SCHOOL OF ENGLISH
UNIVERSITY COLLEGE DUBLIN
MODULAR DEGREE
THIRD LEVEL
COURSE BOOKLET
2004/2005
1
GENERAL ADVICE: The following is a list of those who will advise and help you
should you experience problems during the year.
 Head of Modular English
Prof Carpenter:G203,
Tel. 7168792
 Tutorial co-ordinator
Angelina Lynch: D001,Tel. 0877510023
 Chair of the School of English
Dr Janet Clare: J205, Tel.
7168695
 Associate Dean, Undergraduate Advising: Mr Latham: A107,
Tel: 7168391/8476
 Student Advisers
Mr Garde
Tel:
7168366
Ms O’Grady
Tel: 7161727
 Mature Student Adviser
Mr Ronan Murphy
Room D207, Tel: 7168245
 www.ucd.ie/~advisers
 Disability Officer
Mr Bennett
Tel:
7167565

dss@ucd.ie;
www.ucd.ie/disability
 Student Union Services (Welfare) Student Centre,
Tel.
7163112
 Student Health Services:
Student Centre,
Tel:
7163133/3134
Office Hours for members of the School of English are listed on the notice-board
outside the School office, J206. Students are advised that further details on the
Modular courses and any amendments to published information will be posted on
the English Modular Notice Board in the passageway outside J206.
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B.A. MODULAR DEGREE THIRD LEVEL ENGLISH 2004-05
Summary of Important Information
LECTURE COURSES BEGIN: Monday 20th September, 6.30, A109
TUTORIALS BEGIN:
Monday 27th September, 5.30 and 8.30, Wednesday 29th September, 5.30 and
8.30.
DATES OF ACADEMIC YEAR 2004-2005:
16th September
to
8th December
10th January
to
12th March
th
4 April
to
23rd April
Bank Holiday in term:
25th October 2004
READING WEEK: 25th October to 31st October (NO UNDERGRADUATE
LECTURES OR TUTORIALS DURING THAT WEEK)
Tutorial schedule for 2004-05:
September 27th and 29th
October 4th and 6th
October 11th and 13th
October 18th and 20th
READING WEEK
November 1st and 3rd
November 8th and 10th
November 15th and 17th
November 22nd and 24th
November 29th and December 1st
December 6th and 8th
Modern English
Modern English
Modern English
Modern English
Modern English
Modern English
Modern English
Old and Middle English
Old and Middle English
Old and Middle English
CHRISTMAS BREAK
January 10th and 12th
January 17th and 19th
January 24th and 26th
January 31st and February 2nd
February 7th and 9th
February 14th and 16th
February 21st and 23rd
Modern English
Modern English
Modern English
Modern English
Modern English
Old and Middle English
Old and Middle English
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February 28th and March 2nd
March 7th and 9th
Old and Middle English
Modern English
EASTER BREAK
April 4th and 6th
April 11th and 13th
April 18th and 20th
Modern English
Modern English
Modern English
ESSAY DEADLINES:
Essay #1 (modern)
Essay #2 (medieval)
Essay #3 (modern)
Essay #4 (modern)
3rd November 2004
12th January 2005
16th February 2005
6th April 2005
4
INTRODUCTION TO B.A. DEGREE MODULAR
THIRD LEVEL ENGLISH, 2004-2005
Third Year English builds on your training in Foundation and Second Level
English towards critical analytical and writing skills, towards breadth and depth of
literary, historical and theoretical knowledge, and towards well-founded originality
of understanding of the relations between form and content, text and context.
Assessment analysis: 20% of your Third Level mark will derive from your
submitted essays and tutorial work; the remaining 80% is awarded on the end-ofyear examination. Your final mark in English takes account also of your mark in
Second Level and, if that mark was higher than your Third Level mark, you
receive the advantage of ‘Beneficial Aggregation’.
Lectures:
Your Foundation and Second level lecture courses focused on specific literary
genres, periods, and national literatures. The focus is now extended through a
particular concentration on how the social and political contexts of literature can
be seen in the way in which literary categories and criteria of excellence are
formed, challenged and shown to be contingent and hybrid. The lecture courses
will achieve this through, for example:
(a) exploring how Medieval stories of fantasy and adventure express their social
and ethical contexts
(“Epic and Romance in Mediaeval Literature”)
(b) considering the changing ideas of the epic over time
(“The Formation of Canons”)
(c) examining how gender issues alter our understanding of “high art”
(“Gender and Writing”)
(d) exploring the function of dream-visions in the Middle Ages to articulate new
ideas and offer a critique of society
(“Mediaeval Dream Visions”)
(e) comparing two different national literatures
(“The Literature of Nations”)
(f) measuring how modern drama traces the investment of power in the
Establishment
(“Tradition and Experimentation: Dramatizing Power”)
(g) exploring specific texts in depth (“Readings in Eighteenth-Century Literature”
and “Readings in Nineteenth-Century Literature”)
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REGULATIONS:
The regulations and procedures listed below are set to ensure fairness for all
students.
