, The Outsider (New York: HarperCollins, [1953] 1993).
--------, Eight Men (New York: HarperCollins, [1961] 1996).
N.B. If any of these titles are not in the library they can be ordered through Inter Library Loan.
Before using ILL check with Martin Halliwell as he may have copies.
Weeks 14, 16, 18, 20, 22
(asterisked titles strongly recommended)
Fiction Writing Guides
Bell, Julia, ed., The Creative Writing Coursebook: forty authors share advice and exercises for poetry
and prose (London: Macmillan, 2001)
*Braine, John, How to Write a Novel (London: Methuen, 2000)
*Brande, Dorothea, Becoming a Writer (New York: Putnam, 1981; first published 1934)
Cameron, Julia, The Artist’s Way: A Spiritual Path to Higher Creativity (Harmondsworth: Penguin,
*Forster, E.M., Aspects of the Novel (London: Edward Arnold, 1974)
*Gardner, John, The Art of Fiction: Notes on Craft for Young Writers (New York: Vintage, 1991)
*Goldberg, Natalie, Writing Down the Bones: Freeing the Writer Within (Boston: Shambhala, 2006;
originally published 1986)
Graham, Robert, et al, eds., The Road to Somewhere: A Creative Writing Companion (Basingstoke:
Palgrave, 2004)
Highsmith, Patricia, Plotting and Writing Suspense Fiction (New York: St Martin’s, 2001)
Narrative Structure
Booker, Christopher, The Seven Basic Plots: Why We Tell Stories (London: Continuum, 2005)
Campbell, Joseph, The Hero With A Thousand Faces (London: Pantheon, 1949)
Hyde, Lewis, Trickster Makes This World (New York: North Point Press, 1999)
McKee, Robert, Story: Substance, Structure, Style and the Principles of Screenwriting (London:
Methuen, 1999)
*Vogler, Christopher, The Writer’s Journey: Mythic Structure for Writers, 2nd ed. (Truro: Michael
Wiese Productions, 1998)
Writers on Writing
Amis, Martin, The War Against Cliché: Essays and Reviews 1971-2000 (New York: Vintage, 2002)
Atwood, Margaret, Negotiating with the Dead: A Writer on Writing (Cambridge: Cambridge University
Press, 2002)
King, Stephen, On Writing: A Memoir of the Craft (London: New English Library, 2001)
Kundera, Milan, The Art of the Novel (London: Faber and Faber, 1988)
Orwell, George, Why I Write (Harmondsworth: Penguin, 2004)
The degree of MA will be awarded on the successful completion of the following modules:
Credit Weighting
Bibliography, Research Methods and Writing Skills
Modern Literature and Theory I (Core module I)
Modern Literature and Theory II (Core module II)
EN7133 or EN7134:
Option Module I
EN7132 or EN7135:
Option Module II
EN7033 Critical Dissertation or EN7034 Creative Dissertation
180 credits
To graduate with an MA in Modern Literature, students may choose creative and/or critical option
modules but must write a Critical Dissertation (EN7033). To graduate with an MA in Modern
Literature and Creative Writing, students must take one or both of the option modules in Creative
Writing (EN7133 and EN7135) and then write a Creative Dissertation (EN7034) in a genre or genres in
which they have been assessed for one or both of the option modules in Creative Writing.
Part-time students are required to take three modules each year, the Bibliography, Research Methods
and Writing Skills module (EN7001) and the two Core Modules (EN7031 and EN7032) in their first
year, and two option modules (one in each semester) and the dissertation (EN7033 or EN7034) in their
Students who successfully complete all modules except the dissertation may be awarded a
Postgraduate Diploma in Modern Literature; those who successfully complete only the two core
modules (EN7031 and EN7032) may be awarded a Postgraduate Certificate in Modern Literature.
The Postgraduate Diploma and Certificate are not available in Modern Literature and Creative Writing.
Mark scheme
below 50
Work that is of insufficient intellectual or creative quality will be failed. Candidates will normally be
allowed one opportunity to resubmit work for any element of assessment they have been deemed to
have failed, but should note that in the event of a successful resubmission, the bare pass mark of 50%
will be awarded. No mark is final until ratified by the External Examiner.
To be awarded a distinction, a candidate will have achieved the specified learning
outcomes of the programme to an excellent or very high standard, displayed a very
high command of the subject and technical and analytical or creative skills and
demonstrated independence of thinking and excellent research or creative potential.
To be awarded a pass with merit, a candidate will have achieved the specified learning
outcomes of the programme to a very good standard, displayed a high command of the
subject and technical and analytical or creative skills and demonstrated independence
of thinking and very good research or creative skills.
To be awarded a pass, a candidate will have achieved the specified learning outcomes of
the programme to a satisfactory standard and displayed a sound command of the subject
and technical and analytical or creative skills and demonstrated independence of thinking
and sound research or creative skills.
To be awarded a master’s degree a candidate must:
obtain at least 90 credits at 50% or above in the taught modules and no more than 15
credits below 40%;
have satisfactorily completed all coursework requirements in the taught modules; and
achieved a mark of 50% or above in the dissertation.
To be awarded a master’s degree with merit a candidate must:
obtain at least 60 credits at 60% or more in the taught modules;
achieve a mark of 60% or above for the dissertation; and
have no fail marks
To be awarded a master’s degree with distinction a candidate must:
obtain at least 90 credits at 70% or above in the taught modules and a mark of 60% or
above in the dissertation; or
obtain at least 60 credits at 70% or above in the taught modules and a mark of at least
70% in the dissertation; and
have no fail marks.
Postgraduate Diploma
To be awarded a Postgraduate Diploma a candidate must:
obtain at least 90 credits at 50% or above with no more than 15 credits below 40%;
have satisfactorily completed all coursework requirements
To be awarded a Postgraduate Diploma with merit a candidate must:
obtain at least 60 credits or more at 60% or above; and
have no fail marks.
To be awarded a Postgraduate Diploma with distinction a candidate must:
obtain at least 90 credits or more at 70% or above; and
have no fail marks.
Postgraduate Certificate
To be awarded a Postgraduate Certificate a candidate must:
obtain at least 45 credits at 50% or more in the taught modules and no marks less than
40%; and
have satisfactorily completed all coursework requirements.
Rules for the Submission of Assessed Work
Deadlines for written work are given on the Course Timetable and in the Module Descriptions
(pp.4, 8-17). Assessed work is submitted and marked anonymously.
The School places the utmost importance on adherence to deadlines for assessed work. You
are urged to plan your work in advance of the deadline in order to avoid any last minute
problems with access to computers, printers, etc. Extensions can be granted only on medical
grounds (with supporting medical evidence) or in exceptional circumstances. To request
an extension contact the Course Director. Work submitted after a deadline without an
approved extension will incur a penalty of 10 marks for the first day and 5 marks per day for
the next ten days.
Your work must meet each of the following conditions:
You should agree your essay question with the module tutor before commencing to write.
Work should be presented in accordance with the MHRA (Modern Humanities Research
Association) Style Guide (
Your assessed work must be word-processed (or typed); if, exceptionally, you have been given
permission to submit it in hand-written form, you MUST write legibly.
Your assessed work should be on one side of the paper only and in double-line spacing. There
must be a wide margin on the left-hand side of the page.
The pages must be numbered.
Two copies of assessed work should be submitted with a cover sheet completed and fixed to
the front of each. Note that there are different cover sheets for essays, creative writing and
reflective commentaries on creative writing. Ensure that you attach the correct cover sheet to
your work. Cover sheets are available on Blackboard (see p.70). Examples of these forms are
included in the appendices.
Make sure that you put your student number and module title in the header of your assessed
work, as well as on the cover sheet. Do not put your name on the essay or cover sheet.
Firmly fasten the pages of each copy together. Please do not submit your work in folders.
It is ESSENTIAL for you to keep a copy of your work.
All submitted course work should be placed in the School’s postgraduate postbox on
Attenborough floor 13 landing, except for dissertations, which should be handed in to the
School’s postgraduate office (Attenborough 1312).
You must also submit your assessed work electronically on the TURNITIN software on
Blackboard (see instructions below).
If your piece of work does not meet all the School's requirements, including the appropriate
standards of presentation, it will not be accepted as examinable material. Work containing 3 or
more errors, made consistently throughout the essay, will be referred back for amendment.
Students will be given 4 weeks to submit corrected work (see also Marking Criteria, pp.53-56).
Candidates who have not passed their coursework will not be permitted to proceed to the
dissertation, or, in the case of part-time students, will not be permitted to enter the second year
of the course.
Students are required to submit their dissertation, word-processed and soft bound (also called
'perfect bound'), by 15 September of the year in which they submit their proposal. Please
ensure that your title page is reproduced on the front cover. Please put your student number,
not your name, on the dissertation. We recommend that dissertations be bound by the
University’s Print Services (situated in the Fielding Johnson Building), who require three days
for binding, or ten days for copying and binding. Enquiries to 0116 252 2442 or
[email protected] You are free to select your own choice of colour for the cover.
Dissertations should not be more than 20,000 words in length including notes, but excluding
the bibliography. This limit may only be exceeded by prior permission of the supervisor.
