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M.A. in MODERN LITERATURE M.A. in MODERN LITERATURE AND CREATIVE WRITING School of English University of Leicester University Road Leicester LE1 7RH 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: pftw1@le.ac.uk Website: www.le.ac.uk/english Cover illustration: ‘La Liseuse Distraite’, 1919, Henri Matisse, THE TATE GALLERY, LONDON; © Succession of H. Matisse/DACS 1991. Photo credit John Webb. 1 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 2 CONTENTS THE COURSE 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 Assessment … … … … 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 … … … … 4 6 7 8 18 24 25 29 33 36 37 39 42 46 48 49 51 53 54 55 56 57 THE STAFF Tutors and their locations … … … … 61 … … … … … … … … … … … … … … … … … … 64 64 66 67 70 71 72 74 77 … … … … … … … … … 78 79 80 81 82 83 84 85 87 … … … 89 90 91 THE UNIVERSITY Safety information … … Communications … … Postgraduate Personal Development Planning (PDP) University services and facilities … … IT Services (including Blackboard)… … University Bookshop … … The Library … … University Regulations … … SPELL and the Postgraduate Forum … APPENDICES 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. COURSE TIMETABLE 2010/2011 *See www.le.ac.uk/av/avsrooms/index.html 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 & Tutors Week 2 13 Oct 10am-12noon Bibliography, Research Methods and Writing Skills course Various Tutors Week 2 Week 3 Week 4 13 Oct 20 Oct 27 Oct 2pm-4pm 2pm-4pm 2pm-4pm A Movement I: Modernism A Movement II: Modernism A Movement III: Modernism See separate timetable for venues Att 202 Att 202 Att 202 Week 5 Week 6 Week 7 3 Nov 10 Nov 17 Nov 2pm–4pm 2pm–4pm 2pm-4pm 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 10am-12noon Week 9 Week 10 Week 11 Week 11 1 Dec 8 Dec 15 Dec 15 Dec 2pm-4pm 2pm-4pm 2pm-4pm 10am-12noon 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 timetable Att 202 Att 202 Att 202 PHY LTC (Physics Lecture Theatre C) L. Evans L. Evans L. Evans E. Parker/ N. Everett Option Module I Either: 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 Or: 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 4 SEMESTER 2 (Spring Term) Week 13 26 Jan –––– Writing Week –––– Week 14 2 Feb 2pm-4pm A Decade I: The 1940s Att 210 V. Stewart Week 15 9 Feb 2pm-4pm A Decade II: The 1940s Att 210 V. Stewart Week 16 Week 17 16 Feb Tue 22 Feb Wed 23 Feb 2pm-4pm A Decade III: The 1940s Film screening prior to Wednesday seminar AIDS Narratives Att 210 Att UFT V. Stewart S. Graham Att 210 S. Graham Tue 1 Mar Wed 2 Mar 11am-2pm Film screening prior to Wednesday seminar AIDS Narratives Att UFT S. Graham Att 210 S. Graham 11am-2pm Film screening prior to Wednesday seminar AIDS Narratives Att UFT S. Graham Att 210 S. Graham Week 20 Tue 8 Mar Wed 9 Mar 16 Mar Att 210 C. Fowler Week 21 23 Mar 2pm-4pm Att 210 C. Fowler Week 22 30 Mar 2pm-4pm 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 11am-2pm 2pm-4pm 2pm-4pm 2pm-4pm 2pm-4pm Option Module 2 Either: Literature in Exile: American Writers in Paris (FT and PT2) (2pm-4pm, Tuesdays, five meetings, commencing 1 February 2011, in Att. 1302) M. Halliwell Or: 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 2pm-4pm Dissertation Proposals Preparation meeting Dissertation Proposals presentations Week 25 25 May 5pm-6pm 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: NB To be advised Students only To be advised To be advised All tutors and students All tutors and students 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 PFTW1@LE.AC.UK). 5 EN7001: BIBLIOGRAPHY, RESEARCH METHODS AND WRITING SKILLS FOR POSTGRADUATES 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. Week No. 2 Date 13 October Venue LIB SR Topic RESEARCH IN LEICESTER Dr D'Arcy, Dr Dawson, Dr Lund, Dr Morley ELECTRONIC SOURCES OF INFORMATION I: Search strategies and online catalogues BIOGRAPHY AND LIFE STORIES Mr B Marshall (Library) (Library 1st Floor) 3 20 October LIB IT R1 4 27 October LIB IT R1 5 3 November LIB SR 6 10 November LIB IT R1 7 17 November LIB IT R1 8 24 November 10 8 December 11 Mr B Marshall (Library) Mr B Marshall (Library) Ms E Cornell (Library) MEDIEVAL AND EARLIER PERIODS Dr A M D’Arcy Contact NE for details CREATIVE WRITING Nick Everett FJSW SR1 LIB SR MODERN LITERATURE PRESENTATION SKILLS Dr S Graham Dr Duncan Stanley (Student Development) Dr G Dawson & Dr J North Att 1315 1 December ACADEMIC WRITING AND REFERENCING ELECTRONIC SOURCES OF INFORMATION II: Online databases and web resources MANAGING REFERENCES AND CITATIONS: RefWorks. Hands-on session SPECIALIST SESSIONS: Dr D'Arcy, Dr Dawson, Dr Lund, Dr Morley Dr J North HISTORICAL SOURCES AND 19th CENTURY PARLIAMENTARY PAPERS LIB IT R1 9 Tutor LIB SR (10am-11am) PREPARING YOUR BIBLIOGRAPHY PRESENTATION LIB SR (11am-12noon) WRITING A HISTORY ESSAY (Victorian Studies only) Prof R Colls Att 1315 (11am-12noon) PREPARING A CREATIVE DISSERTATION Nick Everett 15 December BIBLIOGRAPHICAL EXERCISE: Student Presentations: Att 1315 I. Research and MA English Studies Dr Sarah Knight & Dr O Da Rold LIB SR II. MA Victorian Studies Dr G Dawson & Dr J North III. MA Modern Literature Dr E Parker & Nick Everett PHY LTC 6 Modern Literature Research Seminar Series Wednesdays 4.30-6.00pm (venue to be confirmed) Semester I 20 October: Dr Rachel Potter (University of East Anglia), ‘Obscene Modernism’. 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’. 7 Module Descriptions EN7001 BIBLIOGRAPHY, RESEARCH METHODS AND WRITING SKILLS FOR POSTGRADUATES (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 dissertation. 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. 