THE FOLLOWING INFORMATION MAY BE SUBJECT TO CHANGE. PLEASE
CHECK THE NOTICE-BOARDS REGULARLY.
ESSAY REGULATIONS (Continual Assessment)
ESSAY LENGTH: 2500 words (10 pages approximately; double-spaced typing).
Hand-written essays are acceptable with the permission of the tutor. Such essays
must be legibly written on one side only of each page, on every second line.
ESSAY DEADLINES and PENALTIES FOR LATE SUBMISSION:
If you cannot submit your work on time, you should contact the Head of Modular.
In general, only a relevant medical certificate or verifiable personal excuse will be
an acceptable basis for an extended deadline.
Staff will collect essays in the lecture hall (A109) on the evening they are due.
Students should sign the essay sheet to indicate that essays have been handed
in. Late essays must be submitted directly to the Head of Modular or to the staff
in the office of the School of English. Individual tutors will not accept essays or
late essays.
ESSAY REGULATIONS
WORKS CITED: All essays should supply a list of works cited, as described in
the “Style Sheet” in this Booklet.
COVER SHEETS: You are required to complete a “Cover Sheet” for each essay.
STYLE SHEET: Essays submitted in a form that does not conform to “Style
Sheet” issued by the School will be penalised to a maximum of 5 marks.
PLAGIARISM: Plagiarism is the appropriation of material without proper
acknowledgement of the source and without clear indication of how much of the
source you have used at any one instance (for example, through use of quotation
marks). Plagiarism includes the unacknowledged use of any published or
broadcast source, internet resources, another student’s work, etc. and will be
very heavily penalized.
EXAMINATIONS:
You are required to sit examinations in the Summer or Autumn Examination
sessions April/May 2005 or July/August 2005.
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There will be four English examinations—three papers will be set for the lecture
courses in Modern English; one for the lecture courses in Old and Middle English
The results of these examinations constitute 80% of your total degree mark in
English.*
The balance of 20% is made up by the continual assessment mark (C/A). This
mark is the sum of your four essays submitted during the year. If you obtained
higher marks in your second level examination than you do in third level, your
gain the advantage of ‘beneficial aggregation’. Professor Carpenter will explain
the intricacies of this system to the class during the year.
ESSAY and EXAMINATION GRADE CATEGORIES:
FIRST CLASS HONOURS:
70% +
SECOND CLASS HONOURS, GRADE I:
60% to 69%
SECOND CLASS HONOURS, GRADE II:
55% to 59%
THIRD CLASS HONOURS:
50% to 54%
PASS:
40% to 49%
FAIL:
39% or less
I
II.1
II.2
III
Pass
Fail
PLEASE CHECK THE B.A. MODULAR DEGREE
NOTICE-BOARD REGULARLY
FOR NOTIFICATION OF CHANGES TO
PROCEDURES AND/OR SCHEDULES.
7
B.A. DEGREE MODULAR THIRD LEVEL ENGLISH 2004-05
Lecture Schedule
Term begins on 16 September 2004:
lectures begin on Monday 20 September
FIRST SEMESTER
EPIC AND ROMANCE IN MEDIEVAL LITERATURE
(ENG 3511)
Lecturers: Dr Cartlidge, Dr Thijs and Dr Pattwell
Mondays (First Semester)
6.30 A109
All four of the texts on this course are essentially stories of magic and adventure.
In Beowulf (before ca. 1000), the hero is matched first against a monster, then
against the monster’s mother and then finally against a dragon; in Sir Gawain
and the Green Knight (late 14th century), the knights of King Arthur’s Round
Table are challenged to a bizarre Christmas “beheading game” by a mysterious
giant; in Chaucer’s Knight’s Tale (early 1380s), two imprisoned knights fall in love
with a princess and eventually have to fight for her hand; while in the final two
books of Sir Thomas Malory’s Le Morte DArthur (completed 1470; printed 1485),
there is an account of the tragic collapse of the Arthurian kingdom in mutual
betrayal and apocalyptic bloodshed. Yet in each of the four texts, the power of
the narrative lies as much in its atmosphere and detail, as in the momentum of
the story itself, while at the same time fantasy is employed not just for the sake of
entertainment, but also to express a variety of quite distinct social and ethical
aspirations.
Required Texts:
Beowulf. Trans. Norton Anthology. Vol.1.
Sir Gawain and the Green Knight. Trans. Norton Anthology. Vol. 1.
(Or Sir Gawain and the Green Knight. Trans. Gwyn Jones. Wordsworth Classics)
‘The Knight’s Tale’ in The Riverside Chaucer ed. L Benson et al., (Houghton
Mifflin, 1987) or ‘The Knight’s Tale’ in The Canterbury Tales (Norton).