Three copies are required to be submitted with an appropriate Postgraduate Assessment
Feedback cover sheet in each.
Dissertations should be handed in at the English Postgraduate Office (Att.1312) and also
submitted electronically on Turnitin, by the due date. At times when the Office is closed, the
postbox on the 13th-floor landing may be used.
Past MA dissertations are available for viewing in Att.1312/Att.1315.
Turnitin Plagiarism Software
You are required to submit your assessed work electronically as well as two copies on paper with
the appropriate cover sheet. Here is how to submit your work electronically:
 Log on to Blackboard (see p.70)
 Click on to your course title
 Click on ‘Assignments’
 Click on ‘View/Complete’ for the relevant assignment
 Fill in your name and the title of the essay
 Click on ‘Browse’ and select the essay as you would an attachment to an email (the
software accepts the following file types: Word, Text, Postscript, PDF, HTML, and
 Click ‘Open’ (this will return you to the Turnitin page)
 Click ‘Submit’
You will be sent an email to confirm that you have submitted your work successfully. You will
not be able to see the originality report.
If you have any concerns about plagiarism you should talk to your supervisor, seminar tutor or
personal tutor about it.
All written work is double marked, and students receive a mark together with a report compiled
by the two examiners, in which relevant feedback on the essay is given. Normally work is
marked within three weeks of submission, and students should be in possession of a mark and
report within a month of the essay deadline. Work which, for any reason, is submitted late,
falls outside of this schedule. In the event of a failed essay or exercise, students will be given
the opportunity to resubmit in one instance.
Academic Obligations
MA students joining the School undertake:
to attend all seminars and to keep to term.
to notify the relevant tutor if unable to attend a seminar or other meeting, preferably in advance.
to do all the preparatory work and reading set by tutors.
to contribute in a well-prepared and constructive manner to seminar discussion.
to produce written work set by tutors by the set deadlines.
if unable to meet a deadline, to seek an extension from the tutor who has set the work, or the
Chair of the MA.
to present all material in accordance with School’s guidelines for presentation of work.
to check their university email regularly (and at least once a week).
to meet a designated Supervisor on a formal basis on at least three occasions during the process
of writing the dissertation.
to submit a written summary of supervisions to the Supervisor.
Members of staff undertake:
to attend seminars and other formal meetings.
if unable to attend, to give advance warning where possible.
to mark and return written work within three weeks, wherever possible.
to give students feedback on their work.
to be available at regular, stated times (Office Hours) to see students about their work.
to respond to email within a reasonable period.
Students who fail to fulfil their academic obligations may be reported to the Head of School for neglect
of their studies. Unsatisfactory attendance may lead to the Course Director instituting procedures for
the termination of course.
The balance between contact hours and hours devoted to private study is designed to allow students
time: (a) to cover the large amount of reading; (b) to prepare for seminars, and to write seminar papers
or creative work where directed to do so; (c) to complete the written and other assignments on which
the degree is assessed. An MA student is expected to develop the skills and scholarly habits of a
serious researcher and to attend the Modern Literature Research Seminars held on selected Wednesdays
at 5:15pm (programme to be announced). Students are also invited to attend undergraduate lectures,
the Staff-Postgraduate seminar, the Work-in-Progress seminar for postgraduates, and events organised
by the Poetry and Literary Societies.
No mark is final until ratified by the External Examiner.
Use of academic
Virtually faultless
Range of sources
Minor errors in a small
minority of entries
Evidence of breadth
Relevance and
appropriateness of
All items very relevant and
Rationale and procedures
for selection
Clarity of presentation
Sophisticated and clear
very thorough procedures
A very large majority of
items relevant and
Very good rationale,
thorough procedures
Minor errors in the
minority of entries/minor
systematic errors
The majority of items
relevant and appropriate
Satisfactory rationale and
Minor errors in the
majority of entries/
major systematic errors
The minority of items
relevant and appropriate
Unsatisfactory rationale and
Lacking in coherence
Very wide
No mark is final until ratified by the External Examiner.
below 50
Comprehensive coverage of relevant issues
Independent and effective research
Sophisticated analysis of texts and concepts
Marked independence of thinking
Excellent organization and illustration of arguments
Excellent range of reference to the appropriate primary and secondary sources
Clear and lucid academic writing in a discriminating register
Near-faultless presentation in accordance with the appropriate academic
Thorough coverage of relevant issues
Substantial evidence of effective research
A very good standard of analysis of texts and concepts
Substantial evidence of independent thinking
Very clear and effective organization and illustration of arguments
Wide range of reference to the appropriate primary and secondary sources
Clear academic writing in an appropriate register
Very good presentation in accordance with appropriate academic conventions
with evidence of careful proofreading and correction.
Fair coverage of relevant issues, but with some gaps
Evidence of research
Evidence of critical analysis of texts and concepts
Some evidence of independent thinking
Sound organization and illustration of arguments
A fair range of reference to the appropriate primary and secondary sources,
but with some significant omissions
Writing in an academic register with satisfactory levels of precision and clarity
Good presentation in accordance with appropriate academic conventions, but
evidence of insufficiently thorough proof-reading and of some
shortcomings in referencing, bibliography, citation and matters of style.
Significant oversights in the coverage of relevant issues
Very little evidence of research
Little critical analysis of texts and concepts
Little evidence of independent thinking
Weakly conceived, with a lack of clarity and purpose in the organization and
illustration of the argument
A limited range of reference to primary and secondary sources
Writing in an inappropriate register, with lack of clarity and precision
Inaccurate presentation, evidence of weak or inconsistent use of academic
conventions, poor proof-reading and serious problems with referencing,
bibliography, citation, formatting or style.
N.B. Work of whatever level with this kind of inaccurate presentation will be
referred for correction.
No mark is final until ratified by the External Examiner.
Full control and
excellent, precise and
original handling of
Excellent use and
control of observed
Excellent and original
handling of generic
Full control of
structure; excellent,
Overall control and
very assured handling
of language
Very good use and
control of observed
Very good, and in
places original,
handling of generic
Overall control of
structure; very good,
coherent organisation
Excellent, impeccable
formatting of
publishable standard
Very good
presentation with very
few errors; formatting
Sound control and for
the most part assured
handling of language
For the most part
assured use and
control of observed
Sound, for the most
part assured handling
of generic
Good control of
structure; competent,
mainly coherent
Good presentation
with not many errors;
formatting for the
most part correct
below 50
Poor control and
incompetent handling
of language
Poor use and control
of observed detail
Full control of
narrative/lyric voice
and dialogue;
excellent handling of
tone and register
Overall control of
narrative/lyric voice
and dialogue; very
assured handling of
tone and register
Sound control of
narrative/lyric voice
and dialogue; for the
most part assured
handling of tone and
Limited control of
narrative/lyric voice
or dialogue; poor
handling of tone and
Poor, incompetent
handling of generic
Limited control of
structure; poor,
Poor presentation with
many and/or major
errors; formatting
below 50
No mark is final until ratified by the External Examiner.
Explanation of original aims and Engagement with significant
Situating work in literary
process of revision
features (e.g. language,
(and, where appropriate,
observation, voice, genre,
critical) context
structure, presentation)
Excellent: process fully explained;
Excellent: very cogent and
Excellent: Wholly convincing
thoroughly lucid and cogent; very
perceptive engagement with, and
and very perceptive in relating
perceptive in identifying and
understanding of, all significant
work to a good range of existing
responding to issues
literature (and, where
appropriate, criticism)
Very good: process mostly
Very good: mainly cogent and
Very good: mainly convincing
explained; mainly lucid and
perceptive engagement with, and
and perceptive in relating work
cogent; perceptive in identifying
understanding of, most significant
to fair range of existing literature
and responding to issues
(and, where appropriate,
Good: process competently, if not
Good: some cogency and
Good: some cogency and
fully, explained; some clarity and
perceptiveness in engagement with, perceptiveness in relating work
cogency; competently identifies
and understanding of, some
to some existing literature (and,
and responds to some issues
significant features
where appropriate, criticism)
Poor: process inadequately
Poor: insufficient evidence of
Poor: Insubstantial and
explained; lacks clarity and
engagement with or understanding
unconvincing in relating work to
cogency; identifies few issues and
of significant features
existing literature or criticism
little evidence of appropriate
Response to feedback from
supervisor (and, where
relevant, others)
Excellent: Evidence of very
intelligent and productive
creative and intellectual
response to feedback
Very good: Evidence of
intelligent and productive
creative and/or intellectual
response to feedback
Good: Evidence of adequate, if
limited, creative and/or
intellectual response to feedback
Poor: Insufficient evidence of
genuine creative or intellectual
response to feedback
Statement on Academic Dishonesty and University Regulation on Plagiarism
As you read through University Regulations, you will note that there is a specific
regulation about academic honesty. This describes the penalties which apply
when students cheat in written examinations or present someone else’s material
for assessment as if it were their own (this is called plagiarism). Very few students
indeed commit such offences, but the University believes that it is important that
all students understand why academic honesty is a matter of such concern to the
University, and why such severe penalties are imposed.