8 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 EN7031 CORE MODULE I: 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 writers 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 literature comment on how and why a genre develops in particular ways in a particular time and place 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 p.46. Deadline for Core I essay 1: 12noon on 1 December 2010. Deadline for Core I essay 2: 12noon on 2 February 2011. 9 EN7032 CORE MODULE II: 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 1940s identify and analyse the themes and issues raised by AIDS narratives critically analyse, and compare and contrast, the textual strategies employed by different AIDS Narratives 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. OPTION MODULE I (FT and PT2) Either: EN7134 LITERATURE AND GENDER: DEVIANT BODIES AND DISSIDENT DESIRES (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. 10 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 sexuality 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. Or: EN7133 POETRY WRITING AND CONTEMPORARY POETRY (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 11 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 genre 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. OPTION MODULE II (FT and PT2) Either: EN7132 LITERATURE IN EXILE: AMERICAN WRITERS IN PARIS (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. 12 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 writers. Deadline: 12 noon 11 May 2011. Or: EN7135 WRITING FICTION 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 13 demonstrate control of basic elements of fiction, such as plot, characterisation and point of view 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. EN7033 CRITICAL DISSERTATION 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 questions 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. 14 EN7034 CREATIVE DISSERTATION 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 commentary 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. 15 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. N.B. 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) 1. 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. 16 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). 2. 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 proposal.) 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. 3. Supervision 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. 17 FULL READING LIST 2010/2011 AUTUMN TERM (Semester I) EN7031: CORE MODULE I A Movement: MODERNISM (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 frameworks. 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. 18 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. General 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, 1991). 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, 1998). 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, 1990). 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). 19 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, 2000). Perkins, David, Is Literary History Possible? (Baltimore and London: Johns Hopkins University Press, 1992). 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, 1993). 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, 1997). 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). 20 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, 1996). 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): 1-17. Lorenz, Dagmar, ed., A Companion to the Works of Arthur Schnitzler (New York: Camden House, 2003). 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, 1980). 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, 2004). 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). 21 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, 1972). 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). 22 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, 1991). 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, 1999). 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). 23 Woolf, Virginia, On Women and Writing. Sel. and Ed. Michèle Barrett (London: Women’s Press, 1979). 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, 1980). 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, 1964). 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. An Author: MURIEL SPARK (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 24 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, 1992). 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 (pp.235-241). 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). A Genre: THE CARIBBEAN SHORT STORY (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 25 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, Barbados’ 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, 2002) 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) 26 Condé, Mary and Thorunn Lonsdale (eds), Caribbean Women Writers: Fiction in English (Macmillan, 1998) 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, 2001) 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, 1997) 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: http://anthurium.miami.edu/volume_4/issue_2/cooper-self.html] Covi, Giovanna, Jamaica Kincaid’s Prismatic Subjects: Making Sense of Being in the World (Mango, 2004) 27 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, 1994) 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, 1996) 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: http://jsse.revues.org/index793.html] 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: http://jsse.revues.org/index804.html] 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: http://anthurium.miami.edu/volume_3/issue_2/westall-meninthe.htm] 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 www.robertantoni.com [this website contains interviews, critical writing and reviews] 28 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 catalogue] 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– 30 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: http://anthurium.miami.edu/home.htm 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: http://jsse.revues.org/ Studies in Short Fiction – available online through the library catalogue OPTION MODULE I (FT AND PT2) Either: EN7134: LITERATURE AND GENDER: DEVIANT BODIES AND DISSIDENT DESIRES (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 29 (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, 1997). Wittig, Monique, The Straight Mind and Other Essays (Hemel Hempstead: Harvester Wheatsheaf, 1992). 