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. 2 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 3 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”) 5 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. 6 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. 8 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) 9 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. 10 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 11 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. 12 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. 14 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 16 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 18 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). 19 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: 20 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. ****** 23