UNIVERSITY OF EDINBURGH
Approval of a New or Revised Course
All new courses should be created online via WISARD and approved online. This sheet should only be used for Continuing Education courses (or where
the online process has failed).
† = Mandatory for Approval
Course Code (generated
by Student Record) N/A
† Course Name
Alien Mirrors – Western Writers and ‘The Other’
† ‘Owning’ School
College
Office of Lifelong Learning
CHSS
Collaborating Body e.g. School or other Institution
School Acronym for Course
N/A
Additional Information on Collaboration (max 120 characters)
† Course Level
† If PG, Modular
SCQF 7
Master’s? N/A
Code(s) and Name(s) of Course(s) being replaced
† Credit Points
10
† Credit Scheme
† If UG, Honours?
N/A
SCQF
† Visiting Students
Only? N/A
† Credit Level
7
† Contact Teaching (hrs/mins per week, number of weeks)
2 hours per week for ten weeks, plus one two hour unseen assessment and consultation session
Other Required Attendance (hrs/mins per week, number of weeks)
It is anticipated that students will spend 80 hours in independent study
† Session course operational with effect from (YYYY/YYYY)
2010/2011
Scheduled Class Hours (max 250 characters) – include day, start and finish times, and term
To be arranged by OLL
Any costs which have to be met by students e.g. materials (max 1000 characters)
None
Code(s) and Name(s) of any Prerequisite Courses
None
Other Prerequisite Requirements (max 1000 characters)
None
Programme(s), Method(s) of Study and Year(s) of Study for which Course is Mandatory, or Optional but to be
Seeded
N/A
Code(s) and Name(s) of Prohibited Combinations
none
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N/A
Code(s) and Name(s) of Co-requisite Courses
n/a
Other Co-requisite Requirements (max 1000 characters)
N/A
† Short description of course (max 2000 characters)
When writers from Europe or North America portray an alien culture, can they ever hope to give a true and accurate
picture? Or will they inevitably use ‘the other’ as a springboard for some Romantic colonialist fantasy or – more
dangerous still – as a repository for their own forbidden or ‘taboo’ impulses, which they in their own culture strive to
repress? In an attempt to answer these questions, the course will offer a survey of Western writing on non-Western or
‘alien’ cultures. Open for students of all abilities.
UNIVERSITY OF EDINBURGH
Approval of a New or Revised Course
All new courses should be created online via WISARD and approved online. This sheet should only be used for Continuing Education courses (or where
the online process has failed).
† = Mandatory for Approval
Course Code (generated
by Student Record) N/A
† Course Name
Fearsome Triviality: The Modern Novella
† ‘Owning’ School
College
Office of Lifelong Learning
CHSS
School Acronym for
Course
N/A
Collaborating Body e.g. School or other Institution
Additional Information on Collaboration (max 120 characters)
† Course Level
† If UG, Honours?
SCQF 7
† If PG, Modular
Master’s? N/A
Code(s) and Name(s) of Course(s) being replaced
N/A
† Credit Points
10
† Credit Scheme
SCQF
† Visiting Students
Only? N/A
† Credit Level
7
† Contact Teaching (hrs/mins per week, number of weeks)
2 hours per week for ten weeks, plus one two hour unseen assessment and consultation session
Other Required Attendance (hrs/mins per week, number of weeks)
It is anticipated that students will spend 80 hours in independent study
† Session course operational with effect from (YYYY/YYYY)
2010/2011
Scheduled Class Hours (max 250 characters) – include day, start and finish times, and term
To be arranged by OLL
Any costs which have to be met by students e.g. materials (max 1000 characters)
None
Code(s) and Name(s) of any Prerequisite Courses
None
Other Prerequisite Requirements (max 1000 characters)
None
Programme(s), Method(s) of Study and Year(s) of Study for which Course is Mandatory, or Optional but to be
Seeded
N/A
Code(s) and Name(s) of Prohibited Combinations
none
Other Prohibited Combination Requirements (max 1000 characters)
N/A
Code(s) and Name(s) of Co-requisite Courses
n/a
Other Co-requisite Requirements (max 1000 characters)
N/A
† Short description of course (max 2000 characters)
The novella can contain large themes in a constrained word count by using significant detail, skilful
time transitions and often a strong point of view not too unlike the short story, but over greater terrain.
This course will extend and explore some of the ideas examined in ‘Reckless Brevity’, the course on
the short story.
Open for students of all abilities.
† Summary of Intended Learning Outcomes (max 2000 characters)
By the end of this course, students should be able to:
 discuss the history of the modern novella;
 explain the many ways in which it differs from the short story form, both modern and
classical;
 offer a broader perspective on the novella form.