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, 2000). 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, 2005). 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, 1998). 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). 30 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, 1997). 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): 434-60. 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. 31 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, 1993). 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. Or: 32 EN7133: POETRY WRITING AND CONTEMPORARY POETRY (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, 2000). 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). Anthologies 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). American 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). Criticism 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). American 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). 33 Vendler, Helen, Soul Says: On Recent Poetry (Cambridge, Massachusetts: Harvard University Press, 1995). 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, 1996). 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, 2000). 34 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, 2002). 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, 2000). 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, 1996). 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), 136-145. MacFarland, Ronald, ‘The Contemporary Villanelle’, Modern Poetry Studies, vol 11 nos 1 & 2 (1982), 113-127. 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). 35 SPRING TERM (Semester II) EN7032: CORE MODULE II 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, 2007). 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). 36 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, 1997). 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. AIDS NARRATIVES (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 37 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: http://www.avert.org/america.htm. 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: <http://www.sensesofcinema.com/contents/05/34/new_queer_cinema.html> 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): 648-67. 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, 2004). -- ‘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, 1995). 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). 38 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, 2005). 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, 1988). 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, 1998). 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). WOMEN'S TRAVEL WRITING & POSTCOLONIAL FEMINIST THEORY Weeks 20, 21, 22 (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. 39 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. 25-45) 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) 40 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: www.informaworld.com/smpp/content~content=a790459872~db=all~jumptype=rss 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, 2003) 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, 1992) 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, 2003) 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) 41 OPTION MODULE II (FT AND PT2) Either: EN7132 LITERATURE IN EXILE: AMERICAN WRITERS IN PARIS (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 General 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, 1982). --------, Dangerous Pilgrimages: Trans-Atlantic Mythologies and the American Novel (London: Penguin, 1996). 42 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, 1987). 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., 1971). 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, 1996). 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). 43 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., 1994). 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, 1975). 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). 44 Kostelanetz, Richard, Gertrude Stein Advanced: An Anthology of Criticism (London: McFarland, 1990). 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). 45 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., 1989). 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. Or: EN7135: WRITING FICTION 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, 2002) *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) 46 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) 47 CODE OF PRACTICE Assessment The degree of MA will be awarded on the successful completion of the following modules: Module Credit Weighting EN7001: Bibliography, Research Methods and Writing Skills EN7031: Modern Literature and Theory I (Core module I) EN7032: 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 20/180 30/180 30/180 20/180 20/180 60/180 180 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 second. 