Universities are places of learning in two senses. For students on taught courses,
learning takes place through listening and talking to academic staff, discussion
with peers, reading primary and secondary texts, researching topics for
dissertations and project work, undertaking scientific experiments under
supervision and so on. For Ph.D. students and academic staff, learning takes the
form of original research, where the outcome will be a contribution to the sum of
human knowledge. At whatever level this learning takes place, however, a
common factor is the search for truth, and this is why an over-riding concern for
intellectual honesty pervades all the University’s activities, including the means by
which it assesses students’ abilities.
Throughout your time at the University you will legitimately gather information
from many sources, but when you present yourself for any examination or
assessment, you are asking the markers to judge what you have made as an
individual of the studies you have undertaken. This judgement will then be carried
forward into the outside world as a means of telling future employers, other
universities, financial sponsors, and others who have an interest in your
capabilities that you have undertaken the academic work required of you by
course regulations, that you are capable of performing at a certain intellectual
level, and that you have the skills and attributes consistent with your range of
marks and the level of your award. If you use dishonest means with the aim of
presenting a better academic picture of yourself than you deserve, you are
engaging in a falsehood which may have the severest repercussions. If you are
discovered, which is the most likely outcome, the penalties are severe. If by some
chance you are not discovered, you will spend the rest of your life failing to
measure up to the academic promise indicated by your degree results and other
people’s expectations of your abilities.
Collaboration Many modules offer students the opportunity to work together in
pairs or teams. Care should be taken to read departmental guidelines on how
such modules are to be assessed. If a joint or collaborative report is requested,
the team can work together right up to the point of submission. In such
circumstances, individuals may be asked to indicate the sections of the report they
contributed to, or the assessment may be of the group itself, or there may be an
additional form of assessment, such as presentation session, which allows for
individualised grading. A more common arrangement is where the collaborative
investigation of a topic is followed by the submission of a report from each team
member, where each report is independently produced.
Similarly, work
undertaken on computers or at the laboratory bench may be jointly undertaken
with other students, but the outcome for assessment purposes is still meant to
reveal the intellectual abilities of the individual students, and therefore has to be
prepared by that student without the assistance of others. If you do not understand
what is required of you, ask the module convenor or another academic tutor, or
your personal tutor. Do not guess.
Plagiarism Plagiarism is to take the work of another person and use it as if it
were one’s own in such a way as to mislead the reader. Whole pieces of work can
be plagiarised (for example, if a student put his or her name on another student’s
essay), or part pieces, where chapters or extracts may be lifted from other sources,
including the Internet, without acknowledgement. Sometimes plagiarism happens
inadvertently, where students fail to read instructions about or do not understand
the rules governing the presentation of work which require sources to be
acknowledged. In such cases, the problem is usually identified very early in the
course and can be put right through discussion with academic tutors. Deliberate
attempts to mislead the examiners, however, are regarded as cheating and are
treated very severely by boards of examiners. Any plagiarism in assessments
which contribute to the final degree class are likely to lead, at the very least, to the
down-grading of the degree class by one division or at Master’s degree level to a
down-grading of the award to Diploma level. In the worst cases, expulsion from
the University is a possibility.
The severity of the penalties imposed for plagiarism stems from the University’s
view that learning is a search for truth and that falsehood and deception have no
place in this search. The emphasis placed on avoiding plagiarism sometimes
worries students, who believe that they will find it impossible to avoid using
someone else’s thoughts when they spend all their time reading critical works,
commentaries and other secondary sources and are required to show in their work
that they have studied such material. Sometimes problems arise from poor
working practices, where students muddle up their own notes with extracts or
notes taken from published sources. In the light of all that has been said above,
the question you should ask yourself about any piece of academic work are ‘Will
the marker be able to distinguish between my own ideas and those I have obtained
from others?’ What markers fundamentally want to see is that students have read
widely round the subject, that the sources used have been acknowledged, and that
the conclusions which arise from the study are the student’s own.
The University has issued a code of practice on plagiarism to departments which
includes guidance on the best ways of assisting students in the early part of their
studies. This is in order to instil in them the sort of good learning habits which will
help to guard against the dangers of academic dishonesty. If you are in any doubt
about what constitutes good practice, read through departmental guidelines
carefully and then if necessary ask your personal or academic tutors for further
advice. Check the Student Development website for guidance on how to avoid
plagiarism ( or make an appointment for
individual advice.
The University’s Regulation on Plagiarism is as follows:
The University’s primary functions of teaching and research involve a search for
knowledge and the truthful recording of the findings of that search. Any action
knowingly taken by a student which involves misrepresentation of the truth is an
offence which the University believes should merit the application of very severe
penalties. Offences in this category include, but are not confined to, cheating in
written examinations, copying work from another person, making work available to
another person for copying, copying from published authorities, including the
Internet, without acknowledgement, pretending ownership of another’s ideas, and
falsifying results. Any student who knowingly allows any of his or her academic
work to be acquired by another person for presentation as if it were that person’s
own work is party to plagiarism..
Plagiarism is used as a general term to describe taking and using another’s thoughts
and writings as one’s own. Plagiarism can occur not only in essays and
dissertations, but also in scientific experimentation, diagrams, maps, fieldwork,
computer programmes, and all other forms of study where students are expected to
work independently and produce original material.
Where plagiarism is identified, departments are authorised to apply through the
relevant Board of Examiners the following penalties:
Taught postgraduate students
Where written assignments are submitted consecutively:
First offence in the taught
element of the programme:
Failure of the module, resit allowed, severe
written warning
Second offence in the taught
element of the programme:
Mark of 0 for the module. Resubmission
required for the purposes of progression
Subsequent offence in the
Termination of course
taught element of the programme:
Where a number of written assignments are submitted simultaneously at the end of
the semester/term
Single or multiple offences
occurring for the first time in
the taught element of the
Failure in the module(s), resit(s) allowed,
severe written warning
Second offence following a
single offence in the taught
element of the programme
Mark of 0 for the module. Resubmission
required for the purposes of progression
Multiple offences following
multiple offences in the taught
element of the programme
Termination of course
All programmes:
Plagiarism in the dissertation
without a previous offence:
Failure with downgrading to Postgraduate
Plagiarism in the dissertation
with a previous offence:
Termination of course
Research students
First offence during the
development of the thesis
Severe written warning
Plagiarism in the submitted
Normally failure without the right of
Where a student is found to have been cheating in written examinations or falsifying
results, the case will be referred to the Academic Registrar for consideration under
the Code of Student Discipline. Penalties applied in relation to plagiarism or
cheating in written examinations will be recorded on the student’s official transcript,
and a record of the offence will be held in the department. Cases of academic
dishonesty may where relevant be reported to professional bodies.
You may wish to consult Student Development’s leaflets Avoiding Plagiarism and
Referencing and Bibliographies, available free from Student Development Zone on
the 2nd floor of the David Wilson Library and from the Student Development
Website ( in the Writing Skills section. An interactive
tutorial on how to avoid plagiarism: 'Don't Cheat Yourself' is also available from the
Centre's website:
Room 1510
email [email protected]
Dr Evans’ research focuses on Caribbean and black British literature, looking at innovations with form
and genre and the issue of community. She is particularly interested the development of short story
writing and of crime fiction through the twentieth and into the twenty-first century. She has published
articles on Mark McWatt, E. A. Markham, Dionne Brand and Paul Gilroy, and has articles forthcoming
on V. S. Naipaul and Robert Antoni. She is currently co-editing a collection of essays, Caribbean Short
Stories: Critical Perspectives (Peepal Tree Press, 2011).
Room 1301
 252 2644
email [email protected]
Nick Everett’s primary interest is American and British poetry of the twentieth and twenty-first
centuries and particularly the history and development of poetic form and metre in that period. He has
written about the work of a number of poets, including Walt Whitman, John Berryman, John Ashbery,
Robinson Jeffers, Edna St Vincent Millay and Paul Muldoon. In his teaching in recent years he has
become increasingly committed to Creative Writing, as an integral part of English as well as a discipline
in its own right. He was awarded a University Teaching Fellowship in 2003 for his use of Creative
Writing in the teaching of literature and is currently involved in developing the provision of Creative
Writing within the School.
Room 1513
 252 1435
email [email protected]
Dr Fowler specialises in twentieth-century postcolonial writing, specifically non-canonical fiction and
travel writing about Afghanistan, with additional interests in creative writing (she is a published fiction
writer) and postcolonial feminist theory. Her recent monograph, Chasing Tales: travel writing,
journalism and the history of ideas about Afghanistan (2007) investigates the legacy of traumatic
Anglo-Afghan encounter to contemporary travel narratives, ethnography and journalism about
Afghanistan. She is also working on an annotated reprint edition of a 1907 travelogue (Beatrice
Grimshaw: From Fiji to the Cannibal Islands, Humanities e-books, 2009) and a co-edited volume
entitled Travel Writing and Ethics: Theory and Practice, (Routledge, forthcoming 2010). Dr. Fowler is
co-authoring a book called Postcolonial Manchester (MUP, forthcoming 2011) and recently curated a
major exhibition called ‘Writing Manchester: literature in the city since 1960’.