† Components of Assessment (max 1000 characters)
Assessment 1 25% commentary on a selected passage
Assessment 2, 75% essay
N/A
URL for supporting approval
documentation
† Course Organiser Ann Edmond MA Hons
† Course Secretary
Course URL (where not WebCT)
UG Courses Only: Year(s) in which course normally taken (e.g. 1, 1+2)
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Diet
Code
Paper Name
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Comments (e.g. Other courses with exam
Summative
(1st or Month
(e.g. 1, 2) (e.g. Paper 1)
(hrs/mins)
common content)
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2nd)
N/A
N/A
† Month Assessment Result Due (1st Diet)
† Month Assessment Result Due (2nd Diet)
Chairman of Board of Examiners
† Default Course Mode of Study (Class and Exam, Class and Assignment, Class Only, or Exam Only)
Class and Assignment
Course Organiser Comments (Internal Use Only) (max 1000 characters)
Approved by/On behalf of
Course Organiser
Convener, School BoS
Convener, College SC
Convener, SUGSC/SPGSC
Date
March 2010
Authorised signature
Name
Ann Edmond
Processed by Registry
†
1. Course title: Fearsome Triviality: The Modern Novella
2. Tutor name(s): Anthony Peter McKibbin
3. Tutor qualifications: BA in English
4. Rationale
The novella can contain large themes in a constrained word count by using significant detail,
skilful time transitions and often a strong point of view not too unlike the short story, but over
greater terrain. This course will extend and explore some of the ideas examined in ‘Reckless
Brevity’ the course on the short story
5. Course aims & objective
Aims:
 to give the students an understanding of the history of the modern novella;
 to explore many of the ways in which it differs from the short story form, both
modern and classical;
 to attend to close readings as well as offer a broader perspective on the novella form.
Objective
 to illustrate how writers over the last hundred or so years have used the short novel
form to explore character and story without the conventions and often the convoluted
complications of the extended novel.
6. Intended learning outcomes
By the end of this course, students should be able to:
 discuss the history of the modern novella,
 explain the many ways in which it differs from the short story form, both modern and
classical.
 offer a broader perspective on the novella form.
7. Transferable skills
 Close critical reading of passages from texts
 Small group working
 Setting literature in historical, social and political context
 Wide reading. Students will be encouraged to read other novellas by the same and other
authors.
.
8. Contents
1. Fyodor Dostoevsky, Notes from Underground
2. Anton Chekhov, The Story of a Nobody
3. D. H. Lawrence, The Ladybird
4. Henry Miller, Quiet Days in Clichy
5. Sandor Márai, Esther’s Inheritance
6. Marguerite Duras, Malady of Death
7. Milan Kundera, Slowness
8. Peter Handke, The Afternoon of a Writer
9. Patrick Süskind, The Pigeon
10. Roberto Bolaño, By Night in Chile
11: Unseen Assessment and essay workshop
9. Student intake
All welcome
10. Organisation of teaching
Combination of lecture and group discussion. Reading of the set texts is essential.
11. Assessment strategy
Two components:
 Assessment 1: unseen classroom assessment in the final week of the course, worth
25% of the total course mark
 Assessment 2: 2000 word essay (seen assessment) submitted after the course finishes,
worth 75% of the total course mark.
12. Course Readings
Essential
Bolaño, Roberto. 2001. By Night in Chile. London: Vintage
Chekhov, Anton. 2002. The Story of a Nobody. London: Hesperus
Dostoevsky, Fyodor. 1980. Notes from Underground. London: Penguin
Duras Marguerite. 1986. Malady of Death. Grove: New York
Handke, Peter. 1989. The Afternoon of a Writer. New York: Farrr Strauss Giroux
Kundera, Milan. 1996. Slowness. London: Faber
Lawrence D. H.1984. The Ladybird. London: Penguin
Márai, Sandor. 2009. Esther’s Inheritance. London: Picador
Miller, Henry. 1995. Quiet Days in Clichy. London: Flamingo
Süskind, Patrick. 1989. The Pigeon. London: Penguin
Recommended
Kundera, Milan. 1988. The Art of the Novel. London: Faber
Leitch, Vincent B. 2001. The Norton Anthology of Theory and Criticism. London: Norton
Course feedback & evaluation
The following procedures are applied to all OLL credit courses:
 Course Organiser visits newly approved class at an early stage and provides the tutor
with feedback on delivery.
 Tutors are encouraged to discuss the course with students (collectively and
individually), and act appropriately on responses.
 Formal feedback is gathered from students via an on-line student survey. Results of
these are analysed and provided for Course Organisers who may take appropriate
action with the tutor.
UNIVERSITY OF EDINBURGH
Approval of a New or Revised Course
All new courses should be created online via WISARD and approved online. This sheet should only be used for Continuing Education courses (or where
the online process has failed).
† = Mandatory for Approval
Course Code (generated
by Student Record) N/A
† Course Name
French Writers of the 20th Century
† ‘Owning’ School
College
Office of Lifelong Learning
CHSS
School Acronym for
Course
N/A
Collaborating Body e.g. School or other Institution
Additional Information on Collaboration (max 120 characters)
† Course Level
† If UG, Honours?