Le Morte DArthur, books 7 and 8 (“The Tale of Sir Lancelot and Queen
Guenivere” and “The Death of Arthur”). Ed. Helen Cooper. Oxford Classics. 403527.
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Lecture Schedule
September 20 (Dr Cartlidge)
Introduction
September 27 (Dr Thijs)
Beowulf
October 4 (Dr Thijs)
Beowulf
October 11 (Dr Thijs)
Beowulf
October 18 (Dr Pattwell)
Knight’s Tale
October 25
READING WEEK
(no undergraduate classes)
November 1 (Dr Pattwell)
Knight’s Tale
November 8 (Dr Cartlidge)
Sir Gawain and the Green Knight
November 15 (Dr Cartlidge)
Sir Gawain and the Green Knight
November 22 (Dr Cartlidge)
Sir Gawain and the Green Knight
November 29 (Dr Pattwell)
Malory
December 6 (Dr Pattwell)
Malory
GENDER AND WRITING: GENDER, MODERNISM, POSTMODERNISM
(ENG 3515)
Lecturers: Dr John Brannigan and Dr Gerardine Meaney
Mondays (First Semester) 7.30 A109
This course explores the role of gender in modernism and postmodernism. It
outlines key elements in the configuration of gender in twentieth-century
literature, including the interaction between aesthetics and politics, myth and
history, social change and formal experimentation. While the course is
predominantly concerned with theories of gender – and especially feminist theory
– it also engages with postcolonial, psychoanalytical, poststructuralist and
historical accounts of modernism, postmodernism and the relationship between
them.
REQUIRED TEXTS
Joseph Conrad
T. S. Eliot
James Joyce
Virginia Woolf
Virginia Woolf
Elizabeth Bowen
Eugene O’Neill
Muriel Spark
Angela Carter
Jeanette Winterson
Heart of Darkness (Penguin)
The Waste-Land (Faber)
Ulysses (Penguin)
To the Lighthouse (Penguin)
Between the Acts (Penguin)
The Last September (Penguin)
Long Day’s Journey into Night (Nick Hern)
Not to Disturb (Macmillan)
Wise Children (Vintage)
The Passion (Vintage)
Lecture Schedule
September 20
September 27
October 4
October 11
October 18
October 25
Introduction (JB/GM)
Conrad, Heart of Darkness (GM)
Eliot, The Waste Land (JB)
Joyce, ‘Circe’ from Ulysses (JB)
Woolf, To the Lighthouse (JB)
READING WEEK (no undergraduate classes)
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November 1
November 8
November 15
November 23
November 29
December 6
Woolf, Between the Acts (GM)
Bowen, The Last September (JB)
O’Neill, Long Day’s Journey into Night (GM)
Spark, Not to Disturb (GM)
Carter, Wise Children (GM)
Winterson, The Passion, and Conclusions (JB)
Further Reading:
Bradbury, Malcolm & James McFarlane, eds. Modernism: 1830-1930 (Penguin,
1976)
Brooker, Peter, Modernism/Postmodernism (Longman, 1992)
Childs, Peter, Modernism (Routledge, 2000)
Docherty, Thomas, Postmodernism (Harvester Wheatsheaf, 1993)
Eysteinsson, Astradur, The Concept of Modernism (Cornell UP, 1990)
Faulkner, Peter, Modernism (Routledge, 1990)
Felski, Rita, The Gender of Modernity (Harvard UP, 1995)
Meaney, Gerardine, (Un)Like Subjects: women, theory, fiction (Routledge, 1993)
Nicholls, Peter, Modernisms: A Literary Guide (Macmillan, 1995)
Scott, Bonnie Kime, Refiguring Modernism (Indiana UP, 1995)
Stevens, Hugh and Caroline Howlett (eds), Modernist Sexualities (Manchester
UP, 2000)
READINGS IN EIGHTEENTH-CENTURY LITERATURE
(ENG 3518)
Professor Andrew Carpenter and Dr Danielle Clarke
Wednesdays (First Semester) 6.30
A109
An exploration of English writing of all genres, particularly prose fiction, during the
period 1700-1800.
Lecture Schedule
Wednesday 22 September to Wednesday 8 December. Details to be announced
at the beginning of term. The first text considered will be Robinson Crusoe.
REQUIRED TEXTS:
Daniel Defoe
Robinson Crusoe
Samuel Richardson
Pamela (part I only)
Henry Fielding
Joseph Andrews
Jane Austen
Mansfield Park
The Norton Anthology of Poetry (4th edition)
Other texts, both primary and secondary, will be announced at the beginning of
the course. Any good modern paperback edition of the fiction texts listed above
is acceptable.