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 50–59% 60–69% 70+% = = = = Fail Pass Merit Distinction 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. Classifications Distinction 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. Merit 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. 48 Pass 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. Assessment Masters To be awarded a master’s degree a candidate must: (i) obtain at least 90 credits at 50% or above in the taught modules and no more than 15 credits below 40%; (ii) have satisfactorily completed all coursework requirements in the taught modules; and (iii) achieved a mark of 50% or above in the dissertation. To be awarded a master’s degree with merit a candidate must: (i) obtain at least 60 credits at 60% or more in the taught modules; (ii) achieve a mark of 60% or above for the dissertation; and (iii) have no fail marks To be awarded a master’s degree with distinction a candidate must: (i) obtain at least 90 credits at 70% or above in the taught modules and a mark of 60% or above in the dissertation; or (ii) obtain at least 60 credits at 70% or above in the taught modules and a mark of at least 70% in the dissertation; and (iv) have no fail marks. Postgraduate Diploma To be awarded a Postgraduate Diploma a candidate must: (i) obtain at least 90 credits at 50% or above with no more than 15 credits below 40%; and (ii) have satisfactorily completed all coursework requirements To be awarded a Postgraduate Diploma with merit a candidate must: (i) obtain at least 60 credits or more at 60% or above; and (ii) have no fail marks. To be awarded a Postgraduate Diploma with distinction a candidate must: (i) obtain at least 90 credits or more at 70% or above; and (ii) have no fail marks. Postgraduate Certificate To be awarded a Postgraduate Certificate a candidate must: (i) obtain at least 45 credits at 50% or more in the taught modules and no marks less than 40%; and (ii) have satisfactorily completed all coursework requirements. 49 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 (www.style.mhra.org.uk). 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 avsprint@le.ac.uk. You are free to select your own choice of colour for the cover. 50 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 RTF) 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. 51 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. 52 EN7001: BIBLIOGRAPHY, RESEARCH METHODS AND WRITING SKILLS FOR POSTGRADUATES MARKING CRITERIA FOR BIBLIOGRAPHY PRESENTATION No mark is final until ratified by the External Examiner. Use of academic referencing conventions Virtually faultless Range of sources Merit Minor errors in a small minority of entries Evidence of breadth Pass Fail Distinction Relevance and appropriateness of sources All items very relevant and appropriate Rationale and procedures for selection Clarity of presentation Sophisticated and clear rationale, very thorough procedures Lucid A very large majority of items relevant and appropriate Very good rationale, thorough procedures Coherent Minor errors in the Satisfactory minority of entries/minor systematic errors The majority of items relevant and appropriate Satisfactory rationale and procedures Satisfactory Minor errors in the majority of entries/ major systematic errors The minority of items relevant and appropriate Unsatisfactory rationale and procedures Lacking in coherence Very wide Limited 53 MARKING CRITERIA FOR ESSAYS AND THE CRITICAL DISSERTATION No mark is final until ratified by the External Examiner. Mark Distinction: 70+ Merit: 60–69 Pass: 50–59 Fail: below 50 Criteria 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 conventions. 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. 54 MARKING CRITERIA FOR CREATIVE WRITING No mark is final until ratified by the External Examiner. Language Observation Voice Genre Structure Presentation Distinction 70+ Full control and excellent, precise and original handling of language Excellent use and control of observed detail Excellent and original handling of generic conventions Full control of structure; excellent, imaginative organisation Merit 60-69 Overall control and very assured handling of language Very good use and control of observed detail Very good, and in places original, handling of generic conventions Overall control of structure; very good, coherent organisation Excellent, impeccable presentation; formatting of professional, publishable standard Very good presentation with very few errors; formatting correct Pass 50-59 Sound control and for the most part assured handling of language For the most part assured use and control of observed detail Sound, for the most part assured handling of generic conventions Good control of structure; competent, mainly coherent organisation Good presentation with not many errors; formatting for the most part correct Fail 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 register Limited control of narrative/lyric voice or dialogue; poor handling of tone and register Poor, incompetent handling of generic conventions Limited control of structure; poor, incoherent organisation Poor presentation with many and/or major errors; formatting incorrect 55 MARKING CRITERIA FOR REFLECTIVE COMMENTARIES ON CREATIVE WRITING Distinction 70+ Merit 60-69 Pass 50-59 Fail 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 features 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 features (and, where appropriate, criticism) 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 56 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 UNIVERSITY OF LEICESTER 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. 57 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 (http://www.le.ac.uk/studentdevelopment) or make an appointment for individual advice. 