SCQF 7
† If PG, Modular
Master’s? N/A
Code(s) and Name(s) of Course(s) being replaced N/A
N/A
† Credit Points
10
† Credit Scheme
SCQF
† Visiting Students
Only? N/A
† Credit Level
7
† Contact Teaching (hrs/mins per week, number of weeks)
2 hours per week for ten weeks, plus one two hour unseen assessment and consultation session
Other Required Attendance (hrs/mins per week, number of weeks)
It is anticipated that students will spend 80 hours in independent study
† Session course operational with effect from (YYYY/YYYY)
2010/2011
Scheduled Class Hours (max 250 characters) – include day, start and finish times, and term
To be arranged by OLL
Any costs which have to be met by students e.g. materials (max 1000 characters)
None
Code(s) and Name(s) of any Prerequisite Courses
None
Other Prerequisite Requirements (max 1000 characters)
None
Programme(s), Method(s) of Study and Year(s) of Study for which Course is Mandatory, or Optional but to be
Seeded
N/A
Code(s) and Name(s) of Prohibited Combinations
none
Other Prohibited Combination Requirements (max 1000 characters)
N/A
Code(s) and Name(s) of Co-requisite Courses
n/a
Other Co-requisite Requirements (max 1000 characters)
N/A
† Short description of course (max 2000 characters)
As a continuation of the course on Classics of French Literature, this course will familiarise students
with works of fiction from 20th Century French literature, offering a perspective on literary
developments in France over the past 100 years. This was a period of profound transformation of
literary practice and saw the emergence of many theories of narrative that contributed to the
foundation of modern literature
Open for students of all abilities.
† Summary of Intended Learning Outcomes (max 2000 characters)
By the end of this course, students should be able to:
 engage critically with fictional texts;
 describe and analyse themes and techniques;
 demonstrate a good general understanding of the development of French literature in the 20th
Century;
 describe the social, political and cultural context in which the texts were created;
 understand the main literary currents and schools of the period.
† Components of Assessment (max 1000 characters)
Assessment 1 25% commentary on a selected passage
Assessment 2, 75% essay
N/A
URL for supporting approval
documentation
† Course Organiser Ann Edmond MA Hons
† Course Secretary
Course URL (where not WebCT)
UG Courses Only: Year(s) in which course normally taken (e.g. 1, 1+2)
Diet
Diet
Code
Paper Name
Duration
Comments (e.g. Other courses with exam
Summative
(1st or Month
(e.g. 1, 2) (e.g. Paper 1)
(hrs/mins)
common content)
Exams
2nd)
N/A
N/A
† Month Assessment Result Due (1st Diet)
† Month Assessment Result Due (2nd Diet)
Chairman of Board of Examiners
† Default Course Mode of Study (Class and Exam, Class and Assignment, Class Only, or Exam Only)
Class and Assignment
Course Organiser Comments (Internal Use Only) (max 1000 characters)
Approved by/On behalf of
Course Organiser
Convener, School BoS
Convener, College SC
Convener, SUGSC/SPGSC
Date
March 2010
Authorised signature
Name
Ann Edmond
Processed by Registry
†
1. Course title: French Writers of the 20th Century
2. Tutor name: Rolland Man
3. Tutor qualifications: BA, MA Literature; MSc Film Studies
4. Rationale
As a continuation of the course on Classics of French Literature, this course will familiarise
students with works of fiction from 20th Century French literature, offering a perspective on
literary developments in France over the past 100 years. This was a period of profound
transformation of literary practice and saw the emergence of many theories of narrative that
contributed to the foundation of modern literature.
5. Course aims & objectives
Aims
 to add to students’ previous knowledge of literature, introducing a fresh perspective;
 to compare systematically different French literary schools and styles;
 to provide a broader understanding of the impact of the development of fiction in
France on foreign readers and writers from the beginning of the 20th Century to the
present day.
Objectives
 to provide students with tools for a wider understanding of innovative trends by
analysing examples from different periods and literary genres;
 to identify and discuss different styles;
 to understand the process of transformation of narrative that led to Modern and PostModern fiction
6. Intended learning outcomes
By the end of this course, students should be able to:
 engage critically with fictional texts;
 describe and analyse themes and techniques;
 demonstrate a good general understanding of the development of French literature in
the 20th Century;
 describe the social, political and cultural context in which the texts were created;
 understand the main literary currents and schools of the period.
7. Transferable skills
 Critical evaluation of texts.
 Participation in oral discussion.
 Comparative analysis of styles and techniques.