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THE LITERATURE OF NATIONS: EXPLORING NATIONAL IDENTITIES (ENG 3514)
Lecturers: Mr Donnelly and Dr O’Connell
Wednesdays (First Semester) 7.30 A109
The creation of nationality remains a contemporary and relevant issue as, across
the world, old and once-stable national boundaries have been dissolved and
reconfigured. This lecture course examines some of the ways that conceptions
of nationhood and identity have been explored in literature since the late
eighteenth century. The course investigates the role of language in the formation
of nation. It will study examples of various literary genres – the novel, poem, play
and essay – which serve as challenging mediums of national identity. A focus of
the course will be to compare literary constructions of Irishness with that of other
national identities.
REQUIRED TEXTS:
Maria Edgeworth
Brian Friel
James Joyce,
W.B. Yeats
W.B. Yeats
Castle Rackrent (1800) (any edition)
Translations (1990) (any edition)
Ulysses (1922): Episode 12, ‘Cyclops’.
Selected Poetry, ed. Timothy Webb (Penguin)
A selection of essays (photocopies available from
Students’ Union)
William Godwin
Caleb Williams (Oxford, 1998)
Charles Dickens
Bleak House (Oxford, 1998)
Peter Ackroyd
The House of Dr Dee (Penguin, 1994)
A selection of poetry by Irish poets Seamus Heaney, Derek Mahon etc.
Photocopies will be available from the Students’ Union.
Lecture Schedule
September 22nd
September 29th
October 6th
October 13th
October 20th
November 3rd
November 10th
November 17th
November 24th
December 1st
December 8th
Further Reading:
Ackroyd, Peter
(2002)
Mr Donnelly
Mr Donnelly
Mr Donnelly
Mr Donnelly
Mr Donnelly
Mr Donnelly
Dr O’Connell
Dr O’Connell
Dr O’Connell
Dr O’Connell
Dr O’Connell
Introduction
Castle Rackrent
Yeats: Poetry and Essays
Ulysses (Cyclops Episode)
Contemporary Irish Poetry
Translations
Caleb Williams
Caleb Williams
Bleak House
Bleak House
The House of Doctor Dee
Albion: The Origins of the English Imagination
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Allen, Walter
Auerbach, Erich
Bakhtin, Mikhail
Bakhtin, Mikhail
Benjamin, Walter
Bhabha, Homi (ed.)
Butler, Marilyn
Colley, Linda
Davis, Lennard J.
Deane, Seamus
The English Novel (1954)
Mimesis (1946),
The Dialogic Imagination (1975, trans. 1981)
Epic and Novel (1941)
"The Storyteller" in Illuminations (1955, trans. 1970)
Nation and Narration (1990)
Jane Austen and the War of Ideas (1975, 1990)
Britons: Forging the Nation 1707-1937 (1994)
Factual Fictions (1983)
Celtic Revivals: Essays in Modern Irish Literature
1880-1980 (London, 1995)
Heaney, Seamus
‘Englands of the Mind’, ‘Mossbawn’ and ‘The Sense
of Place’, all in Heaney’s Preoccupations: Selected
Prose 1968-1978 (London, 1980), pp. 150-69.; 17-27;
131-49.
Hollingworth, Brian
Maria Edgeworth’s Irish Writing (Basingstoke, 1977)
Kelly, Gary
The English Jacobin Novel 1780-1805 (1976)
Kiberd, Declan
Inventing Ireland (London, 1995)
Leavis, Q.D.
Fiction and the Reading Public (1932)
Lukács, Georg
The Theory of the Novel (1920, trans. 1971)
Macrae, Alasdair D.F.
W.B. Yeats: A Literary Life (Basingstoke, 1995)
McClintock, Anne
Imperial Leather: Race, Gender and Sexuality in the
Colonial Context (London, 1995)
McKeon, Michael
The Origins of the English Novel 1600-1740 (1987)
Paulin, Tom
‘A New Look at the Language Question’, in Ireland
and the English Crisis (Newcastle, 1984)
Rutland, R. & M. Bradbury From Puritanism to Postmodernism (1991)
Watt, Ian
The Rise of the Novel (1957)
Studies on individual authors will be recommended during the course.