58 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 programme 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 Diploma 59 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 thesis Normally failure without the right of resubmission 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 (www2.le.ac.uk/offices/ssds/sd) 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: http://www.le.ac.uk/ssds/slc/plagiarism.html 60 COURSE TUTORS Room 1510 LUCY EVANS BA MA PhD (Leeds) email lae9@le.ac.uk 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 ngre1@le.ac.uk 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. NICK EVERETT BA (Oxford) Room 1513 252 1435 email csf11@le.ac.uk 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 shsg1@le.ac.uk 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) 61 MARTIN HALLIWELL BA MA (Exeter) PhD (Nottingham) Room 1302 252 2645 email mrh17@le.ac.uk 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 catherinemorley@le.ac.uk 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. CATHERINE MORLEY BA MA (NUI) PhD (Oxford Brookes) Room 1405 252 2630 email ep27@le.ac.uk 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 (www.cwwn.org.uk). EMMA PARKER BA, PhD (Birmingham) Room 1309 252 2621 email maj@le.ac.uk 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) 62 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 Association. Room 1314 252 2634 email vas6@le.ac.uk 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. VICTORIA STEWART BA(Sheffield) MA PhD(Leeds) 63 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. Accidents 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). Paternoster In order to prevent the paternoster from constantly breaking down, students are asked strictly to observe the safety requirements posted in each car. Communications 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. 64 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 (gm181@le.ac.uk), 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. 65 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 http://www.le.ac.uk/learning/pdp/, 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. References 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. Photocopying 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. Books 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… 66 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 www.le.ac.uk/su). 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: sdzhelpdesk@le.ac.uk, web: www2.le.ac.uk/offices/ssds/sd 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: careers@le.ac.uk, web: http://www.le.ac.uk/careers/ 67 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: accessable@le.ac.uk, web: http://www.le.ac.uk/accessability/ 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 issues. 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 trusts. 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: welfare@le.ac.uk, web: http://www.le.ac.uk/welfare/ 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, 68 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: counselling@le.ac.uk, web: http://www.le.ac.uk/counselling/ 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: mentalhealth@le.ac.uk. 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 healthyliving@le.ac.uk, web: http://www2.le.ac.uk/offices/ssds/healthy-living-for-students. 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: healthyliving@le.ac.uk, web: http://www2.le.ac.uk/offices/ssds/healthy-living-for-students/healthresource/health/freemans-common-health-centre 69 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 register. 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 information. 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 http://www2.le.ac.uk/offices/itservices/resources/cs/2ls/oapca.) 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 http://webmail.le.ac.uk/ 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: ithelp@le.ac.uk 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 http://www.le.ac.uk/its/ 70 Contact Details IT Service Desk Open: Monday to Friday, 9:00 - 17:00 Tel: 0116-252-2253 Email: ithelp@le.ac.uk Blackboard 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 site). University Bookshop Location: 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. Facilities: 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 Card. Enquiries: E-mail: bookshop@le.ac.uk Telephone: 0116 229 7440 71 The Library Introduction 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 at http://www.le.ac.uk/library/about/hours.html Essentials 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 075……. 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 – https://library.le.ac.uk 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. 72 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). Fines 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! Journals 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 http://ezproxy.lib.le.ac.uk/login?url=http://resolver1.sirsi.co.uk 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 http://rooms2.library.le.ac.uk/rooms/portal/page/22756_English. 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. 73 University Regulations These are set out in the Postgraduate General Regulations. Three extracts are repeated here for your convenience: 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: http://www.le.ac.uk/ua/ac/gradoff/campus/Forms/pgappealform.pdf 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 74 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 considered. 