8. Contents
1. Introduction
2. Alain-Fournier – Le Grand Meaulnes
3. Marcel Proust - In Search of Lost Time vol.1, Swann's Way, Part I
4. Marcel Proust - In Search of Lost Time vol.1, Swann's Way, Part II
5. Raymond Radiguet – The Devil in the Flesh
6. Albert Camus – The Outsider
7. Marguerite Duras – Moderato Cantabile
8. Raymond Queneau – The Flight of Icarus
9. Philippe Djian – Betty Blue
10. Emmanuel Carrère – The Adversary
11. Unseen Assessment and essay workshop
9. Student intake
All welcome.
10. Organisation of teaching
Lectures, seminar-style discussion and small group work.
The reading of the set texts is essential.
11. Assessment strategy
Two components:
 Assessment 1: unseen classroom assessment in the final week of the course, worth
25% of the total course mark
 Assessment 2: 2000 word essay (seen assessment) submitted after the course finishes,
worth 75% of the total course mark.
12. Course Readings
Essential
Alain-Fournier, Henri. 2007. The Lost Estate (Le Grand Meaulnes). London: Penguin
Camus, Albert. 2006. The Outsider. London: Penguin
Carrère, Emmanuel. 2001. The Adversary. London: Bloomsbury
Djian, Philippe. 1989. Betty Blue. London: Abacus
Duras, Marguerite. 2008. Moderato Cantabile. London: Oneworld Classics
Proust, Marcel. 1996. In Search of Lost Time vol.1, Swann's Way. London: Vintage
Queneau, Raymond. 2009. The Flight of Icarus. London: Oneworld Classics
Radiguet, Raymond. 2005. The Devil in the Flesh. London: Marion Boyars
Web sources
Recommended - Project Gutenberg - http://www.gutenberg.org ; Website provides free
translation of Classics.
Class handouts – fragments from critical appraisal of the works and authors will be provided
to provide a background and facilitate teaching.
Course feedback & evaluation
The following procedures are applied to all OLL credit courses:
 Course Organiser visits newly approved class at an early stage and provides the tutor
with feedback on delivery.
 Tutors are encouraged to discuss the course with students (collectively and
individually), and act appropriately on responses.
 Formal feedback is gathered from students via an on-line student survey. Results of
these are analysed and provided for Course Organisers who may take appropriate
action with the tutor.
UNIVERSITY OF EDINBURGH
Approval of a New or Revised Course
All new courses should be created online via WISARD and approved online. This sheet should only be used for Continuing Education courses (or where
the online process has failed).
† = Mandatory for Approval
Course Code (generated
by Student Record) N/A
† Course Name
Heroes, Gods and Monsters: An Introduction to the Classics
† ‘Owning’ School
College
Office of Lifelong Learning
CHSS
School Acronym for
Course
N/A
Collaborating Body e.g. School or other Institution
Additional Information on Collaboration (max 120 characters)
† Course Level
† If UG, Honours?
SCQF 7
† If PG, Modular
Master’s? N/A
Code(s) and Name(s) of Course(s) being replaced
N/A
† Credit Points
10
† Credit Scheme
SCQF
† Visiting Students
Only? N/A
† Credit Level
7
† Contact Teaching (hrs/mins per week, number of weeks)
2 hours per week for ten weeks, plus one two hour unseen assessment and consultation session
Other Required Attendance (hrs/mins per week, number of weeks)
It is anticipated that students will spend 80 hours in independent study
† Session course operational with effect from (YYYY/YYYY)
2010/2011
Scheduled Class Hours (max 250 characters) – include day, start and finish times, and term
To be arranged by OLL
Any costs which have to be met by students e.g. materials (max 1000 characters)
None
Code(s) and Name(s) of any Prerequisite Courses
None
Other Prerequisite Requirements (max 1000 characters)
None
Programme(s), Method(s) of Study and Year(s) of Study for which Course is Mandatory, or Optional but to be
Seeded
N/A
Code(s) and Name(s) of Prohibited Combinations
none
Other Prohibited Combination Requirements (max 1000 characters)
N/A
Code(s) and Name(s) of Co-requisite Courses
n/a
Other Co-requisite Requirements (max 1000 characters)
N/A
† Short description of course (max 2000 characters)
The course will familiarise students with some of the key texts from classical literature. It will offer a
perspective on fundamental texts, from which generations of writers, artists and thinkers have drawn
their inspiration.
Open for students of all abilities.
† Summary of Intended Learning Outcomes (max 2000 characters)
By the end of this course, students should be able to:
engage critically with selected Classical texts, describe and analyse themes and techniques and
deliver the results in a lucid and articulate style;
 gain some understanding of the social, political and cultural contexts in which the texts were
created;
 identify heroes and situations that over centuries have become archetypes of art and literature.