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Lecture Schedule
Third Level 2004-2005
Term begins 10 January 2003
SECOND SEMESTER
MEDIEVAL DREAM-VISIONS
(ENG 3512)
Lecturers: Professor Dolan, Dr Cartlidge and Dr Thijs
Mondays (Second Semester) 6.30 A109
People in most ages of history have believed that dreams can provide a means
of contact with a higher world, bringing messages of prophecy or philosophical
enlightenment, or else that they offer some special insight into the workings of
the human mind. In the Middle Ages, poets often used the fiction of the dream
vision as a way of articulating ideas that it would be almost impossible to express
in any other form. The Dream of the Rood (before ca. 1000) contains an almost
psychedelic encounter (or rather a series of encounters, in different dimensions)
with the Cross of Christ’s crucifixion; Piers Plowman (late 1370s) presents a
detailed and panoramic dramatization of many of the social and political issues of
its day, including such problems as the rise of commercialism and the nature of
public responsibility for the poor; Chaucer’s Book of the Duchess (after 1386) is
apparently an elegant consolation-poem addressed to the poet’s patron, John of
Gaunt, Duke of Lancaster, on the occasion of the death of his wife Blanche; while
The Parliament of Fowls (late 1370s or early 1380s), also by Chaucer, presents a
subtle and at times comical analysis of the function of love, both in terms of the
natural world and of human society.
REQUIRED TEXTS:
The Dream of the Rood (The text used is that in Mitchell and Robinson, A Guide
to Old English, 6th edition; photocopies are available in the Students’ Union.
Translations can be found in the Norton Anthology of English Literature Vol.1,
and elsewhere.)
Piers Plowman: Passus 1-7. The Vision of Piers Plowman: A Complete Edition of
the B-Text. Ed.A.V.C. Schmidt. London: Everyman: 1974. (frequent reprints)
‘The Book of the Duchess’ in The Riverside Chaucer or in Chaucer’s DreamPoetry. eds. Helen Phillips and Nick Havely (Longman, 1997)
‘The Parliament of Fowls’ in The Riverside Chaucer.
LECTURE SCHEDULE
January 10 (Dr. Cartlidge)
Introduction to Dream Poetry
13
January 17 (Dr Thijs)
January 24 (Dr Thijs)
January 31 (Dr Cartlidge)
February 7 (Dr Cartlidge)
February 14 (Professor Dolan)
February 21 (Professor Dolan)
February 28 (Professor Dolan)
March 7 (Professor Dolan)
April 4 (Dr Cartlidge)
April 11 (Dr Cartlidge)
Dream of the Rood
Dream of the Rood
Parliament of Fowls
Parliament of Fowls
Piers Plowman
Piers Plowman
Piers Plowman
Piers Plowman
Book of the Duchess
Book of the Duchess
LECTURES in the last week of the second semester (April 18 and 20) will be
devoted to revision. Tutorials continue as usual.
THE FORMATION OF CANONS: EPIC AND ANTI-EPIC
(ENG 3516)
Lecturers: Professor Kiberd and Dr Callan
Mondays (Second Semester) 7.30 A109
What is the canon in literature studies? The Greek word kanon indicated a “reed”
or “rod” used as a means of measurement; later it denoted a rule or law, and this
sense descends as its primary meaning into modern European languages. For
those who studied the Bible, canonisers were people who distinguished the
orthodox from the heretical. Within the field of modern creative literature,
however, yesterday’s heresy becomes today’s orthodoxy. We like to think that no
list is closed to challenging outsiders, and yet a few books are censored, many
more neglected or unavailable, while a constellation of publishers, media
producers, academics, and booksellers decides what the public should read and
the student should study. Or do they have such influence?
The course will throw into question the ways in which canons are made and
broken. Was Shakespeare’s work always “great”? Is Milton’s poetry currently
over-rated? Why was a genius like Walt Whitman compelled to review (and
acclaim) his own writing? How did these writers establish the epic forms for their
nations? And how have later writers like Alice Walker challenged a male tradition
of epic? Can epic even be defined? Is it even possible to write a modern epic
without mockery of the form?
REQUIRED TEXTS:
William Shakespeare
John Milton
Walt Whitman
W.B. Yeats
Don Delillo
Richard II. London: Penguin, 1969.
Paradise Lost. London: Penguin Popular Classics,
1996.
Leaves of Grass. Oxford: Oxford World’s Classics,
1998.
On Baile’s Strand. Students’ Union/Photocopy
White Noise. London: Picador, 1986.
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Alice Walker
The Color Purple. London: Women’s Press
Classics, 2000.
Lecture Schedule
January 10 (Dr Callan)
January 17 (Prof Kiberd)
January 24 (Dr Callan)
January 31 (Prof Kiberd)
February 7 (Dr Callan)
February 14 (Prof Kiberd)
February 21 (Prof Kiberd)
February 28 (Dr Callan)
March 7 (Dr Callan)
April 4 (Prof Kiberd)
April 11 (Prof Kiberd and Dr Callan)
Introduction
Richard II
Paradise Lost
Paradise Lost
Leaves of Grass
Leaves of Grass
On Baile’s Strand
White Noise
Color Purple
Color Purple
Conclusion
RECOMMENDED READING (FORMATIONS OF THE CANON):
Bloom, Harold. The Western Canon: The Books and Schools of the Ages.
New York: Harcourt Brace, 1994.
Gates, Henry Louis, Jr. Loose Canons: Notes on the Culture Wars.