CORINNE FOWLER BA MA (Leeds) PhD (Stirling)
Room 1304
 252 2625
email [email protected]
Dr Graham's research focuses on American texts from the Modernist period to the contemporary, with a
particular interest in gender and sexuality. Her main publications have focused on the works of H. D.
(Hilda Doolittle) and J. D. Salinger, and she has an ongoing research interests in these writers and in
twentieth-century American texts, especially mid-century American fiction and representations of
adolescence. She is also collaborating with the Wellcome Trust on an exhibition of visual art related to
HIV and AIDS (2011), which relates to her research interest in AIDS narratives. She has published
essays on war trauma in H. D.’s poetry and on intersexuality in Jeffrey Eugenides’s Middlesex. She is
the author/editor of J. D. Salinger’s The Catcher in the Rye (Routledge, 2007), author of Salinger’s The
Catcher in the Rye (Continuum, 2007), and is currently writing a study of Salinger’s short fiction
(Continuum). She is the Series Editor for Studies in Contemporary North American Fiction
(Continuum) and a founding member of the ‘Studies in Youth’ network.
SARAH GRAHAM BA MPhil (Stirling) PhD (Leeds)
MARTIN HALLIWELL BA MA (Exeter) PhD (Nottingham)
Room 1302
252 2645
email [email protected]
Professor Halliwell’s research interests are in the areas of American literature and film, twentiethcentury fiction and transatlantic culture. He has published on modernism, film adaptations,
representations of illness, American intellectual and cultural history, and is the author of six books:
American Culture in the 1950s (2007), The Constant Dialogue: Reinhold Niebuhr and American
Intellectual Culture (2005), Images of Idiocy (2004), Critical Humanisms (2003), Modernism and
Morality (2001.updated as Transatlantic Modernism, 2006) and Romantic Science and the Experience
of Self (1999). A new volume American Thought and Culture in the 21st Century, co-edited with
Catherine Morley, is published in autumn 2008. He is the editor of the Twentieth-Century American
Culture series and co-editor of the Edinburgh Critical Guides to Literature series, both with Edinburgh
University Press.
Room 1305
 252 2522
email [email protected]
Dr Morley’s research focuses on identity, ethnicity, gender and nationalism in modern and
contemporary American literature. She is especially interested in transatlantic and transnational culture,
American modernism and American writing after September 11. She is the author of The Quest for
Epic in Contemporary American Fiction (Routledge, 2008) and is currently working on Modern
American Literature (Edinburgh University Press, forthcoming 2011). She is the co-editor of two
volumes: American Thought and Culture in the 21st Century (Edinburgh University Press, 2008) and
American Modernism: Cultural Transactions (Cambridge Scholars’ Press, 2009). She has published
numerous scholarly chapters and articles on modern and contemporary literature in a variety of journals
and edited collections. Dr Morley is researching a new monograph entitled The Ache of Modernism.
She is the Secretary of the British Association for American Studies.
Room 1405
 252 2630
email [email protected]
Dr Parker’s research focuses on contemporary literature, women’s writing, and feminist and queer
theory. She has published essays on Margaret Atwood, Angela Carter, Jeanette Winterson, Toni
Morrison, Michèle Roberts, Rose Tremain, Graham Swift and Martin Amis, and has written on topics
such as food and eating, romance, trauma, diaspora, magic, masculinity, cross-dressing, m2f
transsexuality, and the representation of pregnant men. She contributed entries to The Cambridge Guide
to Women’s Writing in English (1999), is author of Kate Atkinson’s Behind the Scenes at the Museum:
A Reader’s Guide (2002), editor of Contemporary British Women Writers (2004), and Associate Editor
of the journal Contemporary Women's Writing, which won the Council of Editors of Learned Journals
'Best New Journal' award in 2009. She is currently writing a book on Michèle Roberts and is a founding
member of the Contemporary Women’s Writing Network (
EMMA PARKER BA, PhD (Birmingham)
Room 1309
 252 2621
email [email protected]
Martin Stannard has published extensively on Evelyn Waugh, following The Critical Heritage (1984)
with a major biography in two volumes (1986 and 1992). The first volume was selected by the New
York Times as one of the twelve best books of the year; the second was chosen by Frank Kermode,
Jonathan Raban, William Trevor and Muriel Spark as one of their ‘Books of the Year’, and in the year
2000 by William Boyd as one of his TLS ‘Books of the Millennium’. In August 2009 Prof. Stannard
published his biography of Muriel Spark to critical acclaim in the national press from, among others,
Jonathan Bate, John Carey, Ferdinand Mount, Ian Rankin and Frances Wilson. He has also published
essays and review-essays on Kingsley Amis, Michael Arlen, Dickens, Ford Madox Ford, David Garnett,
Graham Greene, William Gerhardie, Christopher Isherwood, and Philip Larkin, and on the subjects of
textual criticism, biography, autobiography and letters. In 1995 he published the Norton Critical
Edition of Ford’s The Good Soldier, an experiment in textual editing which includes material engaging
with the challenge of literary theory to traditional editorial practice, and with the phenomenon of
‘literary impressionism’. He is currently at work on the second edition of this book.
Martin’s broad research interests are in British Catholic convert fiction, biography and non-fiction
MARTIN STANNARD BA(Warwick) MA(Sussex) DPhil(Oxford)
generally, and in the theory and practice of textual editing. He has served as a member of the
Management Committee of the Society of Authors, chairs the College of Arts, Humanities and Law’s
MA in Humanities, is President of the Leicester Literary and Philosophical Society, is on the organising
committee of Literary Leicester, and is a Fellow of the Royal Society of Literature and of the English
Room 1314
 252 2634
email [email protected]
Victoria Stewart‘s research interests focus on twentieth century and contemporary British writing. She
has published on topics including autobiography, First World War writing, the literature of the 1940s,
and the representation of the Holocaust. Her book Women‘s Autobiography: War and Trauma (2003) is
an examination of the work of writers including Vera Brittain, Anne Frank and Virginia Woolf from the
perspective of trauma theory. More recently, in Narratives of Memory: British Writing of the 1940s
(2006), she considers how memory was treated in the novel during and immediately after the Second
World War. She has also published on contemporary British drama. Her current projects include a study
of the Second World War in contemporary fiction.
Safety Information
The Attenborough Building is designated a no-smoking zone.
On Hearing the Fire Alarm
The Attenborough Building fire alarm is tested at 9:45 a.m. every Thursday. The alarm rings only
briefly, and there is no need to evacuate the building.
At other times throughout the year a full fire drill will take place. The alarm will sound constantly and a
recorded announcement will tell you to leave the building. The power to the lifts and paternoster will
be cut and so it is therefore vital that you exit the building, in an orderly fashion, via the staircase.
Leave the building by the nearest available exit, closing all doors behind you.
The assembly point is the paved area in front of the Mathematics Building.
On Discovering a Fire
If you discover a fire and there are no members of staff immediately available, sound the fire alarm.
The alarms are situated in the lobby on each floor, to the left of the stairway doors.
Call the fire brigade: dial 888 from internal phones, or 999 from external payphones.
Fire extinguishers are available in the east (central) corridor of each floor (to the right of the toilets) but
DO NOT ENDANGER YOURSELF: raise the alarm and evacuate the building, closing any fire doors
behind you.
The School’s Health and Safety Officer is Dr. Philip Shaw. First Aid equipment is in the School’s
Postgraduate Office (Att.1312) and the School’s Office (Att.1412).
In order to prevent the paternoster from constantly breaking down, students are asked strictly to observe
the safety requirements posted in each car.
Location of the School of English
The School is housed on the thirteenth, fourteenth and fifteenth floors of the Attenborough Tower.
The School’s Postgraduate Office is room 1312 on the thirteenth floor.
Pigeonholes for postgraduate students are located in the corridor opposite Att.1312. You should check
your relevant pigeonhole regularly for mail from the Course Director, your tutors, and the University
(for instance, the Graduate Office, the Computer Centre and the Library).
Contact with members of staff
Staff members have pigeonholes on the fourteenth floor (in the corridor, next to the School’s Office).
Alternatively, you can contact staff by email or telephone: details appear in this Handbook. If you wish
to speak in person to a member of the academic staff you should email them in the first instance to
request a meeting, rather than using the ‘office hours’ slot. Tutors post notices on their office doors
giving details of their ‘office hours’, but please note that these are not held during vacations.
Please note that tutors would normally expect to respond to email messages within one week. If tutors
expect to be unavailable for a period of several days you should receive an automatic ‘Out-of-office’
response to your email message.
Many communications from the School, College or wider University will be posted to your home or
term-time address. For this reason, it is vital that you inform the Graduate Office and the School’s
postgraduate office of any change of contact details. Staff may also email you or leave notes in your
pigeonhole (on the thirteenth floor, in the corridor opposite Att.1312). Forms for notifying change of
contact details are available in the box on top of the postgraduate pigeonholes (see Appendix F). It is
important that you check your pigeonhole frequently.
Postgraduate notice boards
There are two. One is on the lobby on the thirteenth floor and the other is next to the postgraduate
pigeonholes. There is also one in Att.1315 for notices specific to Victorian Studies matters.
