Cardiff School of English, Communication, and Philosophy (ENCAP)

English Literature Year One Course Guide

and Style Guide

Course Guide for all students taking: English Literature I English Literature II Medieval and Renaissance English Literature in Year One 2012-13

CONTENTS
1. YEAR ONE ENGLISH LITERATURE ........................................................................................ 4 1.1 English Literature at Cardiff University ..................................................................... 4 1.2 Year One Subjects........................................................................................................ 6 1.3 Year One Seminars ...................................................................................................... 7 1.3.1 Seminar Guidelines ...................................................................................................... 8 1.4 Research Seminar Series .......................................................................................... 10 1.5 Our Role in Managing the Degree ............................................................................ 11 1.6 Your Role in Managing the Degree........................................................................... 11 2. PRACTICAL MATTERS ........................................................................................................... 13 2.1 Sources of Information and Help.............................................................................. 13 2.2 The Year One Administrative Office ......................................................................... 13 2.3 Our Contact Details .................................................................................................... 14 2.4 Your Contact Details .................................................................................................. 14 2.5 Office Hours and E-Hours ......................................................................................... 14 2.6 Asking Staff for References ...................................................................................... 14 2.7 Attendance .................................................................................................................. 15 2.8 Academic Progress .................................................................................................... 15 2.9 Academic Progress Meetings ................................................................................... 15 2.10 Changing Year One subjects .................................................................................... 15 2.11 Disability and Disclosure .......................................................................................... 15 3. ASSESSED WORK, FORMATIVE WRITING, AND FEEDBACK........................................... 16 3.1 Formative Writing and Feedback.............................................................................. 16 3.2 Summative Assessment and Feedback................................................................... 16 3.3 Feedback ..................................................................................................................... 16 3.4 Assessment Regulations and Procedures .............................................................. 17 4. ACADEMIC ESSAY CONVENTIONS / STYLE GUIDE .......................................................... 18 4.1. Academic English ...................................................................................................... 18 4.2 Plagiarism ................................................................................................................... 18 4.3 Referencing your sources ......................................................................................... 19 4.4 Required Format ......................................................................................................... 19 4.5 Essay Checklist .......................................................................................................... 36 5. Year One Module Descriptions and Timetable Information ............................................... 37 5.1 Module Descriptions for English Literature I ................................................................ 37 5.2 Module Descriptions for English Literature II ............................................................... 45 5.2 Module Descriptions for Medieval and Renaissance English Literature ................... 50 APPENDIX 1: Year One Assessment Criteria .......................................................................... 55 APPENDIX 2: Electronic Submission of Assessed Work via Learning Central.................... 56 APPENDIX 3: Academic Staff Details ........................................................................................ 57 APPENDIX 4: Key Dates .............................................................................................................. 58

Please contact the administrative staff in room 2.67 if you require this Course Guide in an alternative format, e.g. large print, coloured paper, etc.

Foreword
Welcome to Year One English Literature. The Board of Studies for English Literature teaches three subjects in Year One (English Literature I, English Literature II, Medieval and Renaissance English Literature). Whether you are doing one, two, or all three of these subjects, this Guide contains important information about your course, so please read it carefully and keep it for future reference. This Guide should be read in conjunction with the ENCAP Undergraduate Handbook, which contains full information on a number of more general topics not covered here. It is essential that you download and read the Handbook.

Each of our Year One subjects is taught by a mixture of lectures and seminars. Your lecturers have specialist research interests in the material they teach; they actively publish in these areas and will introduce you to ideas at the cutting-edge of literary studies. Seminars provide the opportunity for discussion in smaller groups and enable you to develop essential skills in literary analysis and academic writing (see further sections 1.3 and 1.3.1 below). The seminars in Year One are led by postgraduate tutors who receive nationally recognised training on ENCAPs Learning to Teach programme. Section 4 of this Guide provides very important information about how to present your written work and how to reference the sources of your essays. It is most important that you follow these instructions on referencing your work and so avoid problems of plagiarism.

There is much information in this Guide to help and support you. Section 2.1 lists other sources of support. If you have any problems or questions either about your work or about personal matters, please dont hesitate to approach a lecturer, your seminar tutor, your personal tutor, or the Deputy Director for Year One. Your lecturers and personal tutor have regular office hours in which you can arrange to see them about any issue: see the Office Hours notices on the noticeboards outside their offices.

We hope that you will enjoy studying English Literature at Cardiff and that you will find your course stimulating and rewarding.

Professor Carl Phelpstead Director of Studies for English Literature Dr Heather Worthington Deputy Director of Studies for Year One English Literature

You will find an electronic version of this Course Guide and the School Undergraduate Handbook on the ENCAP website: http://www.cf.ac.uk/encap/degreeprogrammes/courseinformation/index.html . For a map of the University buildings, visit: www.cf.ac.uk/locations/maps/index.html. If you have any suggestions for improvement of this Guide, please email them to Carl Phelpstead (phelpsteadc@cf.ac.uk).

1. YEAR ONE ENGLISH LITERATURE 1.1 English Literature at Cardiff University

English Literature at Cardiff University is taught by staff with an international reputation for innovative and influential research. Our passion for the subject and the strength and range of our scholarship enable us to offer degrees which are:

Inclusive. We teach across the whole chronological span of English literature, from the AngloSaxon period to the twenty-first century; we teach writing in English from England, Wales, Ireland, Scotland, America, the Caribbean, India, and Australia. We are intrigued by the connections between literature and film, art, music, history, language, and popular culture, and our teaching reflects these interests.

Challenging. Research-led teaching means students engage with new ideas that are helping to shape the future of the discipline. We see the study of literature and culture in their various contexts as broadening horizons.

Diverse. After Year 1 there are no compulsory modules. We give you choice but we also give you the skills and knowledge to make informed choices. You have the freedom to construct a traditional programme covering multiple periods and genres or to build a more distinctive mix of modules combining literary study with analysis of other cultural forms. Our teaching is varied, too, ranging from traditional-style lectures to smaller-group seminars in which students develop their writing and presentational skills in a supportive environment designed to help them take responsibility for their own learning.

Engaged. At Cardiff we do not think of literature as isolated from the rest of culture or separate from society. We are proud of our reputation for theoretically informed reading, bringing texts from all periods into dialogue with contemporary concerns about gender, identity, sexuality, nationality, race, the body, the environment, and digital technology. We also maintain a strong tradition in Creative Writing, taught by writers making their mark on contemporary culture.