Oxford: Oxford UP, 1992.
Guillory, John. Culture Capital: The Problem of Literary Canon Formation.
Chicago: University of Chicago Press, 1993.
Eagleton, Terry. Literary Theory: An Introduction.
Minneapolis: University of Minnesota Press, 1983.
Leavis, F.R. The Great Tradition: George Eliot, Henry James, Joseph Conrad.
1948.
Harmondsworth: Penguin, 1962.
Lauter, Paul. Canons and Contexts. Oxford: Oxford UP, 1991.
Morrison, Toni. Playing in the Dark: Whiteness and the Literary Imagination.
London: Picador, 1992.
LECTURES in the last week of the second semester (April 18 and 20) will be
devoted to revision. Tutorials continue as usual.
READINGS IN NINETEENTH-CENTURY LITERATURE
(ENG 3517)
Professor Andrew Carpenter and Dr Danielle Clarke (Second Semester)
Wednesdays (Second Semester) 6.30 A109
This course will consider the fiction and poetry of nineteenth-century England.
Lecture Schedule
Wednesday 12 January to Wednesday 13 April.
15
Required Texts:
Charles Dickens
Great Expectations
Thomas Hardy
Far from the Madding Crowd
The Norton Anthology of Poetry (4th edition)
Other texts, both primary and secondary, will be announced at the beginning of
the course. Any good modern paperback edition of the required fiction texts is
acceptable.
LECTURES in the last week of the second semester (April 18 and 20) will be
devoted to revision. Tutorials continue as usual.
TRADITION AND EXPERIMENTATION: DRAMATIZING POWER
(ENG 3513)
Lecturers: Dr Brannigan, Professor Murray and Dr Roche
Wednesdays
(Second Semester) 7.30 A109
This course explores how modern drama , beginning with Ibsen, put on stage, in
the words of Bernard Shaw, “Not only ourselves, but ourselves in our own
situations”. Certain themes are traced – women in society, power play in the
family, social conflict within a politically understood dynamic, and questions of
race, gender, and economics – in order to show how modern drama interested
and indeed implicated audiences in the consequences of the investment of power
in the patriarchy and what may be loosely called the ‘Establishment’. In tandem
with the themes already cited, the course will pay attention to theatrical modes,
such as naturalism, the epic theatre, minimalism, and versions of realism.
Required Texts:
Bertolt Brecht
Mother Courage and Her Children (Methuen)
Caryl Churchill
Cloud Nine (Nick Hern)
Henrik Ibsen
A Doll’s House (Methuen)
Sarah Kane
Blasted (Methuen)
David Mamet
Oleanna (Methuen)
Arthur Miller
The Crucible (Penguin)
Harold Pinter
The Homecoming (Faber)
George Bernard Shaw
Major Barbara (Penguin)
Tennessee Williams
A Streetcar Named Desire (Penguin)
Lecture Schedule
January 12 (Professor Murray)
January 19 (Dr Brannigan)
January 26 (Professor Murray)
February 2 (Dr Roche)
February 9 (Dr Roche)
February 16 (Professor Murray)
February 23 (Dr Brannigan)
Introduction
A Doll’s House
Major Barbara
Mother Courage and Her Children
A Streetcar Named Desire
The Crucible
The Homecoming
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March 2 (Dr Roche)
March 9 (Professor Murray)
April 6 (Dr Brannigan)
April 13 Course lecturers
Cloud Nine
Oleanna
Blasted
Conclusions
LECTURES in the last week of the second semester (April 18 and 20) will be
devoted to revision. Tutorials continue as usual.
17
STYLE SHEET
Introduction
The writing of essays at third level differs in several respects from other types of
writing (e.g. compositions, technical reports, newspaper articles, letters). An
academic essay is a formal piece of writing, which means that it must adhere to
certain standards in style, argument, layout and presentation. While your tutor will
advise you on matters of style and argument, this sheet will explain to you what is
expected of you in terms of layout and presentation.
1) General
When submitting your essay, check this list to ensure that you have done
everything that is expected of you:
 spellings are correct–pay particular attention to proper names (e.g. Spenser,
Hemingway, Casaubon)
 punctuation should be clear and aid understanding
 grammar and syntax should be correct and clear
 the essay should be easy to read and leave room for your tutors comments—
leave a large left-hand margin
 all relevant details must be included (your name, tutor’s name, essay title,
etc.) on the cover-sheet provided
 all quotations are accurately transcribed
2) List of works cited
One key difference between the kinds of writing you will have done before and
third level essays is the need to provide sources for the texts you quote and
discuss, including secondary material. In order to do this, you must keep a record
of all the materials you have consulted in preparing your essay and organise
them into a Works Cited* section. This should be ready BEFORE you write your
essay so that you can use it to give sources for your citations (see 3 below). You
must follow the format below in all particulars, including punctuation, underlining
and indentation. The list of works cited should be arranged in alphabetical order
by author’s name and placed at the end of your essay.