Personal Tutors
The Director of the MA in Modern Literature, Dr. Emma Parker, is available for consultation about
matters academic and pastoral at the times advertised on the door of her room. In emergencies, she can
be contacted at other times. In addition, all students are allocated a personal tutor whom they are
invited to consult about personal and academic difficulties met during the course.
In summary, your personal tutor will offer confidential advice and support on a range of matters, from
official dealings with the University, College or School (this includes advice on issues relating to
modules on which your personal tutor also teaches; as personal tutor their role is to provide you with
support, not discipline) to guidance on how to proceed in the event of a failure. It is in your interests
to ensure that your personal tutor is kept informed about anything that might affect your ability
to fulfil your assignment and attendance obligations. Your personal tutor will be able to put you in
touch with a range of specialist advisers within the university, qualified to give financial, medical and
welfare advice. For further details of the range of services available see the section heading Student
Support Centre.
Your comments
There are a number of channels open for students to provide feedback on their courses:
 Questionnaires: As part of the School’s general process of student consultation, student
reaction to the course is sought by the use of Questionnaires. At present, these are issued to
students for completion in the Summer term. The results are then tabulated, and discussed
both at a feedback meeting (see your course timetable) and by the Board of Studies so that
wherever possible student suggestions for the improvement of courses can be implemented.
 Postgraduate Student/Staff Committee: The Postgraduate Student/Staff Committee has
members drawn from all postgraduate courses offered by the School, and its function is to
liaise between the School and its postgraduate students. It is also a forum for postgraduates to
represent the views of their peers to the Board of Studies which oversees the academic and
pastoral activities of the Course. The Committee is convened by Professor Gail Marshall
([email protected]), who invites anyone interested in representing the MA in Modern Literature
to contact her. The PGSSCC meets once each term to discuss School postgraduate issues,
ranging from Library resources to questionnaire feedback. Meetings for 2010/2011 will take
place on Wednesdays,
10 November 2010,
9 February 2011,
11 May 2011, commencing at 12noon in Att. 213.
Minutes of the meetings of the Committee are posted on the postgraduate noticeboard on floor
13 opposite Att. room 1312, and on Blackboard. PGSSCC members' names and email
addresses are also posted on that notice board, so you can either approach your Representative
personally, or contact him or her by email.
Personal Development Planning
PDP is a structured and academically supported process intended to help students reflect on their
academic, personal and career development. During your course of study you will be given the
opportunity to reflect on your progress over the year, to identify your own strengths and areas of
development, and to plan for your future success.
The three key elements of Personal Development Planning (PDP) are:
Academic Development -- how can I improve my academic performance?
Personal Growth -- what can I do to get the most from my time at University?
Employability and Career Planning -- where do I want to be when I complete my course, and
what can I do to get help from there?
At Leicester, PDP is closely linked with the Personal Tutor programme. All MA students will be asked
to complete a progress review form (see Appendices H and I), which is then used as a basis for
discussion in meetings with their personal tutors each semester. It is hoped that by introducing
postgraduate students to PDP at the outset of their degrees, they will come to consider this act of selfassessment as an integral part of their studies and their reflections on the progress they are making at
university. English School staff will assist students in their self-assessment of their own academic,
personal and career development, and in the formulation of research- and employability-related
strategies based on this process of self-appraisal. You should make an appointment to see your
personal tutor at least once a semester. He or she will be happy to discuss your progress on the course
and to direct you towards appropriate resources and support. Postgraduate PDP forms, samples of
which are included in the appendices to this Handbook, have been designed as an aid to reflection
and may be used to provide a focus for discussion with your personal tutor. While PDP is optional,
students are expected to have a formal meeting with their Personal Tutor at least once a semester.
Further details about the PDP programme at Leicester are available at, or, if you would like to discuss PDP further, please contact the
Course Director.
Problems with your work
If you are experiencing problems that you are unable to solve for yourself it is important to report them
promptly. If the problems are strictly academic (i.e. you are experiencing difficulties with the course
content or with modes of assessment such as essay writing) your seminar tutor would be the most likely
reference point. Failing that you should contact your personal tutor. If your problems arise from illness
or personal/family circumstances you should see your personal tutor. If your problems are likely to
affect assessed work, it is very important to provide the School with written evidence at the time they
occur. See the Learning and Career Development section (p.67) for more information on assistance
available to you within the University.
The writing of references for potential employers is generally done by your personal tutor. Please do
remember to ask your personal tutor, though, before giving his or her name as a referee. It would also
help your tutor if you could provide an up-to-date curriculum vitae, and specific details about the
position applied for.
Facilities for this are available in the basement of the Library, and in the Print Shop in the Student
Union building where there are self-service photocopiers and a full printing service for students.
The University Bookshop stocks copies of all recommended texts for the College of Arts, Humanities
and Law, and will also order in any other books that you require. Students wishing to buy (or sell)
second-hand texts should also consider the School’s book sale (organised by the SSCC). Watch the
notice boards for further details. A permanent second-hand bookshop is located in the basement of the
Students’ Union building: students deposit their unwanted books, and receive payment when these are
later sold. Finally, you might like to browse the weekly book fair – every Wednesday in the Queen’s
Hall in the Students’ Union building – for copies of set texts and also for a wide range of other reading:
sci-fi, horror, romance, humour…
University Services and Facilities
Postgraduate Society
There is a Postgraduate Society based in the Students’ Union. Further information can be obtained
from the Students’ Union (telephone 252 1111; website
The Student Support and Development Service (SSDS) provides development and support services in
the following areas:
Learning and Career Development
Student Development
Student Development provides practical advice and information to all students on any aspect of study.
Individual consultations are available through appointments, and give students an opportunity to discuss
study skills queries. Maths Help provides individual consultations for the development of maths and
statistics at any level. Research skills consultations provide individual advice on how to most effectively
undertake a research degree. There are also programmes of central study workshops for undergraduate
and postgraduate students each semester. A wide range of study guides are freely available from the
Student Development Zone in the David Wilson Library or from our website. Contact the Centre or
check the website for further details of any of our services.
Contact: Student Development Zone, David Wilson Library..
Telephone: 0116 252 5090, e-mail: [email protected], web:
Careers Service
The Careers Service provides careers advice, guidance and information to both undergraduates and
postgraduates. Short appointments are available daily with Careers Advisers and longer appointments,
for more in-depth discussions and practice interviews, can also be booked.
In addition, there is a comprehensive library of resources covering occupations, employers, work
experience, further study and opportunities abroad together with material on job seeking and
applications and interviews. This is complemented by a range of free leaflets for students to take away,
a programme of workshops focussing on areas such as CV writing and interview skills, and
employability sessions within departments. The Careers Service also runs the Leicester Award for
Employability Skills, a programme allowing students to explore the skills gained through extracurricular activities, and is responsible for developing student volunteer activities in the local
community in collaboration with the Students' Union.
The Careers Service maintains strong links with employers and advertises their vacancies and work
experience placements through JOBSonline (on the Careers Service website). There is also an annual
programme of employer presentations, visits and employability sessions together with several careers
fairs. The Careers Service's comprehensive website contains a wide range of information, an e-mail
advice service and useful links plus details of all its events and activities.
Contact: The Careers Service, Student Development Zone, David Wilson Library. Telephone: 0116 252
5040, e-mail: [email protected], web:
AccessAbility Centre
The Centre offers a range of services to all University of Leicester students who have specific learning
difficulties, such as dyslexia, disabilities or long-term conditions. Staff offer one-to-one support,
assessment of dyslexia, the co-ordination of alternative examination arrangements and assistance with
applications for the Disabled Students' Allowance. The open access Centre acts as a resource base for
students and staff and is a relaxed place for students to work. Its computers are equipped with
specialised software for speech output (essay planning software and basic speech output software are on
the University wide CFS network). Low-level photocopying, printing and scanning facilities are also
available. The Centre welcomes self-referrals as well as referrals from academic staff.
Contact: AccessAbility Centre, AccessAbility Zone, David Wilson Library. Tel/minicom: 0116 252
5002, Fax: 0116 252 5513, e-mail: [email protected], web:
Practical Matters
Welfare Service
The Welfare Service offers wide-ranging support for students. Officers are on call 24 hours a day, 365
days a year to respond to emergencies. Practical advice and information is available on a range of
Financial advice is offered, with information on budgeting and DSS benefits. Students can apply for
hardship grants and loans through the Service; Welfare staff can assist with applications to charities and
For international students, the Welfare Service runs various Welcome programmes throughout the year.
Information is provided on specific hardship funds, advice is given on immigration, and assistance
given with renewal of visas. The Service also co-ordinates HOST visits to British families and
hospitality visits to local families in Leicester. International students with children may be eligible for
help with childcare costs, which are claimed through the Service.
Welfare Officers can provide materials on health-related issues including alcohol and drugs, meningitis,
pregnancy testing, sexual health and first aid courses.
The Welfare Service co-ordinates pastoral care for students living in University residences. The Service
recruits and trains the Sub-Wardens who provide this support; postgraduate and mature students are
invited to apply for positions through the website. The Service also works closely with the local
community to intervene in disputes with neighbours and to improve living conditions for those students
who choose private rented accommodation.
A legal advice clinic is held in conjunction with the School of Law.