† Components of Assessment (max 1000 characters)
Assessment 1 25% commentary on a selected passage
Assessment 2, 75% essay
N/A
URL for supporting approval
documentation
† Course Organiser Ann Edmond MA Hons
† Course Secretary
Course URL (where not WebCT)
UG Courses Only: Year(s) in which course normally taken (e.g. 1, 1+2)
Diet
Diet
Code
Paper Name
Duration
Comments (e.g. Other courses with exam
Summative
(1st or Month
(e.g. 1, 2) (e.g. Paper 1)
(hrs/mins)
common content)
Exams
2nd)
N/A
N/A
† Month Assessment Result Due (1st Diet)
† Month Assessment Result Due (2nd Diet)
Chairman of Board of Examiners
† Default Course Mode of Study (Class and Exam, Class and Assignment, Class Only, or Exam Only)
Class and Assignment
Course Organiser Comments (Internal Use Only) (max 1000 characters)
Approved by/On behalf of
Course Organiser
Convener, School BoS
Convener, College SC
Convener, SUGSC/SPGSC
Date
March 2010
Authorised signature
Name
Ann Edmond
Processed by Registry
†
1. Course title: Heroes, Gods and Monsters: An Introduction to the Classics
2. Tutor name(s): Rolland Man
3. Tutor qualifications: BA, MA (both Literature); MSc (Film Studies)
4. Rationale
The course will familiarise students with some of the key texts from classical literature. It will
offer a perspective on fundamental texts, from which generations of writers, artists and
thinkers have drawn their inspiration.
The course will also complement a variety of courses in other sections, such as Art &
Architecture (e.g. Arts and Architecture in Europe), History (e.g. Rome through the Eyes of
Ordinary Romans) or Archaeology (e.g. Images of Heroism: The Greeks). By referring to
modern texts and works of art influenced by the Classics, it will explain how the ancient texts
are still relevant to the modern world.
5. Course aims & objectives
Aims:
 to give students a Classical background, introducing a fresh perspective;
 to analyse different categories of Classical literature the Epic, the Dramatic, and the
ancient novel;
 to provide a broader understanding of Classical literature and its continuing
relevance.
Objectives:
 to provide a broader understanding of the concepts of epic and tragic, their evolution
and impact on both audiences and authors, by comparing different texts from Greek
and Latin heritage;
 to understand the evolution of aesthetics and its relation to cultural and socio-political
contexts;
 to demonstrate how situations, techniques and heroes developed in antiquity are still
relevant to the modern world, by analysing examples from different periods;
 to identify and discuss themes, heroes and archetypes that have survived the centuries
and been transformed and used in narrative up to modern times.
6. Intended learning outcomes
By the end of this course, students should be able to:
 engage critically with selected Classical texts, describe and analyse themes and
techniques and deliver the results in a lucid and articulate style;
 gain some understanding of the social, political and cultural contexts in which the
texts were created;
 identify heroes and situations that over centuries have become archetypes of art and
literature.
7. Transferable skills
 Critical evaluation of texts
 Participation in oral discussion
 Comparative analysis of styles and techniques
 Familiarity with mythical figures and situations often referred to in literature, art or
history classes
8. Contents
1. Introduction – What is a ‘Classic’?
2. Homer – The Odyssey, Books 1 - 12
3. Homer – The Odyssey, Books 13 - 24
4. Virgil – The Aeneid, Books 1 - 6
5. Virgil – The Aeneid, Books 7 - 12
6. Ovid – Metamorphoses, Selected fragments from Books 1 - 8
7. Ovid – Metamorphoses, Selected fragments from Books 9 - 15
8. Sophocles – Oedipus the King
9. Seneca – Medea
10. Apuleius – The Golden Ass
11 Unseen Assessment and essay workshop
9. Student intake: All welcome.
10. Organisation of teaching:
Lectures, seminar-style discussion and small group work.
The reading of the set texts is essential.
11. Assessment strategy
Two components:
 Assessment 1: unseen classroom assessment in the final week of the course, worth
25% of the total course mark
 Assessment 2: 2000 word essay (seen assessment) submitted after the course finishes,
worth 75% of the total course mark.
12. Course Readings
Essential
The edition indicated is the one currently in print. However, students are free to use any of the
other editions. The exception is The Odyssey and The Aeneid, for which prose translations
(rather than verse translations) will be required.
Homer. 2007 The Odyssey. Hammersmith: HarperCollins
Virgil. 2003. The Aeneid. London: Penguin
Ovid. 2008. Metamorphoses. Oxford: Oxford University Press
Apuleius, 2004. The Golden Ass. London: Penguin
Sophocles. 2008. Oedipus the King. Oxford: Oxford University Press
Seneca. 2010. Six Tragedies. Oxford: Oxford University Press
Recommended
Howatson, M. C. and Chilvers, Ian (Eds.) 1996. The Concise Oxford Companion to Classical
Literature. Oxford: Oxford University Press
Web sources
Recommended - Project Gutenberg - http://www.gutenberg.org ; Website provides free
translation of Classics, including many texts on the reading list.