*A Works Cited section is a list of all primary and secondary material cited in your
essay (this may include non-print sources)
How to list a book:
Author’s name with surnamelisted first. Title of the book. Ed. followed by name of
editor(s), if applicable. Publication details (place: publisher, date).
Eliot, George. Middlemarch. Ed. David Carroll. Oxford: Oxford
UP, 1988.
How to list a work in an anthology:
Author’s name with surname listed first. “Title.” Title of anthology. Ed. followed by
names of editor(s). Publication details (place: publisher, date). Range of page
numbers.
Plath, Sylvia. “Tulips.” The Norton Anthology of Poetry. Ed.
Alexander
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Allison, et al. New York: Norton, 1983. 1348-9.
How to list an article in a journal:
Author’s name with surname listed first. “Title of the article.” Periodical title
volume number (date):range of page numbers.
McLeod, Randall. “Unemending Shakespeare’s Sonnet 111.”
Studies in
English Literature 21 (1981): 75-96.
How to list an essay in a book:
Author’s name with surname listed first. “Title of essay.” Title of book. Ed.
followed by name of editor(s). Publication details (place: publisher, date). Range
of page numbers.
Wayne, Valerie. “Historical Differences: Misogyny and
Othello.” The Matter of Difference: Materialist Feminist
Criticism of Shakespeare. Ed. Valerie Wayne. London:
Harvester Wheatsheaf, 1991. 153-79.
3) How to key your citations to the Works Cited section:
Your quotations should be relevant and support your argument by providing a
specific illustration of a point or an idea. There are basically three types of citation
which will require supporting references:
a) Direct quotation should always be precise in all details (including spelling,
punctuation and lineation, where relevant), and include an accurate page
reference.
b) Close paraphrase and citation of information should also be accurate, and
should be accompanied by a page-range.
c) Loose paraphrase or general ascriptions of points of view should be
accompanied by a reference to a source text.
If your list of works cited is correct and complete, placing accurate references for
quotations and arguments in the body of your essay will be simple. Quotations
must be exact in every detail. The citation of the source should follow the
quotation and must be placed in brackets. Remember, not to cite your sources
exposes you to the charge of PLAGIARISM which may result in deduction
of marks and/or disciplinary action. Titles of books should be underlined. The
full citations for the examples given here can be found in section 4, set out as
they would be in a full Works Cited section.
i.
How to quote passages from PROSE and key your quotations to the
Works Cited section:
Short quotations (less than 4 lines of prose) should be placed in quotation marks
within the text:
The opening sentence of Middlemarch is simple, but effective: “Miss
Brooke had that kind of beauty which seems to be thrown into relief by
poor dress” (Eliot 7).
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Longer quotations should be indented from the margin and must not have
quotation marks:
In “The Yellow Wallpaper,” Charlotte Perkins Gilman uses a fragmented
style to convey her central character’s mental fragility. For example:
There were greenhouses, too, but they are all broken now.
There was legal trouble, I believe, something about the heirs and coheirs; anyhow,
the place has been empty for years.
That spoils my ghostliness, I am afraid, but I don’t care–there is
something strange about the house–I can feel it. (155)
NB. Because the sentence which introduces the quotation identifies the source,
there is no need to spell it out again in the citation.
ii.
How to quote passages from POETRY and key your quotations to the
Works Cited section:
Short quotations–up to 3 lines—may be included within the text. Citations should
list LINE numbers (if available) and not page references. The initial citation
should include the word “line” or “lines” to establish that the numbers designate
lines:
Ben Jonson quickly introduces us to the twin themes of his elegy on
Shakespeare by referring to his “book and fame”. (“To the Memory of My
Beloved” line 2)
The word “line” should be included only in the initial citation for the poem.
Longer quotations must be indented from the margin. You must follow the layout
of the poem that you are citing.
Jonson signals the fact that Shakespeare is exceptional by using
exclamation and by suggesting that he is the best of poets:
I therefore will begin. Soul of the age!
The applause! Delight! The wonder of our stage!
My Shakespeare, rise; I will not lodge thee by
Chaucer or Spenser, or bid Beaumont lie
A little further to make thee a room: (“To the Memory of My
Beloved” 17-21)
iii.
How to quote passages from DRAMA and key your quotations to the
Works Cited section:
The same rules on length apply here as with poetry and prose (above). However,
if quoting dialogue between two or more characters, you must indent the
quotation, supplying the characters’ names, followed by a period (full stop):
Throughout Othello Iago proves to be a master manipulator of language,
using insinuation and inference to plant suspicion in Othello’s mind:
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IAGO. Ha! I like not that.
OTHELLO.
What dost thou say?