Contact: Welfare Services, 1st Floor Percy Gee Building. Telephone: 0116 223 1185, Fax: 0116
2231196, e-mail: [email protected], web:
Health and Wellbeing
Student Counselling Service
The Student Counselling Service provides free and confidential services to all students. Students seek
out the Service for a variety of reasons, ranging from difficulties with adjusting to University life, or
family/relationship concerns, to stress, depression, anxiety or related issues. Counselling services are
primarily short-term. While some students see a counsellor just once or twice, others may go and see
them regularly over a period of time. Students who are having difficulties are encouraged to talk them
through with a counsellor. This can sometimes prevent them turning into major problems - so if in
doubt, go and see them!
Contact: Student Counselling Service, 161 Welford Road (behind the Freemen's Common Health
Centre). Office hours 10.00 a.m. to 8.00 p.m., Monday and Thursday, 10.00am. to 5.00pm. Tuesday,
Wednesday and Friday (although counsellors can sometimes see students at other times). Appointments
can be made by telephone, email, or call in and speak to a receptionist in person. Telephone 0116 223
1780. e-mail: [email protected], web:
Student Support (mental wellbeing)
This discreet and confidential service offers one-to-one support to students managing mental health
issues at university. The aim of the service is to assist students to lessen the impact these might have on
their studies. If required, the service can co-ordinate a network of support from those available both at
the university and in the wider community. It will also, with the students' permission, liaise on their
behalf with their Departments or other parts of the University.
Students are welcome to make contact with the service at any point in their course. Pre-entry contact is
also encouraged, from prospective students who wish to discuss the support they may require on course.
The service is normally available on Mondays, Wednesdays and Thursdays. An appointment to meet
with the co-ordinator can be made by telephone, letter or email.
The service also provides advice and information to members of the university community who have
general concerns about mental health issues.
Contact: Hilary Craig, Student Support (mental wellbeing), 161 Welford Road (behind the Freemen‟ s
Common Health Centre Telephone 0116 252 2283, email: [email protected]
Healthy Living for Students
The University is committed to the health and wellbeing of its students. Visit the new Healthy Living
website for information advice and guidance on health matters.
Contact: Healthy Living for Students 161 Welford Road (above Freeman's Common Health Centre).
Telephone 0116 223 1268, e-mail [email protected], web:
Freemans Common Health Centre
The Health Centre is a University facility, taking students from both Leicester and De Montfort
Universities. We aim to offer a relaxed and friendly atmosphere to rest and recover in. The unit is
staffed by qualified nurses offering 24-hour care during term time.
Most students stay for a couple of nights, some longer; others attend for daily care such as postoperative wound dressings. Common reasons for admission are stress, especially during the run up to
exams, colds/flu, asthma, headaches, chicken pox, glandular fever and feeling generally 'unwell'.
Admissions to the Sick Bay usually occur after consultation with your GP. However, students can also
be accepted through the Welfare or Student Counselling services or by 'self-referral'. In all cases,
students must be assessed by a doctor.
Contact: Freemans Common Health Centre, 161Welford Road. Telephone 0116 223 1268, e-mail:
[email protected], web:
IT Services
Support for the University's central computing services is provided by staff in IT Services. The
computing service used by most students is referred to as the CFS service and it makes use of
Microsoft's Windows operating system to provide access to the Microsoft Office suite of programmes
and other software that will help you with your studies.
Computer Accounts: When you complete your University registration you will be issued with an email
address and a username for accessing the CFS service. NOTE: At the start of a new session special
arrangements for registration will be in place and your student (UCAS) number will be required to
The CWIS: The CWIS is the University's Corporate Web Information Service and a web browser must
be used to view the information available. The CFS service has Internet Explorer and when you run this
browser on campus the University's “internal” home page will be displayed. Most of the content is
provided by University staff and many departments will use this service to disseminate their
Regulations of Use: Students must abide by Senate's 'Regulations Concerning the Use of Computing
Services'. These regulations, which are available on the CWIS, state that “The staff of the University
will at all times have authority to maintain good order in the use of the University's computing facilities
and may suspend or exclude from their use any person who breaks these Regulations.”
Access to Computers: Most of our teaching buildings have open access Computer User Areas where
there are computers you can use and some of these rooms have overnight and week-end access.
NOTE: “The University expects students to use computers in open access Computer User Areas only
for legitimate academic purposes and with consideration for others' needs.” (See Appendix E and
Resources Protected by Athens: The University subscribes to a number of database services which
are protected by “Athens”. To obtain access to these resources you must use your CFS username.
NOTE: Support for these external services is provided by staff in the David Wilson Library.
Remote Access to University Email: You can use the Outlook Web Access service to obtain secure
access to your University email from anywhere in the world. A web browser is required and the address
for this service is NOTE: Your CFS username and password will be requested.
Wireless Network Service: The Wireless Network service is freely available to all members of the
University and it provides Internet web browsing and access to your University email and CFS files.
You can also access Blackboard, the University's Virtual Learning Environment (VLE), and if
registered you can obtain access to the ULTRA service (which runs Linux). NOTE: Your laptop must
be suitably configured to connect to the Wireless Network service.
Halls of Residence Network: Facilities for internet access are available in all of the study rooms in
University accommodation. This residential network, which is provided by a commercial ISP, can be
used to access the University's central computing services.
Printing Facilities: Registered students may use the printers in our Computer User Areas. A Copycard
is required to release print jobs and these cards may be purchased from the David Wilson Library. For
more information about the costs please visit the ITS website (see below).
IT Problems: If you are on campus and have an IT related problem or query you can visit the Help
Zone in the David Wilson Library. This is a combined Library and IT Services one-stop-shop for help
and support. You can also contact the IT Service Desk (email: [email protected] or tel: 0116-252-2253)
or your department may have computer support staff who can offer you help.
ITS Website: For more information about the services and support available visit the IT Services
website at
Contact Details IT Service Desk Open: Monday to Friday, 9:00 - 17:00 Tel: 0116-252-2253
Email: [email protected]
Blackboard is a Virtual Learning Environment (VLE) that supports online learning and teaching. It can
be accessed by registered users from anywhere in the world using the Internet and web browsers. You
log on to this via the University home page. You will need your CFS username and password.
Blackboard provides an integrated environment which enables:
 Course materials, such as the Handbook, handouts, slides, reading lists and web links to be
published in a course site facilitating easy access by students. You will find this Handbook,
essay cover sheets, reading lists and essay questions here;
 The creation of group areas to support group tasks such as online discussion and file exchange;
 Displaying announcements; and
 Submission and automatic receipting of electronic coursework submission (via the TURNITIN
University Bookshop
At the front of the David Wilson Library
Opening Hours:
Monday to Friday 9.00am - 5.30pm (during term time)
Monday to Friday 9.00am - 5.00pm (during vacations)
Saturday 9.00am - 12.30pm (all year round)
Throughout October, we will be open until 6.30pm Monday to Thursday.
We endeavour to stock all recommended titles, as well as a range of
stationery and university giftware.
Please note the following points: Some recommended titles may be located in sections other than Literature - please do ask if
you’re looking for something specific.
 If you wish to order a particular book, then speak to a member of staff. Orders generally
arrive within 48 hours.
 The bookshop liase with lecturers prior to the start of term to try and ensure that all of the
required texts are in stock and available for when you’ll need them, but
thinking ahead and purchasing titles in advance of lectures is advised.
 Please be aware that the bookshop stocks multiple editions of recommended texts. If you’re
unsure which edition you need then please ask at the information desk.
The bookshop now offers a scheme that rewards regular shoppers. Please ask in store for your Loyalty
E-mail: [email protected]
Telephone: 0116 229 7440
The Library
Most Library resources for your MA will be housed in the David Wilson Library, centrally placed on
the main campus, but you are also entitled to use the Clinical Sciences Library. You will need your
joint Library/student card, which is issued at registration, to gain entry. Full details of opening hours
and when staffed services are available at all sites are listed in the Library’s leaflets and on the Internet
You are automatically registered with the Library when you start your course. Once you have the
following three essentials, you should be able to access all the services and resources available to you:
 Your Library number is on your Library/student card under the barcode beginning
 Your PIN which will be sent to your University of Leicester email account. You can also
ask for it at the Enquiry Desk.
 Your CFS username and password for which you are required to register with the
Computer Centre.
The Library Catalogue –
We have over a million items in stock, so the key to the Library’s collections is the Library Catalogue.
It can be viewed at computers within the Library, or from anywhere with Internet access. You can use
the catalogue to locate books (print and electronic), print journal titles, theses, dissertations, special
collections and audio-visual material.
The catalogue also allows you to manage your Library borrowing. If you log on using your Library
number and PIN you can check which books you have out on loan, renew your loans, and reserve books
that are on loan to another user.
Location of the Books
English literature is divided according to literary form, so that:
821 English poetry
822 English drama
823 English fiction
824 English prose
Within these divisions, works are arranged chronologically:
821.8 Victorian poetry
823.8 Victorian fiction
Major authors also have a separate classification number:
823.83 Dickens
Not all your books will be shelved close to one another, so you should check the Library catalogue to
find the location of the item you wish to consult, rather than just browse the shelves. Books on the
English language, for example, are at a distant shelf mark from English literature.