Class handouts – fragments from critical appraisal of the works and authors will be provided
to provide a background and facilitate teaching.
Course feedback & evaluation
The following procedures are applied to all OLL credit courses:
 Course Organiser visits newly approved class at an early stage and provides the tutor
with feedback on delivery.
 Tutors are encouraged to discuss the course with students (collectively and
individually), and act appropriately on responses.
 Formal feedback is gathered from students from the OLL student questionnaire - new
courses and new tutors, plus every course every third year and other courses
identified by the Course Organiser. Results of these are analysed and provided for
Course Organisers who may take appropriate action with the tutor.
UNIVERSITY OF EDINBURGH
Approval of a New or Revised Course
All new courses should be created online via WISARD and approved online. This sheet should only be used for Continuing Education courses (or where
the online process has failed).
† = Mandatory for Approval
Course Code (generated
by Student Record) N/A
† Course Name
Reckless Brevity: The Contemporary International Short Story
† ‘Owning’ School
College
Office of Lifelong Learning
CHSS
School Acronym for
Course
N/A
Collaborating Body e.g. School or other Institution
Additional Information on Collaboration (max 120 characters)
† Course Level
† If UG, Honours?
SCQF 7
† If PG, Modular
Master’s? N/A
Code(s) and Name(s) of Course(s) being replaced
N/A
† Credit Points
10
† Credit Scheme
SCQF
† Visiting Students
Only? N/A
† Credit Level
7
† Contact Teaching (hrs/mins per week, number of weeks)
2 hours per week for ten weeks, plus one two hour unseen assessment and consultation session
Other Required Attendance (hrs/mins per week, number of weeks)
It is anticipated that students will spend 80 hours in independent study
† Session course operational with effect from (YYYY/YYYY)
2010/2011
Scheduled Class Hours (max 250 characters) – include day, start and finish times, and term
To be arranged by OLL
Any costs which have to be met by students e.g. materials (max 1000 characters)
None
Code(s) and Name(s) of any Prerequisite Courses
None
Other Prerequisite Requirements (max 1000 characters)
None
Programme(s), Method(s) of Study and Year(s) of Study for which Course is Mandatory, or Optional but to be
Seeded
N/A
Code(s) and Name(s) of Prohibited Combinations
none
Other Prohibited Combination Requirements (max 1000 characters)
N/A
Code(s) and Name(s) of Co-requisite Courses
n/a
Other Co-requisite Requirements (max 1000 characters)
N/A
† Short description of course (max 2000 characters)
The short story can contain large themes in a constrained word count by using significant detail,
skilful time transitions and often a strong point of view. This course will consider the contemporary
short story and how successful authors are in achieving this goal.
Open for students of all abilities.
† Summary of Intended Learning Outcomes (max 2000 characters)
By the end of this course, students should be able to:
 identify the styles of different short story writers;
 discuss their individual approaches;
 distinguish between different short story writers’ styles and interests;
 explain the significance of the contemporary short story even if it seems to ‘lack’ many of the
storytelling skills of the classically told tale.
† Components of Assessment (max 1000 characters)
Assessment 1 25% commentary on a selected passage
Assessment 2, 75% essay
N/A
URL for supporting approval
documentation
† Course Organiser Ann Edmond MA Hons
† Course Secretary
Course URL (where not WebCT)
UG Courses Only: Year(s) in which course normally taken (e.g. 1, 1+2)
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Diet
Code
Paper Name
Duration
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Summative
(1st or Month
(e.g. 1, 2) (e.g. Paper 1)
(hrs/mins)
common content)
Exams
2nd)
N/A
N/A
† Month Assessment Result Due (1st Diet)
† Month Assessment Result Due (2nd Diet)
Chairman of Board of Examiners
† Default Course Mode of Study (Class and Exam, Class and Assignment, Class Only, or Exam Only)
Class and Assignment
Course Organiser Comments (Internal Use Only) (max 1000 characters)
Approved by/On behalf of
Course Organiser
Convener, School BoS
Convener, College SC
Convener, SUGSC/SPGSC
Date
March 2010
Authorised signature
Name
Ann Edmond
Processed by Registry
†
1. Course title: Reckless Brevity: The Contemporary International Short Story
2. Tutor name(s): Anthony Peter McKibbin
3. Tutor qualifications: BA in English
4. Rationale
The short story can contain large themes in a constrained word count by using significant
detail, skilful time transitions and often a strong point of view. This course will consider the
contemporary short story and how successful authors are in achieving this goal.
5. Course aim(s) & objective:
Aims:
 to examine different facets of the contemporary short story;
 to discuss writers with a shared interest in extending the boundaries of the form, but
with very different ways of making it fresh.
Objective:
 to show that the post-war short story was a very fertile form, often responsible for the
best work of certain writers (including Borges and Carver), and an important place
for development for numerous others.