IAGO. Nothing, my lord; or if–I know not what.
OTHELLO. Was not that Cassio parted from my wife?
IAGO. Cassio, my lord? No, sure I cannot think it
That he would steal away so guilty-like,
Seeing you coming.
OTHELLO.
I do believe 'twas he. (3.3.34-40)
The citation must include act, scene and line numbers, as in the example above.
NOTE: when you quote from Shakespeare or any other dramatist make sure that
you state the edition used. This will appear in your list of works cited as below. It
should always be a “reputable” edition rather than, for example, a schools’
edition.
iv.
How to quote from Online sources and key your quotations to the
Works Cited section:
The example below includes a quotation from a book. However, the source of the
quotation is not a printed book but an electronic version online.
Harriet Jacobs begins her account of her life with a dramatic image of
childhood innocence: “I WAS [sic] born a slave; but I never knew it till six
years of happy childhood had passed away” (Jacobs ch.1).
Note the accuracy of the quotation—the use of [sic] indicates that you are quoting
accurately from the text and that the capitalised “WAS” is not your typographical
error.
This is a text taken from a web site. In order to cite it correctly you must enter
information as detailed as that required for a print source and listed above.
However, your source is the web site and you must seek to include:
a) date of the last update of the site
b) date you accessed the site
c) address of the site, enclosed in angle brackets, < > (see example in the
Works Cited section below)
If the information you require is not displayed on the site, include what is listed. In
doing so, you are making your sources available to your reader as you make
printed books available by listing editions and publication details. The “date of
access” is important. Sites can be changed relatively easily and your
tutor/seminar leader might open a site which has changed significantly from the
one you used a day or two earlier. Finally, it is advisable to print the material you
use from a web site so that you can verify your source if the site cannot be
located by your tutor/seminar leader.
4) Works Cited (for the examples in section 3, above)
Eliot, George. Middlemarch. Ed. David Carroll. Oxford: Oxford UP, 1988.
21
Gilman, Charlotte Perkins. “The Yellow Wallpaper.” The Oxford Book of
American Short Stories. Ed.
Joyce Carol Oates. Oxford, Oxford UP,
1994. 154-69.
Jacobs, Harriet. Incidents in the Life of a Slave Girl, Written by Herself. Boston,
1861. 18 Dec. 1997.
25 July 2002
<http://xroads.virginia.edu/~HYPER/JACOBS/hjhome.htm>
Jonson, Ben. “To the Memory of My Beloved.” The Norton Anthology of Poetry.
Ed. Alexander Allison,
et.al. New York, Norton, 1983. 1673-38.
Shakespeare, William. Othello. Ed. Norman Sanders. Cambridge, Cambridge
UP, 1984.
NOTE: The bold-faced type in Sections 2 and 3 is used for emphasis and is not
required in your work.
A few further points:

If you are citing more than one text by the same author, you must
i.
make clear which one you are referring to in your citation. For example, if
you are
using two novels by George Eliot, your citations must make a clear
distinction, i.e.
(Eliot, Middlemarch, 55) or (Eliot, Mill on the Floss, 78).
ii.
list them in date order in your list of works cited, using the following format:
Eliot, George. The Mill on the Floss. Ed. A. S. Byatt. Harmondsworth,
Penguin, 1979.
---. Middlemarch. Ed. David Carroll. Oxford, Oxford UP, 1988.

You may abbreviate titles for convenience in your citations, but never in the
list of works cited. For example, The Mill on the Floss could become simply
Mill, or Jonson’s “To the Memory of My Beloved” might become “Memory.”
However, these abbreviations must be clear and consistent.

Some of the texts you will be using will be taken from collections or
anthologies. Rather than writing out the full details for each item you cite, you
could give one entry for the anthology and then key the other entries to it. For
example, if you are writing about Charlotte Perkins Gilman’s “The Yellow
Wallpaper” and Kate Chopin’s “The Storm”, your list of works cited would look
like this:
Chopin, Kate. “The Storm.” Oates, 130-35.
Gilman, Charlotte Perkins. “The Yellow Wallpaper.” Oates, 154-69.
Oates, Joyce Carol, ed. The Oxford Book of American Short Stories.
Oxford, Oxford UP, 1994.
In preparing your essays, you should make full use of the resources on offer in
the Library. These include the Library’s web site. Students of English will find a
22
range of relevant information and texts available on the Electronic Library site.
For example, you might make use of the Oxford English Dictionary (OED),
Annotated Bibliography of English (ABES) or Modern Language Association
Bibliography (MLA). Primary texts and scholarly articles are available online on
sites such as JSTOR, LION, and SwetsNet Navigator. All these can be accessed
from the Library’s home address:<http://www.ucd.ie/~library/>
If you have any questions about any aspect of this “Style Sheet,” you should ask
your tutor for guidance.
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