420 English linguistics
428 Middle English
429 Old English
Short Loans
Some of the books in heaviest demand are kept in a separate collection in the Express Zone. Short
Loan items are due back the following day at 23:59, except on those issued on a Saturday which are due
at 23:59 on the following Monday.
Renewal of loans
Most items can be renewed, as long as no other borrower has placed a ‘hold’ on the item. You can
renew things online using the Library catalogue, over the telephone (0116 252 2043), or in person at the
Service Desk.
Reserving items on loan
If your chosen book is out on loan, you can place a ‘hold’ using the Library catalogue. This means that,
once the current user has returned it, the item will be kept on one side for you and we will e-mail you to
say it’s available for collection. You can also use this system to request items that are kept in the
external store or in the locked stack (e.g. PhD theses).
These apply if you return books after their due date. The size of the fine corresponds to demand for the
item: short loan items, therefore, carry heavier penalties than normal loan items. Remember though, it
is possible to avoid fines altogether by returning books by their due dates!
For the most up-to-date research on any particular topic you will also want to consult the Library’s
journals. These include scholarly journals on a wide range of subjects: some are concerned with
English literature or language in general (for example, the Review of English Studies), some with
particular periods (for instance, Journal of Victorian Culture), and others with specific authors (such as
the Chaucer Review). Print titles can be found on the Library Catalogue, and are kept in one sequence
in the Basement of the Library. Electronic journal titles are available via Leicester e-link at
Electronic Resources
An increasing amount of information can now be found in electronic form from the Leicester Digital
Library. Recommended resources for your subject can be found in the English Subject Room at From there you can access, amongst
other things, a number of bibliographies that you can use to find where material on your subject is
published. The most important of these are ABELL (Annual Bibliography of English Language and
Literature) and MLA International Bibliography. There is also the MIMAS Web of Science service
that gives you access to the Arts and Humanities Citation Index.
In addition the Library provides access to databases which hold full text versions of texts. Early
English Books Online (EEBO) for example, contains over 125,000 facsimile copies of books published
between 1475 and 1700. Eighteenth Century Collection Online (ECCO) provides access to the digital
images of every page of 150,000 books published during the 18th Century.
Future updates to the Oxford English Dictionary will only be available in the online version. A useful
source for contextual information is the Oxford Dictionary of National Biography Online. The Library
subscribes to both of these.
Study in the Library
Study places are available throughout the Library, and are designated as either ‘quiet study’ or ‘silent
study’ areas. While in the building you are expected not to smoke, eat or drink anything except bottled
water. Mobile phones and other devices likely to cause a disturbance may not be used in the Library
unless their use is silent. Wireless access is available throughout the Library, should you wish to use
your own laptop.
University Regulations
These are set out in the Postgraduate General Regulations. Three extracts are repeated here for your
Complaints Procedure
“The University is committed to providing the highest quality of education possible within
the limits imposed by the resources available to it, and it strives to ensure that its students
gain maximum benefit from the academic, social and cultural experiences it offers. Where
students feel that their legitimate expectations are not being met, or where
misunderstandings about the nature of the University's provision occur, the University
expects that problems will be speedily and effectively dealt with at local level. Its
complaints mechanism is based on the assumption that staff will at all times deal
thoughtfully and sympathetically with students' problems, so as to minimise the extent to
which formal procedures need to be followed.
Students are expected to utilise the consultative and organisational arrangements in place at
departmental and institutional level (these include heads of department, the personal tutor
system, student/staff committees and the Staff/Student Council, the services of the Students'
Union's sabbatical officers and its Education Unit, Hall JCR officials, and various user
groups). Students are expected to familiarise themselves with the constitution and
membership of those bodies which are intended to represent their interests, and for general
complaints about academic matters to avail themselves of the opportunities provided for
direct feedback on the performance of individuals or in relation to the provision of services
(such feedback might include course questionnaires, comment boxes and user surveys).
If matters cannot be resolved informally, students should address any formal complaint in
writing to the senior officer responsible for the relevant area of activity. This must be done
within three months of the conclusion of any departmental consideration of the complaint.”
Most problems can be resolved at departmental level but if you have been unable to resolve your
difficulties in this way you may initiate a formal complaint through the University’s Complaints
Procedure which is detailed in the aforesaid Regulations.
Appeals Procedure
“Review of Decision to recommend termination of course:
Students whose course has been terminated, for whatever reason, including neglect of
academic obligations will be notified of their position by Academic and Research
Services. They will at the same time be informed of their entitlement to appeal against
this decision by submitting evidence of mitigating circumstances or procedural
irregularity on the relevant form. They will also be supplied with details of the way in
which the appeal will be conducted. Students will be required to lodge their appeal
within eight weeks of the date that their termination was confirmed to them in writing
by the University. Where no eligible grounds have been given or where no evidence is
submitted to substantiate claims, the student will be advised accordingly and the appeal
will either be turned down or the student will be offered the opportunity to submit
additional documentary evidence.
Where sufficient evidence has been provided students will subsequently be notified of
the date of the hearing and of their right to attend. The appeal hearing is conducted by
a panel comprising three members of academic staff drawn from outside the appellant’s
own department. Panels will normally be chaired by the Graduate Dean. The Appeal
Form which the student must complete can be found at:
Appeal against the award of a lesser qualification:
If a Board of Examiners recommends that a student registered on a Masters programme
be transferred to Postgraduate Diploma during the course of their studies, or be
awarded a Postgraduate Diploma or Postgraduate Certificate on completion of their
studies, a student will have the right to appeal. Students may appeal against this
decision if:
They are in possession of evidence about the reasons for their academic
performance which, for good reason, was not available to the Board of
Examiners or which was only partially available (for example if additional
medical evidence has been obtained subsequent to the meeting of the Board
of Examiners)
There appears to have been a procedural irregularity in the conduct of the
examining or assessment process
There appears to be evidence of prejudice or bias in the conduct of the
assessment process
Appeals which simply challenge the academic judgement of the examiners will not be
Students will be notified of the decision of the Board of Examiners by Academic and
Research Services. They will at the same time be informed of their entitlement to
appeal against this decision by submitting evidence of mitigating circumstances on the
relevant form and be provided with deadlines for the submission of this, which will be
within eight weeks of the date that their lesser award was confirmed in writing to them
by the University. Where no eligible grounds have been given or where no evidence is
submitted to substantiate claims, the student will be advised accordingly and the appeal
will either be turned down or the student will be offered the opportunity to submit
additional documentary evidence.
Where sufficient evidence has been provided students will subsequently be supplied
with details of the way in which the appeal will be conducted. Students will be
required to lodge their appeal within two months of the date that their termination was
confirmed to them in writing by the University. They will subsequently be notified of
the date of the hearing and of their right to attend. The appeal hearing is conducted by
a panel comprising three members of academic staff drawn from outside the appellant’s
own department. Panels will normally be chaired by the Graduate Dean. The Appeal
Form which the student must complete can be found at:
The Education Unit in the Students’ Union can provide advice to students submitting
appeals in either category.
The University reserves the right to refuse to continue with the operation of appeals
procedures if the appeal is conducted in a way which is abusive, offensive, defamatory,
aggressive or intimidating, or pursued in an unreasonably persistent or vexatious
manner. In such cases the final decision rests with the Senior Pro-Vice-Chancellor.”
Students should be advised that the full appeals process is laid out in the General Regulations for
Undergraduate and Taught Postgraduate students, and can be viewed via:
Notification of Ill Health
“Students who suffer a minor illness for a period of less than seven days are required to
report this to their departments:
if the illness leads to absence from classes at which attendance is compulsory;
where it might be a contributory factor in a failure to meet course deadlines or to
perform up to expectations in any academic assignment.
Students must self-certify their illness using a standard form [Appendix F] available from
departmental offices, and must report the illness as soon as they are fit to do so.
Where the illness is of more than seven days’ duration or is of a non-minor nature, medical
advice should be sought and a medical certificate submitted to the University. Students are
responsible for collecting medical certificates from the Freemen’s Common Health Centre
and supplying a copy to their department and to the Registry (for postgraduate taught
students and undergraduate students other than MBChB students), the Medical School
Office (for MBChB students), or the Graduate Office (for postgraduate research students).
Students registered with other general practices should ensure that their medical certificates
are similarly distributed.”
Our Mission Statement
SPELL is an exciting new society run by postgraduate students for postgraduate students. Our mission
is to ‘to promote and facilitate networking between researchers’. The SPELL committee is made up of
Masters and PhD students, full and part-time; we therefore understand the different experiences and
challenges postgraduate study presents. Research can be isolating; SPELL members at Leicester,
however, will find themselves part of a thriving postgraduate community. Our membership is always
growing and includes international and home students, full and part-time students, mature students and
recent graduates. In 2009/10 we had over 50 members.
We support literary events in and outside the University, in addition to hosting informal events. In our
first year, SPELL organised a Welcome reception and dinner, coffee mornings, a Christmas buffet and a
summer drinks reception. We also host the Postgraduate Forum, a quarterly event where students can
practise giving conference papers and talk about their research in an informal, non-assessed
environment. Members are welcome to come to as many or as few events as they choose. Event
announcements are sent out via e-mail, posters in the Attenborough tower and postgraduate room, as
well as on the ‘Postgraduate Activities’ area of Blackboard. This is a great way to meet lots of people
with similar experiences.