Year 1 is a foundation year designed to equip you with the skills for advanced study and to give you an overview of the subject that will enable you to make informed choices from the modules available in Year 2 and final Year. In Year 2 you select from a range of period-, genre- or theme-based modules in which you will build on the foundation year, reading a variety of texts in their historical and cultural contexts. In Final Year there is a range of more specialised modules in which you can pursue interests developed in the previous two years and engage with current issues in research and scholarship, enabling you further to develop analytical and presentational skills that employers will value as well as equipping you for postgraduate study. The focus throughout the degree is on becoming a careful, attentive, and informed reader of both written texts and other cultural media, sensitive to the nuances

5 of language and style and able to articulate your responses to texts in writing which is precise, stylish, and effective. The general guidelines about the aims and learning outcomes of degree courses have been agreed nationally and set out in Subject Benchmark Statements. The Statement for English goes into considerable detail about the informing principles of the subject, about what a student might be expected to get out of an English degree, and about what a student should know and be able to do by the end of the degree. The Benchmark Statement is available online at:

http://www.qaa.ac.uk/Publications/InformationAndGuidance/Documents/English07.pdf

Five points from the Subject Benchmark Statement seem to us to convey the essence of the learning experience in an English Literature degree:
Critical skills in the close reading and analysis of texts Ability to articulate knowledge and understanding of texts, concepts and theories relating to English studies Competence in the planning and execution of essays and project-work The capacity for independent thought and judgement Research skills, including scholarly information retrieval skills, involving the ability to gather, sift and organise material independently and critically, and evaluate its significance.

These points relate closely to the three key areas of knowledge, skills and understanding. By the end of the three years of an English degree, a student should have acquired:

A considerable body of knowledge about and understanding of literary texts, knowledge about the historical context in which these texts were produced, and knowledge about critical and theoretical approaches to these texts. Implicit in this is an awareness of the complexity, uncertainty, ambiguity and limits of knowledge.

Intellectual (analytic and cognitive) skills. These are thinking skills, and will be reflected in an ability to work closely with, and from, the words on the page of a literary or other text, and also reflected in an ability to work with critical, contextual and theoretical materials and ideas. This will amount to far more than an imitation or reflection of ideas and approaches offered in lectures; within the general framework of current thinking in the subject, students will be expected to and will be able to initiate and sustain an independent approach.

Subject-specific (writing) skills. The success of students in combining knowledge and analytic skills will be reflected in the way they are capable of discussing the topics that they are studying. Students will be able to argue a convincing, complex and well-supported case, and will be expected to do so in fluent and mechanically correct English. Implicit in the challenge of writing an effective essay is an assumption that students will know how to find, sift and make use of relevant

6 material, and that they will use the resources of information technology both in researching and in writing an essay.

1.2

Year One Subjects

At Cardiff University all students in the Humanities take three subjects in Year One (a total of 120 credits). All single and joint honours English Literature students take English Literature I in Year One. Single honours English Literature students must also take either English Literature II or Medieval and Renaissance English Literature. Joint honours English Literature students are encouraged to consider taking either English Literature II or Medieval and Renaissance English Literature alongside English Literature I and their other joint honours subject.

English Literature I, English Literature II, and Medieval and Renaissance English Literature, together form an ideal preparation for the full range of modules available to you in Years 2 and 3, and so we strongly recommend that Single Honours students take all three of the subjects that we teach in Year One. Together, these three courses introduce you to texts from all periods of English Literature and from several different countries; they also include examples of all three major literary forms: poetry, the novel, and drama. The three courses provide opportunities to analyse the relationship of literary texts to their historical and geographical contexts, to issues of identity, and to other cultural forms, including film. This experience in Year One will provide a firm basis on which to make informed module choices in Years 2 and 3.

Each of the three Year One subjects we teach consists of two 20-credit modules: in each case you take both modules. In English Literature I one of the modules is taught in the autumn semester and the other in the spring semester; in both English Literature II and Medieval and Renaissance English Literature the two modules are taught side-by-side across the whole year.

In section 5 of this Course Guide you will find module descriptions for all the Year One English Literature modules with details of the recommended editions of the literary texts studied, suggested further reading, and timetable information. The recommended critical books represent a wide range of approaches and levels of complexity. Many have useful bibliographies, which will provide a good basis for further reading.

Library and I.T. skills In order to operate effectively and efficiently you will need to learn how to use the library catalogue and how to word-process your essays. The library offers guidance on information resources and library staff are extremely keen to help and advise at all times and all stages of your studies (ask at the information desk for help).

7 Further Reading You are expected to read beyond the bare minimum required for a module. At various points in the semester lecturers will provide lists of recommended reading and your seminar tutor will also suggest further reading. If you require any further guidance on what to read do not hesitate to discuss this with your seminar tutor or with the relevant lecturer.

Websites and Other Electronic Resources The Internet is a tremendous resource for students of literature, and there are many excellent academic websites run by well-qualified individuals or organisations. You can access manuscript illuminations, photographs, specialised reading lists, some journal articles, and conference papers by scholars. However, one does need to be very discerning in the use of web resources: much material available online is factually incorrect or otherwise of poor quality (sometimes very poor quality). Academic books and articles in printed journals go through a rigorous process of peer review and editing before they are published, but few websites exert this kind of editorial quality control over the material they make available (the major exceptions, of course, are websites making printed journals accessible online). Remember that anyone who wants to can publish online, however little they may know about a subject. In particular, avoid using websites consisting of student essays on various topics. These essays are invariably of very poor quality.

If you do use material from a (good) website in your assessed work you must give references for it just as you would for material from books or articles: in a footnote give the URL of the site you have used and ideally also the date you accessed it. Failure to do this is plagiarism and when you are caught you could receive a mark of zero (it is, of course, very easy to trace plagiarism from websites: suspect phrases can simply be entered into Google, thus leading straight to the source, and the Turnitin program used to check all assessed work also checks essays against material on the web).

1.3

Year One Seminars

Each module you take in English Literature Year One is taught by a combination of lectures (attended by everyone taking the module) and seminars (smaller groups with a seminar tutor).

The first-year seminars at Cardiff are designed with specific aims and objectives in mind, and it may be useful to you to have these briefly outlined. Comprised of between fifteen and twenty students with a tutor, the seminar will help direct and focus your intellectual development in Year One. Throughout the year you will encounter a range of opinions and methods. The seminar is the place where you work closely and intensively at achieving the level of competence expected of a university student of English literature.

To this end, seminar work aims to equip you with key skills in literary analysis and critical writing, as well as familiarising you with important historical, critical, and generic categories. In the first place, you

8 will focus on the close reading of texts. Developing skills in reading will in turn be linked to enabling you to produce independent and thoughtful critical essays. Your tutor will ask you to produce pieces of formative written work each semester as a way of practising these skills. At least one piece of formative work each semester will be a formal essay where the aim will be to structure a clear argument that answers a particular question. The other pieces of formative writing may be shorter and in a more informal mode and designed to encourage you to write freely and easily - this might include diary entries, a mini-essay, reflections on a passage. Formative writing does not count towards the mark for a module, but you will receive detailed individual feedback on your formative work. Particular emphasis will be placed on the structure and style of your essays. The feedback is designed to encourage you to develop further your critical skills, so that when the time comes to produce assessed work you will feel confident both of your own abilities and of the department's expectations.

Seminars provide a forum for discussion as well as the opportunity to look at texts in closer detail than is sometimes possible in large lectures. You will be encouraged to raise questions and problems, and to work in small groups or give a brief presentation. Your tutor will give you support in these activities as well as advice about how to tackle the modules. We would encourage you to make the most of this opportunity. English Literature at Cardiff attaches great importance to independent student activity, and Years Two and Three provide further scope for autonomy, both within conventional modules and in the shape of independent essay choices. By the end of this year, we would like you to be capable of detailed textual analysis presented in a well-written, polished essay. In turn, this should enable you to go on, in Years Two and Three, to discuss a wide range of texts with interest and authority. The seminar is there as a foundation for this exploration.