6. Intended learning outcomes
By the end of this course, students should be able to:
 identify the styles of different short story writers;
 discuss their individual approaches;
 distinguish between different short story writers’ styles and interests;
 explain the significance of the contemporary short story even if it seems to ‘lack’
many of the storytelling skills of the classically told tale.
7. Transferable skills
 Close critical reading of passages from texts
 Small group working
 Setting literature in historical, social and political context
 Advance preparation of material for class discussion
 Wide reading. Students will be encouraged to read other short stories by the same and
other authors.
8. Contents
1. The Aleph, Jorge Luis Borges
2. Fat, Raymond Carver
3. The Adulterous Woman, Albert Camus
4. One Arm, Yasunari Kawabata
5. Let the Old Dead Make Room for the Young Dead, Milan Kundera
6. The Habit of Loving, Doris Lessing
7. First Love, Last Rites, Ian McEwan
8. Jewellery, Alberto Moravia
9. Suicides, Cesare Pavese
10. Separating, John Updike
11 Unseen Assessment and essay workshop
9. Student intake
All welcome
10. Organisation of teaching
Lecture and group discussion. Reading of the set texts is essential.
11. Assessment strategy
Two components:
 Assessment 1: unseen classroom assessment in the final week of the course, worth
25% of the total course mark
 Assessment 2: 2000 word essay (seen assessment) submitted after the course finishes,
worth 75% of the total course mark.
12. Course Readings
Essential
Halpern, Daniel.1986. The Penguin Book of International Short Stories 1945-1985, London:
Penguin. (All the stories can be found in this collection.)
Recommended
Wood, James. 2008. How Fiction Works, London: 2008
Leitch, Vincent B. 2001. The Norton Anthology of Theory and Criticism. London: Norton
Course feedback & evaluation
The following procedures are applied to all OLL credit courses:
 Course Organiser visits newly approved class at an early stage and provides the tutor
with feedback on delivery.
 Tutors are encouraged to discuss the course with students (collectively and
individually), and act appropriately on responses.
 Formal feedback is gathered from students via an on-line student survey. Results of
these are analysed and provided for Course Organisers who may take appropriate
action with the tutor.
UNIVERSITY OF EDINBURGH
Approval of a New or Revised Course
All new courses should be created online via WISARD and approved online. This sheet should only be used for Continuing Education courses (or where
the online process has failed).
† = Mandatory for Approval
Course Code (generated
by Student Record) N/A
† Course Name
Russian Classics of 19th Century
† ‘Owning’ School
College
Office of Lifelong Learning
CHSS
School Acronym for
Course
N/A
Collaborating Body e.g. School or other Institution
Additional Information on Collaboration (max 120 characters)
† Course Level
† If UG, Honours?
SCQF 7
† If PG, Modular
Master’s? N/A
Code(s) and Name(s) of Course(s) being replaced
N/A
† Credit Points
10
† Credit Scheme
SCQF
† Visiting Students
Only? N/A
† Credit Level
7
† Contact Teaching (hrs/mins per week, number of weeks)
2 hours per week for ten weeks, plus one two hour unseen assessment and consultation session
Other Required Attendance (hrs/mins per week, number of weeks)
It is anticipated that students will spend 80 hours in independent study
† Session course operational with effect from (YYYY/YYYY)
2010/2011
Scheduled Class Hours (max 250 characters) – include day, start and finish times, and term
To be arranged by OLL
Any costs which have to be met by students e.g. materials (max 1000 characters)
None
Code(s) and Name(s) of any Prerequisite Courses
None
Other Prerequisite Requirements (max 1000 characters)
None
Programme(s), Method(s) of Study and Year(s) of Study for which Course is Mandatory, or Optional but to be
Seeded
N/A
Code(s) and Name(s) of Prohibited Combinations
none
Other Prohibited Combination Requirements (max 1000 characters)
N/A
Code(s) and Name(s) of Co-requisite Courses
n/a
Other Co-requisite Requirements (max 1000 characters)
N/A
† Short description of course (max 2000 characters)
This class will introduce students to literature in translation, and also to an influential and important
group of writers. Many subsequent novels, plays and short stories are influenced by and indebted to
Russian fiction of the 19th century and given the influence of classic Russian fiction, this course
functions as an excellent preparation for any student taking subsequent classes in 20th century fiction.
Open for students of all abilities.
† Summary of Intended Learning Outcomes (max 2000 characters)
By the end of this course, students should be able to:
 demonstrate an awareness of the development of Russian fiction;
 identify, compare and contrast the novels and techniques of the writers discussed;
 analyse and respond critically to fictional works;
 express their opinion on a variety of aspects regarding the texts under analysis, in terms of
content, style and language.