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: http://www.le.ac.uk/ua/ac/gradoff/campus/Forms/pgappealform.pdf 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: http://www.le.ac.uk/ua/ac/Regs/index.html 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: (a) (b) 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 75 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.” 76 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. Events 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: sds8@le.ac.uk. 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 (sds8@le.ac.uk). 77 School of English APPENDIX A POSTGRADUATE ASSESSMENT FEEDBACK: WRITTEN WORK CANDIDATE NO.: DATE: MODULE TITLE & NO.: NAME OF TUTOR: ESSAY TITLE: NO. OF WORDS: 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. I HAVE READ, UNDERSTOOD, AND AGREE TO ABIDE BY THE SECTION ON PLAGIARISM IN THE HANDBOOK (TICK BOX) 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 Pass Fail Knowledge Distinction Merit Fail Pass 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 Pass Fail 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): 78 School of English APPENDIX B POSTGRADUATE ASSESSMENT FEEDBACK: CREATIVE WRITING CANDIDATE NO.: DATE: MODULE TITLE & NO.: NAME OF TUTOR: TITLES OF POEMS/STORIES: NO. OF WORDS: 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. I HAVE READ, UNDERSTOOD, AND AGREE TO ABIDE BY THE SECTION ON PLAGIARISM IN THE HANDBOOK (TICK BOX) 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 Pass Presentation (including referencing, formatting and proof reading) Distinction Merit Pass Fail Fail First marker’s comments: ___________________________________________________________________________________________________________ Second marker’s comments: Agreed Mark (subject to confirmation by the Board of Examiners): 79 School of English APPENDIX C POSTGRADUATE ASSESSMENT FEEDBACK: REFLECTIVE COMMENTARIES ON CREATIVE WRITING CANDIDATE NO.: DATE: MODULE TITLE & NO.: NAME OF TUTOR: TITLE OF REFLECTIVE COMMENTARY: NO. OF WORDS: 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. I HAVE READ, UNDERSTOOD, AND AGREE TO ABIDE BY THE SECTION ON PLAGIARISM IN THE HANDBOOK (TICK BOX) 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): 80 MA MODERN LITERATURE APPENDIX D DISSERTATION PROPOSAL 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 81 APPENDIX E IT Services Open Access PC Area Information For latest information see www.le.ac.uk/cc/dsss/docs/UserAreaList.pdf 82 UNIVERSITY OF LEICESTER APPENDIX F NOTIFICATION OF CHANGE OF ADDRESS (Please print your details clearly) Name:........................................................................................................…………………… 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 ………………………………………………………………………. Date:…………………………………… 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. 83 APPENDIX G 84 APPENDIX H SCHOOL OF ENGLISH POSTGRADUATE PERSONAL DEVELOPMENT PLAN Semester I Please fill in this form prior to meeting your Personal Tutor. Student: ……………………………………………………………………………………… Personal Tutor: ……………………………………………………………………………... Date and Time of Meeting: ………………………………………………………………… 1. What are my greatest achievements on the course to date? 2. What challenges has the course posed so far? 3. What are my strengths? 4. What areas of my work require development? 85 5. How have the training courses I’ve attended enhanced my skills? 6. What working relationships have I established? 7. Which working relationships have been most fruitful and why? 8. Which working relationships require development? 9. What are my goals for Semester II? 10. 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. 86 APPENDIX I SCHOOL OF ENGLISH POSTGRADUATE PERSONAL DEVELOPMENT PLAN Semester II Please fill in this form prior to meeting your Personal Tutor. Student: ……………………………………………………………………………………… Personal Tutor: ……………………………………………………………………………... Date and Time of Meeting: ………………………………………………………………… 1. What are my greatest achievements on the course to date? 2. What challenges has the course posed so far? 3. What are my strengths? 4. What areas of my work require development? 5. How has the training I’ve undertaken enhanced my skills? 87 6. What sources of knowledge and expertise will I need to consult in order to research and write my dissertation (e.g. libraries / archives)? 7. What contacts have I already made / do I need to make (within and beyond the University)? 8. 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)? 9. What are my career plans post-course (e.g. further study, employment)? 10. How do I plan to investigate possible career options? 11. 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. 88 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 AccessAbility: Bookshop: Careers Service: Chaplaincy: Counselling Service: Health Centre (incl. out of hours): IT Services: Library: 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 accessable@le.ac.uk bookshop@le.ac.uk careers@le.ac.uk chaplaincy@le.ac.uk counselling@le.ac.uk healthyliving@le.ac.uk ithelp@le.ac.uk libdesk@le.ac.uk sickbay@le.ac.uk sdzhelpdesk@le.ac.uk www.le.ac.uk/su/ welfare@le.ac.uk School Contacts Head of School Director of Postgraduate Study Postgraduate Administrator P/G Student-Staff Committee Chair 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 Room 1302 1313 1312 1310 252 2645 252 2638 252 3943 252 2632 mrh17@le.ac.uk gm181@le.ac.uk pftw1@le.ac.uk ps14@le.ac.uk Dr Philip A. Shaw Dr Victoria Stewart Dr Philip A. Shaw Dr Paula Warrington 1506 1314 1506 1312 252 5363 252 2634 252 5363 252 3943 ps209@le.ac.uk vas6@le.ac.uk ps209@le.ac.uk pftw1@le.ac.uk For your own useful numbers: ……………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………… 89 THE ACADEMIC YEAR 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: 2010–––2011 2011—2012 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 90 91