1.3.1 Seminar Guidelines

Seminars are meant to be enjoyable as well as educational. In particular, they should provide a respectful, inclusive environment where your ideas and views are valued and enriched by interaction with your tutors and peers. These guidelines about appropriate ways of participating in seminars are intended to ensure that this is the case for all students and staff.

All modules in ENCAP include small-group or seminar teaching. Lectures are effective ways of providing information, identifying key issues, and giving an overview of a topic: many also provide opportunities for interaction between students and the lecturer. Seminars require students to prepare and contribute and allow students more opportunities to ask the tutor questions, raise problems, and discuss issues, as well as learn from one another. The two forms of teaching therefore complement each other.

9 How can I best contribute to seminars? Student interaction plays an important role in learning in higher education. This means that staff and students need to maintain an environment in which people treat each other with dignity, courtesy and respect, while also promoting open and critical exchange of ideas.

You have a key role to play in ensuring that seminars provide a safe, respectful, and intellectually stimulating environment for the exchange of ideas. Criticism and responding to criticism is an important part of such an exchange, but to be useful it should be constructive criticism, that is, criticism which seeks to open up the issues, rather than finding fault. Seminars will be more invigorating and productive if all involved feel comfortable contributing; this can be achieved if all seminar participants:

Treat each other with dignity and respect Listen to each others points of view, recognising that there may be disagreement and that debate can be a valuable way to refine ones response to a text or topic Keep discussion and comments on the topic Are sensitive in their choice of language and considerate towards other members of the group

Are there different kinds of seminar? Yes. Seminars are flexible and can be organised in the way that best suits the material being studied and, indeed, the needs of the particular seminar group. So you will probably find that you do a variety of different kinds of tasks in seminars: these might include discussion of prepared topics, student presentations, translation work, close analysis of passages from the set texts, small group discussions, or feedback on other students work.

Reading aloud in seminars In some seminars you may be asked to read aloud, either from your own work or from a text that is being studied. This should not be a cause for panic. Seminar participants should realise it is OK to stumble or make a mistake when reading aloud. If reading aloud is an essential part of the module (e.g. it relates to one of the learning outcomes) then the seminar tutor should make this clear. If it is not essential, then you are allowed to say pass if you do not wish to read aloud when it is your turn. There are many reasons why someone might pass, and assumptions should not be made about them (reasons for passing might include having a sore throat, nervousness,, tiredness, personal or medical reasons etc.). Discussing other students work In some seminars you may undertake some form of peer feedback or workshopping, in which students draft a piece of writing, exchange it with a partner, and then provide feedback orally or in writing. You should be sensitive when discussing other students work: the aim of such peer assessment is not to make people feel uncomfortable, but to provide a valuable chance to see how

10 differently other people might approach the same task. Focus especially on the substance of each other's work, and start by looking for the good things about your partner's work - especially things you wouldn't have thought of - before turning to the assessment criteria and perhaps becoming more objective.

Teamwork There are other, perhaps less obvious but still very important, ways in which we expect students in seminars to show respect to other students and to staff. These include attending the seminar, doing the preparatory reading or other work requested by the tutor, and taking a full part in the seminar discussions. If a student does not come to a seminar (without good cause), has not done the work s/he was asked to do, and sits in silence, expecting others to do all the talking, then he or she is depriving other people in the seminar of the opportunity to learn from his or her views, which is the whole point of seminar learning. *** Cardiff University has a Dignity at Work and Study: Policy Statement. The extracts from the statement below set out some basic expectations:

1.

Cardiff University is committed to supporting, developing and promoting equality and diversity in all of its practices and activities. The University aims to establish an inclusive culture free from discrimination and based upon the values of dignity, courtesy and respect. The University recognises the right of every person to be treated in accordance with these values.

2.

The failure of University staff and students to behave with dignity, courtesy and respect towards others can harm individuals and impair the functioning and reputation of the University. [] Harassment, bullying and victimisation are unacceptable forms of behaviour which will not be tolerated.

If you wish to raise any issues relating to these seminar guidelines please contact the Schools Academic Manager, Jill Burnett (encap-ac@cf.ac.uk) or the Director of Studies for English Literature, Carl Phelpstead (PhelpsteadC@cf.ac.uk).

1.4

Research Seminar Series

The School hosts a number of seminar series in which academics from Cardiff and from other universities present their new research: each seminar consists of a talk (or paper) of around 50 minutes, followed by an opportunity for questions from the audience and further discussion. These series are open to all undergraduate students (as well as to staff and postgraduates) and you are encouraged to use these opportunities to become familiar with cutting-edge research in the field and to encounter texts, authors, and topics you may not have the opportunity of studying in your modules. Details of the research seminars will be publicised throughout the year, so keep an eye out for information on the following series:

11 CEIR Centre for Editorial and Intertextual Research MEMORI Medieval and Early Modern Research Initiative CCCT Centre for Critical and Cultural Theory CNIC Crime Narratives in Context Creative Writing Open Mic events

1.5

Our Role in Managing the Degree

Your degree is managed by the Board of Studies for English Literature. The Board is responsible for the day-to-day running of the programme and for student support. Director of Studies and Chair of the Board of Studies: Professor Carl Phelpstead Deputy Director of Studies for Year One English Literature: Dr Heather Worthington. Your assessment comes under the Year One Examination Board for English Literature. The Chair of the exam board is Professor Martin Coyle.

1.6

Your Role in Managing the Degree

This may seem a strange heading but students play a vital part in the development of the degree. This role includes the Student-Staff Panel, attendance of student representatives at the Board of Studies (and at School-level committees), Module Evaluation Questionnaires and, for final year students, the National Student Survey (NSS). Each of these is described below:

1.6.1

The Student-Staff Panel

The Student-Staff Panel for English Literature is composed of student representatives from each of the three undergraduate year-groups across all degree programmes and members of staff. The Panel is chaired by a student and the minutes taken by a student.

The main purpose of the Student-Staff Panel is to give students an official forum to raise issues on the nature of modules taught, including content, seminars, teaching methods, assessment methods and, more generally, any academically-related issues such as staff consultation time, or the passing on of information. Panel meetings therefore provide important feedback for members of staff on the modules for which they are responsible. The points raised are addressed in a number of different ways. Firstly, wherever possible, a response may be given by the staff representatives during the course of the meeting. Secondly, issues relating to an individual module or an individual member of staff may be raised by one of the staff representatives with the member of staff in question. Thirdly, any issues that require action sanctioned by the Board of Studies are raised either at the Board of Studies meeting following the Student-Staff Panel meeting or, when it is urgent, at a specially convened Extraordinary Meeting of the Board of Studies. Action taken is then reported back at the following Panel meeting.

12 Student-Staff Panel meetings are normally convened in both the Autumn and the Spring semesters. Student representatives of the panel are invited to attend the Board of Studies meetings on a regular basis. The Student-Staff Panel is also an opportunity for staff to inform students about, and involve them in, relevant developments within the School and the university.