† Components of Assessment (max 1000 characters)
Assessment 1 25% commentary on a selected passage
Assessment 2, 75% essay
N/A
URL for supporting approval
documentation
† Course Organiser Ann Edmond MA Hons
† Course Secretary
Course URL (where not WebCT)
UG Courses Only: Year(s) in which course normally taken (e.g. 1, 1+2)
Diet
Diet
Code
Paper Name
Duration
Comments (e.g. Other courses with exam
Summative
(1st or Month
(e.g. 1, 2) (e.g. Paper 1)
(hrs/mins)
common content)
Exams
2nd)
N/A
N/A
† Month Assessment Result Due (1st Diet)
† Month Assessment Result Due (2nd Diet)
Chairman of Board of Examiners
† Default Course Mode of Study (Class and Exam, Class and Assignment, Class Only, or Exam Only)
Class and Assignment
Course Organiser Comments (Internal Use Only) (max 1000 characters)
Approved by/On behalf of
Course Organiser
Convener, School BoS
Convener, College SC
Convener, SUGSC/SPGSC
Date
March 2010
Authorised signature
Name
Ann Edmond
Processed by Registry
1. Course title: Russian Classics of 19th Century
2. Tutor name(s): Ekaterina Popova
3. Tutor qualifications: MA Applied Linguistics, MPhil Linguistics (Cambridge)
4. Rationale
This class will introduce students to literature in translation, and also to an influential and
important group of writers. Many subsequent novels, plays and short stories are influenced by
and indebted to Russian fiction of the 19th century and this class, therefore, complements and
augments the existing literature programme. Given the influence of classic Russian fiction,
this course functions as an excellent preparation for any student taking subsequent classes in
20th century fiction.
5. Course aim(s) & objectives
Aims
 to provide students with deeper background information on the cultural and historical
setting of 19th century Russian Literature;
 to draw attention to some of the debates that these texts evoked in the world of
literary criticism.
Objectives
 to discuss three major Russian authors within their cultural background;
 to encourage the class to read outside the set texts;
 to compare and contrast texts of three great Russian authors.
6. Intended learning outcomes
By the end of the course, students should be able to:
 demonstrate an awareness of the development of Russian fiction;
 identify, compare and contrast the novels and techniques of the writers discussed;
 analyse and respond critically to fictional works;
 express their opinion on a variety of aspects regarding the texts under analysis, in
terms of content, style and language.
7. Transferable skills
 Working in groups
 Close reading skills
 Vocabulary of literary analysis
8. Content
Week 1. Introduction
Week 2. Dostoyevsky, Fyodor. Life and Ideas. Notes from the Underground
Week 3. Dostoyevsky, Fyodor. The Idiot
Week 4. Dostoyevsky, Fyodor. Crime and Punishment
Week 5. Tolstoy, Leo. Life and Ideas. Death of Ivan Ilyich
Week 6. Tolstoy, Leo. The Resurrection
Week 7. Tolstoy, Leo. War and Peace (I)
Week 8. Tolstoy, Leo. War and Peace (II)
Week 9. Chekhov, Anton. Life and Ideas. Short stories Ward No 6, The Lady with the Dog
Week 10.Chekhov, Anton. Cherry Orchard
Week 11: Unseen Assessment and essay workshop
9. Student intake
All welcome
10. Organisation of teaching
Lectures, seminar-style discussion and small group work. The reading of the set texts is
essential.
11. Assessment strategy
Two components:
 Assessment 1: unseen classroom assessment in the final week of the course, worth
25% of the total course mark
 Assessment 2: 2000 word essay (seen assessment) submitted after the course finishes,
worth 75% of the total course mark.
12. Course Readings
Essential
Chekhov, Anton. 1999. The Essential Tales of Chekhov. London: Granta Books
Chekhov, Anton. 2008. Five Plays: Ivanov, The Seagull, Uncle Vanya, Three Sisters, and The
Cherry Orchard. Oxford: Oxford Paperbacks
Dostoyevsky, Fyodor. 1992. Notes from the Underground. New York: Dover Publications
Inc.
Dostoyevsky, Fyodor. 2004. The Idiot. London: Penguin Classics
Dostoyevsky, Fyodor.2003. Crime and Punishment. London: Penguin Classics
Tolstoy, Leo. 2006. Death of Ivan Ilyich and Other stories. London: Penguin Classics
Tolstoy, Leo. 2004. The Resurrection. London Penguin Classics
Tolstoy, Leo. 2001.War and Peace. Ware. Wordsworth Editions Ltd
Background Reading
Emerson, Caryl 2008. The Cambridge Introduction to Russian literature. Cambridge: CUP
Course feedback & evaluation
The following procedures are applied to all OLL credit courses:
 Course Organiser visits newly approved class at an early stage and provides the tutor
with feedback on delivery.
 Tutors are encouraged to discuss the course with students (collectively and
individually), and act appropriately on responses.
 Formal feedback is gathered from students via an on-line student survey. Results of
these are analysed and provided for Course Organisers who may take appropriate
action with the tutor.