Feel free to use the tea/coffee facilities in the postgraduate room in the Attenborough tower (1613), just
leave 30p in the pot per drink to help us keep it running.
Fees and Further Information
For further details about fees and joining, please contact Sonia Suman: [email protected]
In October 2010, the new committee will be elected; positions available include treasurer, secretary,
publicity officer, MA reps (up to 3).
President – Sonia Suman
Postgraduate Forum
The Postgraduate Forum was originally set up in April 2005 by a research student in and for the School
of English. The Forum welcomes papers from all researchers in the School of English on any topic.
This is an opportunity for students to present their work in an informal, friendly and non-assessed
environment. It is ideal for students who are preparing for the APG upgrade, or to present at a
conference. We invite papers of 15-20 minutes on any aspect of your research. The evening will consist
of 3 papers followed by a short question and answer session. Individuals not wishing to present a whole
paper will also have the opportunity to talk about their research. Refreshments are provided.
The Forum takes place quarterly, on Thursdays at 5pm. Look out for Call for Papers and venue details.
If you are interested in presenting at or chairing the Forum please e-mail Sonia Suman ([email protected]).
School of English
This sheet offers feedback on the quality of your written communication skills. Please note that while this sheet may reflect and inform the essay
mark you have received, your final mark is not determined by any one category circled below. Essays are assessed through a careful consideration
of all of the general areas listed: weaknesses in one or more areas may be outweighed by strengths in others.
Important: if you have not attained at least a Pass in any of the areas listed below, you must consult again the study skills and marking criteria
sections in the Handbook. Should you require additional verbal feedback on your performance in this essay you may consult your personal tutor.
Relevance to the question
Distinction Merit
Distinction Merit
Readability: clarity and appropriateness of expression (including
grammar, spelling and punctuation)
Distinction Merit
Pass Fail
Critical analysis and evaluation of texts
Distinction Merit
Pass Fail
Independent thinking
Distinction Merit
Presentation (including referencing, formatting and proof reading)
Distinction Merit
Pass Fail
Argument (cogency and structure)
Distinction Merit
Pass Fail
Substantiation/Use of evidence
Distinction Merit
Pass Fail
First marker’s comments:
Second marker’s comments:
Agreed Mark (subject to confirmation by the Board of Examiners):
School of English
This sheet offers feedback on the quality of your written communication skills. Please note that while this sheet may reflect and inform the mark
you have received, your final mark is not determined by any one category circled below. Creative writing is assessed through a careful
consideration of all of the general areas listed: weaknesses in one or more areas may be outweighed by strengths in others.
Important: if you have not attained at least a Pass in any of the areas listed below, you must consult again the study skills and marking criteria
sections in the Handbook. Should you require additional verbal feedback on your performance in this essay you may consult your personal tutor.
Language: control and handling of language
Distinction Merit
Pass Fail
Readability: clarity and appropriateness of expression (including
grammar, spelling and punctuation)
Distinction Merit
Pass Fail
Observation: use and control of observed detail
Distinction Merit
Pass Fail
Voice: control of narrative/lyric voice
Distinction Merit
Pass Fail
Genre: handling of generic conventions
Distinction Merit
Pass Fail
Structure and organisation
Distinction Merit
Presentation (including referencing, formatting and proof reading)
Distinction Merit
Pass Fail
First marker’s comments:
Second marker’s comments:
Agreed Mark (subject to confirmation by the Board of Examiners):
School of English
This sheet offers feedback on the quality of your written communication skills. Please note that while this sheet may reflect and inform the mark
you have received, your final mark is not determined by any one category circled below. Reflective commentaries are assessed through a careful
consideration of all of the general areas listed: weaknesses in one or more areas may be outweighed by strengths in others.
Important: if you have not attained at least a Pass in any of the areas listed below, you must consult again the study skills and marking criteria
sections in the Handbook. Should you require additional verbal feedback on your performance in this essay you may consult your personal tutor.
Explanation of aims and process of revision
Distinction Merit
Pass Fail
Readability: clarity and appropriateness of expression (including
grammar, spelling and punctuation)
Distinction Merit
Pass Fail
Engagement with significant features (e.g. language,
observation, voice, genre, structure, presentation)
Distinction Merit
Pass Fail
Contextualisation in existing creative (and, where
appropriate, critical) literature
Distinction Merit
Pass Fail
Presentation (including referencing, formatting and proof reading)
Distinction Merit
Pass Fail
Response to feedback from tutor and students
Distinction Merit
Pass Fail
First marker’s comments:
Second marker’s comments:
Agreed Mark (subject to confirmation by the Board of Examiners):
Name of student:………………………………………………………………………
Proposed Title of Dissertation:
Subject and Focus (maximum 200 words)
Aims and Methods (maximum 400 words)
Sources to be consulted
Date Received in Office:
Approved by MA Convenor:
Deadlines for submission:
Part time Year 2
12noon Wednesday 9 February 2011
Full time
12noon Wednesday 1 June 2011
IT Services
Open Access PC Area Information
For latest information see
(Please print your details clearly)
Date of Birth: …………………………………………………………………………………
Student Number: …………………………………………………………………………….
(if known)
Course and Year: ....................................................................................................…………
New Term-time/Local Address:
Tel: ………………………………………… Postcode: …………………………………..
New Home Address
Tel: ………………………………………… Postcode: …………………………………..
New Email Address ……………………………………………………………………….
Signed: ………………………………………
Note: The above information is entered onto the University’s computerised student record system.
This notification form need not be used at the beginning of the academic year if a change of address
has been recorded on a registration form submitted at that time.
Semester I
Please fill in this form prior to meeting your Personal Tutor.
Student: ………………………………………………………………………………………
Personal Tutor: ……………………………………………………………………………...
Date and Time of Meeting: …………………………………………………………………
What are my greatest achievements on the course to date?
What challenges has the course posed so far?
What are my strengths?
What areas of my work require development?
How have the training courses I’ve attended enhanced my skills?
What working relationships have I established?
Which working relationships have been most fruitful and why?
Which working relationships require development?
What are my goals for Semester II?
How do I plan to meet them?
Now please send your completed form by email attachment to your Personal Tutor and request a meeting with
him or her to take place before the end of Semester I.
Semester II
Please fill in this form prior to meeting your Personal Tutor.
Student: ………………………………………………………………………………………
Personal Tutor: ……………………………………………………………………………...
Date and Time of Meeting: …………………………………………………………………
What are my greatest achievements on the course to date?
What challenges has the course posed so far?
What are my strengths?
What areas of my work require development?
How has the training I’ve undertaken enhanced my skills?
What sources of knowledge and expertise will I need to consult in order to research and write my
dissertation (e.g. libraries / archives)?
What contacts have I already made / do I need to make (within and beyond the University)?
Who would be best to consult, beyond my supervisor, in order to further my research (amongst my
peers, in the library, in other departments, outside the University)?
What are my career plans post-course (e.g. further study, employment)?
How do I plan to investigate possible career options?
How has this MA prepared me for my chosen career?
Now please send your completed form by email attachment to your supervisor and request a meeting with him or
her to take place before the end of Semester II.
Important Telephone Numbers and
Safety Information
Emergency Numbers
To summon the fire brigade, police,
or ambulance from an internal phone:
If there is no reply:
From an external phone / payphone:
dial 888
dial 9 then 999
dial 999
Other Important Numbers
Careers Service:
Counselling Service:
Health Centre (incl. out of hours):
IT Services:
Sick Bay:
Student Development:
Students’ Union:
Welfare Service:
252 5002
252 3000
252 2004
285 6493
223 1780
255 4776
252 2253
252 2043
223 1268
252 5090
223 1111
223 1185
[email protected]
[email protected]
[email protected]
ch[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
School Contacts
Head of School
Director of Postgraduate Study
Postgraduate Administrator
P/G Student-Staff Committee
Health and Safety Officer
Equal Opportunities Officer
Computer Officer ) accounts &
Computer Admin ) swipe cards
Prof Martin Halliwell
Prof Gail Marshall
Dr Paula Warrington
Prof Phil Shaw
252 2645
252 2638
252 3943
252 2632
[email protected]
[email protected]
[email protected]
[email protected]
Dr Philip A. Shaw
Dr Victoria Stewart
Dr Philip A. Shaw
Dr Paula Warrington
252 5363
252 2634
252 5363
252 3943
[email protected]
[email protected]
[email protected]
[email protected]
For your own useful numbers:
The two teaching semesters are superimposed on three periods of residence. These periods of
residence, still designated terms, are as follows for the coming sessions:
Autumn term
(First Semester)
04 October–17 December
(04 October–21 January)
Spring term
(Second Semester)
17 January–01 April
(24 January–01 July)
Summer term
09 May–01 July
Autumn term
(First Semester)
03 October-16 December
(03 October-27 January)
Spring term
(Second Semester)
16 January-30 March
(30 January-29 June)
Summer term
07 May-29 June
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