1.6.2

Module Evaluation Questionnaires

At the end of every module, students are asked to complete a simple questionnaire to provide important feedback. This helps us to assess the effectiveness and appropriateness of our modules in terms of teaching methods, presentation, course content, etc. The questionnaires are completed anonymously, usually during one of the final lecture sessions of each module.

We urge you to treat this exercise seriously and constructively. It is one of the main resources we have for monitoring your reaction to what we do. It is a crucial part of our efforts to maintain and develop the quality of the learning/teaching environment.

1.6.3

National Student Survey

As its name suggests, this is a survey of all final-year university students in which they are asked to evaluate a number of aspects of their degree course at university. The results of the Survey each year provide important feedback for the University and School and are taken very seriously. In your final year you will receive further information about how to respond to the survey. In English Literature we have introduced several changes in recent years in response to feedback in the NSS, including increased seminar provision, more books on shortloan in the library, and more variety of forms of assessment and hand-in dates. The School and University have responded to feedback by, for example, introducing clearer degree classification regulations and a Student Charter.

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2. PRACTICAL MATTERS 2.1 Sources of Information and Help

Most information you will need is available online or in printed form. Before contacting the office or your lecturers, check the following sources of information:

The Cardiff University Website and the ENCAP Web Pages It pays to get to know your way around the university pages as the web is increasingly becoming the main source for general information.

This Guide This Guide contains general information about the three English Literature subjects in Year One information. Other information can be found in the School Undergraduate Handbook.

Module Guides and Learning Central These sources should contain all information specific to the module concerned. You should also keep a regular check on the following sources:

The Notice Boards Located on the 2nd floor corridors.

Your Cardiff Email Account When the School or your tutors have to contact you personally, they are most likely to do so via email. We are only permitted to use your Cardiff account and so you should not contact us using Yahoo, Hotmail, Gmail, etc. and you should check your Cardiff email at least two or three times per week. You can now access your email (along with other electronic resources such as the Library Catalogue and Electronic Journals) via the Cardiff Portal. You can read about the Portal at: http://www.cf.ac.uk/insrv/accessemail.html If these sources of information do not answer your question, you should consult the appropriate member of staff. For any questions relating to a specific module, consult the relevant module leader or your seminar tutor. Your personal tutor may be able to help with any more general questions or issues.

In addition, a deputy director of studies is assigned to each year group and may be consulted about any issue: Dr Heather Worthington is the Deputy Director of Studies for Year One.

2.2

The Year One Administrative Office

The administrative office for Year One is room 2.67. The contact administrator is Nicola Bassett (literature-ug@cf.ac.uk): 02920 874819.

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2.3

Our Contact Details

Address: English Literature, ENCAP, Cardiff University, Humanities Building, Colum Drive, Cardiff CF10 3EU Telephone: Email: 02920 874241 Literature-ug@cf.ac.uk

2.4

Your Contact Details

You must keep us informed of your current address. This is most important. You must tell the office if you change your home address or Cardiff address.

2.5

Office Hours and E-Hours

All full-time academic staff indicate on their notice-boards the hours during the week when they are available to see students for consultation or will reply to email.

2.6

Asking Staff for References

Your personal tutor, or any lecturer who knows you and your academic work well enough, is usually happy to act as a referee for jobs or training/courses you may apply for when you leave Cardiff. It is helpful to maintain regular contact with your personal tutor so that they get to know you well enough to be able to write a reference with confidence. When asking for a reference, provide your referee with an up-to-date CV and tell them about the kind of job/course that you are applying for. This is a question of common courtesy. Do not simply put their name on the application form without asking them beforehand. Make sure that your referee is aware of when the reference request is likely to arrive. Members of staff are often away from Cardiff during the summer at conferences, doing research or on holiday and may be away when the request comes in. Your tutor will tell you whether or not they will be around to be able to process a reference request in time or not.

If you do not follow the suggestions above, we cannot guarantee that a reference request may be answered, which could jeopardise your chance of a job or a place on a course.

Finally, bear in mind that if you are applying for a job (especially a temporary part-time holiday job) academic staff are usually only able to provide information about your academic work. We are not your current employers and cannot comment on your honesty, dress sense, attitude to clients, etc. from the point of view of an employer. If it is important to you that your employment qualities are commented on by a referee, it may be that members of staff are simply not the appropriate people to act as referees. Please note that it is not School policy to hand references over to students before they are posted; they need to be posted from the School by a member of staff.

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2.7

Attendance

Attendance at lectures and seminars is compulsory. In particular, if you are going to miss a seminar you must make every effort to inform the tutor in advance, either by sending a written message or by telephoning the office. Attendance is monitored throughout the year at specific points of engagement including enrolment, essay hand-in and collection, and classes.

Illness: if you are ill you must inform us. If you are ill for more than a few days, you must produce a medical certificate. This should be given to the office. The Cardiff University Student Handbook includes fuller information about self-certification, etc.

2.8

Academic Progress

Students academic progress is monitored in accordance with the following rules. A student must attend classes and produce such written work as the course requires. It is a students responsibility, if he or she expects to be absent from the course or late in submitting written work, to secure permission beforehand. If circumstances do not permit this, a student must explain the absence, or the late submission, as soon as possible after the event. Otherwise, the following procedures will come into play:

i. ii.

A student absent from the course without explanation will be written to. If the student is absent without explanation from classes he or she may be issued with a formal warning of exclusion by the University.

2.9

Academic Progress Meetings

During the year you will receive further information about Academic Progress Meetings. At these meetings with your Personal Tutor you will discuss the feedback you have received on your work and the results of your last round of assessment. You will be emailed a form to fill in and bring to the meeting in order to help you reflect on the feedback you have been given.

2.10

Changing Year One subjects

It is possible to change your modules during the first three weeks of the first semester. This deadline is absolute. Do think carefully before changing. You will need to complete any changes on SIMS and you should inform the office in 2.67 of any change you make. You will need to check with the subject you are changing to that they are willing and able to take you.

2.11

Disability and Disclosure

Please see the very important information in the ENCAP Undergraduate Handbook (Section 3: Equality, Diversity, and the Inclusive Curriculum).

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3. ASSESSED WORK, FORMATIVE WRITING, AND FEEDBACK 3.1 Formative Writing and Feedback

As explained in section 3.1 above, all modules offer you the opportunity to practise writing, something essential to your learning and development. We distinguish between two kinds of writing: summative writing (which is awarded a mark and counts towards your degree) and formative writing (which receives feedback but no mark and is intended to help you practise and develop skills, try out ideas, and explore issues). Both types of writing should follow the guidelines on presentation of written work in this Course Guide and should be as polished as you can make them. Feedback on both formative and summative work is designed to help you to improve your writing in future. Formative writing helps you to form your ideas and your writing style(s). It is not given a mark or grade because it is all about developing ideas and appropriate ways of expressing them. The feedback you receive on formative writing is intended to draw your attention to ways in which you can improve your performance in future formative and summative work. Depending on the nature of the exercise, feedback on formative work may be given in seminars or may consist of written comments on your work.

Formative writing can take a variety of forms including, for example, a paragraph, a brief weekly writing exercise, a prcis, a journal entry, or a book review. Your seminar tutor will provide information on the formative writing required for your seminars and when it is due.

3.2

Summative Assessment and Feedback

In Year One each module is assessed by either two 1600 word essays or a 1600 word essay and an exam (for details, see the Module Descriptions in section 5 below). The word limit for assessed work includes quotations, but excludes footnotes and the bibliography. At the end of each essay you must write down the number of words the essay contains.

The questions for assessed essays will be issued in Week 7 of each semester (the week after reading week). Exams take place in the exam periods after Guided Study Week each semester (see calendar in Appendix 4).

3.3

Feedback

You will receive feedback on formative writing you do for seminars from your tutor: this usually takes the form of written annotations and comments on the work, but may sometimes consist of oral feedback in class, or other forms of feedback appropriate to the module and the particular exercise. Feedback on assessed essays is by means of annotation on the essay and a cover sheet. The key areas are knowledge, skills and understanding, but notice the actual terms used such as structure and argument; use of /evidence of reading; style and presentation (including grammar, punctuation and referencing).

17

The criteria we use in assessing students are set out in Appendix 1 below. The main thing we want to stress here is that we set and expect high standards. And this applies to every aspect of your work. We penalise work that is characterised by spelling, punctuation and grammatical errors. Students sometimes express surprise at how fanatical or, perhaps, just conservative we are about good writing. But nothing could be more important in an English degree than your use of English. We also expect a high standard of presentation; the conventions are explained in the next section, and you must conform to the conventions. Getting these things good English and polished presentation right takes time and you must allow yourself sufficient time. In addition, if you do not know how to use punctuation accurately, you must make the effort to find out. But we will provide help where required: a module leader or your personal tutor will be willing to give advice on this. We aim to produce graduates who can enter any field of employment confident in the knowledge that they will be able to understand, analyse and deal with any problem, confident that they have useful skills, and confident above all in their use of English.

3.4

Assessment Regulations and Procedures

The ENCAP Undergraduate Handbook (sections 810) includes important information about assessment and marking procedures, anonymous marking, regulations relating to progression and to resitting failed modules, and the rules and regulations the Exam Board follows in determining degree results. You should read those sections of the Undergraduate Handbook very carefully and ensure you are fully familiar with these regulations and procedures.

18

4. ACADEMIC ESSAY CONVENTIONS / STYLE GUIDE 4.1. Academic English

All written work must be presented in a clear, readable form, and in accordance with the recognised academic conventions, as set out in these notes, which act as a guide for all modules taught by the Board of Studies for English Literature. You must acknowledge the sources of your ideas, give proper references for your quotations from texts and also give a bibliography at the end of your essay. These are all very simple conventions and quickly learnt.

The purpose of this section of the Course Guide is to teach you the conventional academic style for essays. There are a number of house styles in use by different publishers and you will see that conventions vary in the published criticism that you read. The conventions we follow at Cardiff in English Literature are adapted from the MHRA Style Guide: A Handbook for Authors, Editors, and Writers of Theses (2nd edition, 2008) and should be sufficient to enable you to produce a good essay free from errors of presentation. The full MHRA Style Guide can be downloaded for free from the web at http://www.mhra.org.uk/.

Essays should be double-spaced, using indented paragraphs and an unjustified (ragged) right-hand margin (as in this section of the Course Guide). This Guide uses an extra line of space between paragraphs in order to make clear the points and details in the examples. Do not, however, use an extra line of space in your essays. Indented quotations, notes and bibliography should be singlespaced in your essays. Do not use italics or bold for your quotations but present them as they are in the text you are citing. Before you hand in your essays in, check the spelling and grammar, as well as the accuracy of all names and references. Poor spelling, punctuation and grammar will be penalised. Loose sheets can get lost, so submit your essay in a 'punched pocket' wallet. You might wish to get your dissertation bound; the Library offers a service for this at a small charge.

4.2

Plagiarism

Plagiarism is the use of the ideas or words of others without acknowledging them as such. It is an academic tradition that the ideas and words of another are not used without acknowledgement. You must adhere to this rule. Furthermore, the mark for written work in part indicates your understanding of the material of the essay. If you have merely repeated the words of another, it is difficult to assess your understanding, and so to award a mark. It is, therefore, totally unacceptable for you to plagiarise in your written work. If you do so, your mark will be affected, and you will also have committed an unfair examination practice.

You may, of course, make use of the ideas of others. However, each use of the ideas or words of another must be individually acknowledged in your footnotes or endnotes. Whenever you owe an idea

19 to someone else, you should make this clear through your references (although this does not apply to ideas derived from lectures and seminars).

All assessed work must be submitted electronically through Learning Central as well as in hard copy (see Appendix 2 below). The TURNITIN program on Learning Central identifies material in an essay that may be copied from another source and is extremely effective in enabling examiners to identify plagiarism in assessed work.

4.3

Referencing your sources

As noted above, you need to give references for the sources of your essay (the critical books and articles you may have read), both when you quote from them and when you paraphrase ideas from them. You also need to give references for all your quotations from the primary texts you are using.

There are two main systems for this. Use just one of these: either footnotes, which appear at the bottom of the page, or endnotes, which appear at the end of the essay (before the bibliography). Footnotes are preferred. Footnotes or endnotes should be single spaced. (Some word processors automatically use a smaller font size for notes, but this is not essential.) Endnotes should begin on a new page at the end of the essay or dissertation and before the Bibliography. Use arabic (1, 2, 3) numbering, not roman (i. ii. iii). Numbers in the text should be inserted using superscript, usually at the end of the sentence, thus.4 Notice that the numbers come after the punctuation, not before.

4.4
4.4.1

Required Format
General layout The essay must be typed or word-processed on one side only of A4 paper. The essay must be double spaced except for indented quotations, notes and bibliography. Use a 12pt Times New Roman font (or a sans serif font such as Arial). The left margin should be one inch or 2.5cm. A wider right-hand margin (4cm) will allow more space for marginal comments to be made by the examiners. The first line of each paragraph should be indented (except the first paragraph of the essay, or a major subdivision within the essay or chapter). Use tabs to indent. Do not put extra space between paragraphs. Do not justify the right-hand margin. Do not use bold. If you want to emphasise something, use italics. Page numbers should be printed at the top right-hand corner.

In exams you should double-space your writing: this makes it easier for the examiner to read.

20 4.4.2 Quotations and quotation marks

Use single quotation marks from the beginning of the essay and stick to this throughout, except when you need quotation marks inside existing quotation marks, as in the following instance:

According to Terence Hawkes, 'The pun of "love" with which King Lear begins [...] has a crucial function in the play.'1 It is not, however, the only pun in the play. The full stop here goes inside the quotation mark because it forms a complete sentence and is separated from the preceding passage by a punctuation mark (the comma after 'Hawkes').

Quotations are treated in one of two ways. A short quotation (up to two lines) is best included in your sentence in quotation marks. (If you are quoting, say, a line and a half of verse, then you should indicate where the line-end occurs with a slash - thus /. So: 'Experience, though noon autoritee / Were in this world. . . . ').

If the quotation is a longer than two lines, then it should be presented in the following form: introduce the quotation with a colon [:] at the end of your text (unless the syntax of the quotation continues uninterruptedly that of your essay, in which a colon is not used). Then begin the quotation on a new line and indent the whole quotation by one tab space to distinguish it clearly from the surrounding text.

Indented quotations should not be enclosed within inverted commas: only use inverted commas in an indented quotation if part (but not the whole) of the quotation is direct speech. Quotations of verse must be set out exactly as in the original. If you wish to omit part of a quotation from the middle, then first check that what is left makes continuous sense as it stands. Indicate the omission with an ellipsis, that is, three spaced full stops [. . .]. This does not apply to words omitted from the beginning or end of a quotation where there is no need to use an ellipsis. It is almost always wrong to continue a sentence around a long quotation. Begin a new sentence on a new line after a quotation and (unless starting a new paragraph) place it at the left-hand margin.

Two invented examples show how this works. Example 1 is from the middle of an essay on Jane Austen; example 2 is from the start of an essay on poetry:

Example 1

The crucial stage of Fanny Price's maturation comes when she refuses to accept the advice that she marry Henry Crawford. She must contend with the assumptions that all those around her share. They believe that, because she is 'the perfect model of a woman' (p. 344), she will see it as her feminine duty 'to accept such an unexceptionable offer' (p. 331). She herself, however, is put in a state of turmoil: 1. Terence Hawkes, William Shakespeare 'King Lear' (Plymouth: Northcote House, 1995), p. 53. [Note here that when a title appears within another title, the subsidiary title requires inverted commas.]

21 Her mind was all disorder. The past [] was terrible. But her uncle's anger gave her the severest pain of all. Selfish and ungrateful to have appeared so to him! She was miserable for ever. (p. 320) It is the pressure of obligation with which she contends. Its result is to make her mind 'all disorder'.

Example 2

The power of poetry to fix and immortalise a love relationship is commonly asserted. Shakespeare proudly asserts, 'Not marble nor the gilded monuments / Of princes shall outlive this powerful rhyme' (Sonnet 55, ll. 1-2). Donne takes a more playful, but not less confident line in 'The Canonization': And if unfit for tombs and hearse Our legend be, it will be fit for verse; And if no piece of chronicle we prove, We'll build in sonnets pretty rooms; As well a well wrought urn becomes The greatest ashes, as half-acre tombs And by these hymns, all shall approve Us canonized for love. (ll. 29-36) Donne's wit here takes hold of the concept of the divine nature of love and plays with its relationship to poetry.

In this example, the ll. is an abbreviation of the word 'lines'; the single l. is the abbreviation for 'line'. By analogy, pp. stands for 'pages', while p. stands for 'page'. Do not use pg.

4.4.3

Acknowledging your sources

All quotations from critics must be acknowledged, so that a reader can judge whether the quotation gives an accurate indication of the argument. Ideas drawn from the work of others must also be acknowledged, in order to avoid charges of plagiarism.

4.4.4

How to handle references when quoting from critics or drawing on their ideas

The way to handle references is to use footnotes (or endnotes), as in the examples already given here. The number should appear at the end of the quotation or allusion. More often than not, this will be at the end of a sentence: As Stephen Greenblatt points out, Shakespeares life does not make exciting reading.2 This, however, is not the case with Marlowe.

As you will see from the footnotes at the bottom of these pages, titles of books, plays and novels are given in italics, whereas titles of essays (or short stories or poems), which represent an extract from a book, are given in quotation marks.
2

The Norton Shakespeare, ed. Stephen Greenblatt, Walter Cohen, Jean E. Howard and Katharine Eisaman Maus (New York and London: Norton, 1997), p. 46.

22

The first footnote or endnote reference to any book should be given in full:

3. Catherine Belsey, John Milton: Language, Gender, Power (Oxford: Basil Blackwell, 1988), p. 53. Subsequent references to the same book can be given in the shortest intelligible form. Normally this is the author's name and a shortened form of the title of the book, followed by the page reference, thus note 4 would be:

4. Belsey, Milton, p. 60. As an alternative to repeating the name or title, critics sometimes use the abbreviation Ibid. (Ibid. means 'the same' in Latin) for immediately following references to the book or article cited in the note before (for example, 4. Ibid., p. 60, would refer to Belsey, page 60), or Op. cit. (meaning 'in the work already cited') to indicate that it is a work referred to earlier rather than the work referred to immediately above (for example, 4. Greenblatt, op. cit., p. 40). Such Latin abbreviations, however, can be confusing for the reader and are best avoided.

4.4.5

How to give references when quoting from literary texts

The system for quoting from literary texts is exactly the same as quoting from critics. However, a string of footnote or endnote references to the same novel or poem or play should be avoided by stating after the first full citation: 'All further references are to this edition and are given the text.' This procedure is reserved for the literary texts you are discussing. Do not use it for referring to critics. For a sequence of references to a critic, use the short form of reference (see above). The only exception would be, say, a critical theory essay where a critical text might be the primary text you are discussing. Once you have stated that further references are given in the text, you simply include the line or page numbers in parentheses after the quotation (for example, ll. 1-6 for a poem; pp. 12-15 for a novel; IV.i.64-6, for a play), as explained below:

Novels Let us assume you are writing an essay on Toni Morrison's Tar Baby. For your first quotation from the text you put a number for the note: 'He believed he was safe.'5 Then, either at the bottom of the page in a footnote, or at the end of the essay in an endnote, you put the following:

5. Toni Morrison, Tar Baby (London: Triad Grafton Books, 1983), p. 1. All further references are to this edition and are given parenthetically in the text.

23 This means that when you quote further extracts from the novel in your essay, you can just give a page reference in brackets in the body of the essay after the quotation. In other words you do not need to repeat all the information in a footnote or endnote.

If you are referring to several different primary texts, make sure the reader knows which text you are referring to. For example, in an essay on Lawrence, you might be writing about both Sons and Lovers and Women in Love. Follow the advice above about footnoting, but in the text of your essay you may have to include the titles of the works you are discussing as well as the page reference: If Miriam is stunned by [Pauls] cruelty (Sons, p. 274), Ursula seems to be constantly afraid of Geralds frightening, impending figure (Women, p. 467).

Plays For plays, follow the same system. If you are writing about Hamlet, for example, you might quote from one of his soliloquies:

To be, or not to be - that is the question; Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune Or to take arms against a sea of troubles.6 As with the novels and poetry, the first reference has to be given in full:

6. William Shakespeare, Hamlet, III.i.56-9, in William Shakespeare: The Complete Works, ed. Peter Alexander (London and Glasgow: Collins, 1951). All further references are to this edition and are given parenthetically in the body of the essay. Subsequent references can be included in the body of your essay: Hamlet delays and delays, uncertain whether To be, or not to be (III.i.56) a revenger.

For modern plays give page numbers instead of act, scene and line numbers. One of the purposes of saying in your note that all references are from a certain edition is that it saves a lot of unnecessary repetition. Be careful, however. If you are discussing two texts, make sure the reader knows which you are quoting from. If it is at all unclear, use a footnote or endnote.

Poems The same is true for poems. For example, you might be writing about Sylvia Plath. Following your first quotation (here just a few words) from the text you put a number for the note: 'Stasis in darkness.'7 Then, either at the bottom of the page in a footnote, or at the end of the essay in an endnote, you put the following:

24 7. Sylvia Plath, 'Ariel', in The Norton Anthology of Poetry, 4th edn, ed. Margaret Fergusson, Mary Jo Salter and Jon Stallworthy (New York: Norton, 1970), p. 1734, l. 1. All further references to Plath's poems are to this edition and are given parenthetically in the body of the essay. This means that, when you quote further lines from the anthology, you can just give a line reference in brackets in the body of the essay after the quotation; so, for example, you might go on to quote the line 'Then the substanceless blue' (l. 2). Here, (l. 2) tells the reader this is line two. If in your essay you then go on to quote from another poem, such as 'Lady Lazarus',8 then you should insert a new note number after the first quotation (or after the title of the poem) and locate the poem for the reader, as follows:

8. 'Lady Lazarus', in The Norton Anthology, p. 1735.

As ever, the important thing is that the reference is clear and helpful to the reader.

4.4.6

Book titles

In word-processed assessed work titles of books should be in italics (this distinguishes, for example, Hamlet the character from Hamlet the play). In a hand-written exam paper, titles of books, plays and novels should be underlined. To a printer or editor, underlining means 'use italics here'. Do not mix italics and underlining at any point. The first reference should be given in full, as in the following example:

9. Tom McArthur, Worlds of Reference: Lexicography, Learning and Language from the Clay Tablet to the Computer (Cambridge: Cambridge University Press, 1986), p. 59. Notice the order and the punctuation:

Author, title in italics or underlined (place of publication: name of publisher, date of publication), page number you are citing.

The date of publication is the date of the edition you are using rather than the original date of publication. But the original date should also be given in square brackets before the date of the edition you are using if it supplies important information relevant to your argument. The place of publication is a city, not the country (not e.g. USA).

Subsequent references to the same book can be given in the notes in the shortest intelligible form. Normally this is the author's name a shortened from of the title of the book, followed by the page reference, thus a further reference to the book in note 9 would be:

25 10. McArthur, Worlds of Reference, p. 60.

Note the following, where the author's name is part of the title:

11. Emily Dickinson: Selected Letters, ed. Thomas H. Johnson, 2nd edn (Cambridge, MA: Harvard University Press, 1985), pp. 194-7.
[MA here is the abbreviation for Massachusetts, to avoid confusion with Cambridge in England. The inclusion of 2nd edn tells the reader which edition has been cited.]

Titles of short poems and articles from journals or collections of essays are conventionally given within inverted commas. So you would write Wordsworth's The Prelude, but Wordsworth's 'Hart-Leap Well'. In dealing with Chaucer it is normal to underline (or italicise) individual tales - for example, Nun's Priest's Tale - as well as the whole work, Canterbury Tales.

4.4.7

Articles or essays in books

The first reference should be given in full, as in the following example: 12. Martin Elsky, 'Words, Things, and Names: Jonson's Poetry and Philosophical Grammar', in Classic and Cavalier Essays on Jonson and the Sons of Ben, ed. Claude J. Summers and TedLarry Pebworth (Pittsburgh: University of Pittsburgh Press, 1982), pp. 31-55 (p. 41). Notice the order and the punctuation:

Author, title of article in single quotation marks, 'in' followed by title of book in italics or underlined, 'ed.' followed by editor's name (place of publication: name of publisher, date of publication), first and last page numbers of the article (page number you are citing). Subsequent references to the same essay can be given in the shortest intelligible form. Normally this is the author's name and a shortened form of the title, followed by the page reference, thus a further reference to the essay in note 12 would be: 13. Elsky, Words, Things, and Names, p. 43.

4.4.8

Articles in journals

The first reference should be given in full, as in the following example:

14. J. D. Spikes, 'The Jacobean History Play and the Myth of the Elect Nation', Renaissance Drama, n.s. 8 (1970), 117-49 (p. 120). Notice the order and the punctuation:

26 Author, title of article in single quotation marks, title of journal in italics or underlined, volume number (year of publication), first and last page numbers of the article (not preceded by 'pp.') (page number you are citing).

Subsequent references to the same article can be given in the shortest intelligible form. Normally this is the author's name and a shortened form of the title, followed by the page reference, thus a further reference to the article in note 14 would be: 15. Spikes, The Jacobean History Play, p. 120.

4.4.9

Newspapers

Articles in newspapers or magazines require only the date of issue (day, month, and year) and the page numbers:

16. Michael Schmidt, 'Tragedy of Three Star-Crossed Lovers', Daily Telegraph, 1 February 1990, p. 14. 4.4.10. Other very small details There are all kinds of small details that make up references: 17. Lord Broughton, Reflections on a Long Life (London: Macmillan, l909), II. 70.

The point of this example is that if there is a volume number for a book, it should be given in large roman numerals, and p. or pp. should be omitted. If there are three units - volume, part, page - the sequence should be large roman, small roman, arabic (I. ix. 21).

If the edition used is other than the first, this should be stated as follows:

18. D. G. James, The Romantic Comedy, 2nd edn (London: Longman, l963), p. 6

Similarly, if a book was originally published abroad, this can be indicated in brackets:

19. Kathleen Williams, Jonathan Swift and the Age of Compromise (Kansas City, l958; London: Longman, l959), p. 40. In most traditional styles of presentation, the editor's name follows the title of a work, which itself counts as the author's name, so:

20. Robert Henryson: Poems, ed. Charles Elliott, 2nd edn (London: Longman, l967), p. 97. There is, however, no objection to the following variation:

27 21. Charles Elliott (ed.), Robert Henryson: Poems, 2nd edn (London: Longman, 1967), p. 97. Where there are two editors, use either 'ed.' (meaning edited by) or, when using the second style, 'eds' (meaning editors).

The following example has several features:

22. Linda Bamber, 'History, Tragedy, Gender', in Shakespeare's History Plays: 'Richard II' to 'Henry V', ed. Graham Holderness (Basingstoke: Macmillan, 1992), pp. 64-73. Notice here that the titles of the plays is put in inverted commas because the main title of the book is underlined and the title needs to tell the reader that the book is about the plays Richard II and Henry V, not the characters of those names.

Notice that for references to journals we do not employ the abbreviation p. or pp. for the main page numbers, only for any particular page reference:

23. Helene Keyssar, 'The Dramas of Caryl Churchill: the Politics of Possibility', Massachusetts Review, 24 (1983), 198-216 (p. 201). The title of a journal need not be given in full if there is a recognised abbreviation (e.g. JEGP; PMLA).

4.4.11 Quoting from a critic who is quoting from another critic Be careful to attribute quotations to their correct author. For example, on page 23 of their Introduction to Literature, Criticism and Theory, 2nd edn (Hemel Hempstead: Prentice Hall, 1999), Andrew Bennett and Nicholas Royle quote a passage from Roland Barthes' 'The Death of the Author', including the sentence: The text is a tissue of quotations drawn from the innumerable centres of culture.25

If you wanted to quote this sentence in your essay, you should attribute it to Barthes, not to Bennett and Royle, thus:

24. Roland Barthes, 'The Death of the Author', quoted in Andrew Bennett and Nicholas Royle, Introduction to Literature, Criticism and Theory, 2nd edn (Hemel Hempstead: Prentice Hall, 1999), p. 23.

This tells your reader where you got the quotation from. Research students should always go back to the primary source for all quotations - in this case, Barthes' essay - in order to avoid repeating any errors that may have crept into the secondary source.

28 4.4.12 Kindles and Other E-Books

Many primary texts and critical works are now available as e-books for Kindles or other e-book readers. Providing references to such editions can be problematic as they may not provide page numbers, or the page numbers may change according to the font size, screen ratio etc. Here is some advice on how to refer to e-book editions. Firstly, a word of warning. Many very cheap Kindle and other e-book editions are completely unedited and may consist of nothing more than a plain text version of an out-of-copyright text: such editions can be highly inaccurate and will not provide explanatory notes or a critical introduction; although they may be cheap, this is a false economy. If you choose to use an e-book edition rather than a printed edition you should use a proper scholarly edition, just as you would when choosing a print edition. For example, many Penguin Classics and Oxford Worlds Classics editions are available for the Kindle.

Increasingly, Kindle e-books do have fixed page numbers which appear if you open the 'Menu' while on the page. Otherwise they use 'locations', but these may vary from device to device. If the e-edition you are using does not have fixed page numbers, then provide the most precise reference you can, such as a chapter number or section title or number.

In your bibliography a Kindle edition of a text that has also been published in print may be referred to in the following way: Austen, Jane, Pride and Prejudice (New York: Penguin Classics, 2007), Kindle edition.

Another accepted way of referring to e-book editions is to include the type of e-book version you used (e.g. Kindle version or Adobe Digital Editions version) and to include the books DOI (Digital Object Identifier, a unique code used to identify digital outputs) or where you downloaded the e-book from (if there is no DOI or you cannot trace it). For example: Austen, Jane, Pride and Prejudice (2007). [Kindle version]. Retrieved from Amazon.com on 17/8/12.

4.4.13 The Web

Internet references should include the web address, author of text and/or web designer, and date of access: 25. Martin Coyle, 'Attacking the Cult-Historicists', Renaissance Forum, 1: 1 (1996). Available at http://www.hull.ac.uk/renforum [accessed 17 December 2001]. 26. Brent Cunningham, 'The World Sees News through New York Eyes', Columbia Journalism Review, March/April 2001. Available at http://www.cjr.org/year/01//1/cunninghm.asp [accessed 1 September 2005].

29 4.4.14 Films and Paintings

The information about films should include title, name of director, the distributor and date: 27. The Company of Wolves, dir. Neil Jordan (RKO, 1984)

If you are quoting from a film in your essay, it is very important that you transcribe quotations accurately. The first time you quote from the film, make sure that your citation note includes the information cited above; subsequent quotations from the film do not require the repetition of this material in notes. Films should be listed under Primary Texts in your Bibliography. Use a subheading to divide films off from written texts:

Films Casablanca, dir. Michael Curtiz (Warner Brothers, 1942) Modern Times, dir. Charles Chaplin (United Artists, 1936) For paintings, give the artist's name, the title of the painting, the date of the work (in brackets), the institution that houses the work (or 'Private Collection'), and the city: 28. Augustus Leopold Egg, Past and Present (1858), Tate Britain, London.

Note: italicise titles of paintings (or underline in an exam); do not use inverted commas. Unless absolutely necessary, do not reference the paintings in terms of the book in which the image appears, but instead give the details of the picture itself. Paintings should be listed under Primary Texts in your Bibliography. Use a subheading to divide paintings off from written texts:

Paintings Sidney Harold Meteyard, 'I am half-sick of shadows', said the Lady of Shalott (1913), The PreRaphaelite Trust, London. Lucy Madox Brown, Ferdinand and Miranda Playing Chess (1871), Private Collection 4.4.15 Bibliography All essays must end with a bibliography listing all the works you have consulted in the process of preparing the essay. This includes the edition of the principal text(s), even if it is the standard edition prescribed for the course. The bibliography should also include books and articles you actually quote from even if they are already listed in your footnotes or endnotes.

Starting on a new page after the text and after any endnotes, list the items in alphabetical order, putting the author's surname first (in a bibliography in list form, final full stops should not be used; notice the indent after the first line):

30 Miller, J. Hillis, 'Narrative and History', English Literary History, 41 (1974), 455-73 Thompson, Ann, 'Are There Any Women in King Lear?', in The Matter of Difference: Materialist Feminist Criticism of Shakespeare, ed. Valerie Wayne (New York and London: Harvester Wheatsheaf, 1991), pp. 117-28 Woolf, Virginia, Jacob's Room, ed. Kate Flint (Oxford: Oxford University Press, 1992) Where there two or more authors of a book, the style to follow is:

Bennett, Andrew, and Nicholas Royle, Introduction to Literature, Criticism and Theory, 2nd edn (Hemel Hempstead: Prentice Hall, 1999) You should divide your bibliography into Primary Texts (i.e. all the literary texts regardless of whether they are the main subject of your essay) and Secondary Sources (i.e. the critical books and articles). If you draw on the Introduction of an edition of a text but do not use the text itself, list it under Secondary Sources, treating the Introduction as an essay:

Barron, W. J. R., 'Introduction', Sir Gawain and the Green Knight, ed. W. J. R. Barron (Manchester: Manchester University Press, 1974) Finally, at the end of the Bibliography you should list any Internet or Web Sources you have used.

Bibliographies are important to the reader. The details you give enable the reader to place a book or article in the history of scholarly or critical debate, but also to see what sources you have used. In an unseen examination, you will not, of course, be expected to provide full references or a bibliography in the manner outlined above.

As noted above, films and painting should be listed under Primary Texts, using a subheading to separate them from other texts.

It is often important to include the original date of a text in your essay. Sometimes this can be done in the main body of your essay or chapter but it is often useful to include such details in the bibliography:

Allen, E., A Knack to Know a Knave (London, 1594; facs edn, Oxford: Malone Society Reprints, 1963) 4.4.16. Avoiding Common Errors The possessive Look closely at the following examples:

his hers its whose

The form it's means 'it is' or 'it has'; the form who's means 'who is' or 'who has'. You should avoid contractions of this kind in academic writing: write it is and who is / who was instead.

31

The apostrophe Apostrophes come after the person(s) or thing(s) in possession of the object or person:

Charles Dickens's novels; Keats's odes the novels of Charlotte and Emily Bront: the Bronts' novels. Apostrophes do not make words plural:

dramas, families, potatoes, the Bronts.

It's There is no such word as the following: its'. Avoid writing 'it's', meaning 'it is' in academic work: write 'it is' instead.

Comma splices Complete sentences cannot be joined with a comma: this is known as a comma splice. A particularly common error is to join two sentences with a comma and the word 'however'. This is incorrect and the following is therefore wrong: Dickens shows this happening several times, however, the main effect is one of comedy. [WRONG]

Rewrite either as: Dickens shows this happening several times. The main effect, however, is one of comedy.

or as:

Dickens shows this happening several times; the main effect, however, is one of comedy.

You can join sentences by 'and', 'but', 'yet', 'neither', 'nor', but not by 'however'.

The semi-colon The semi-colon can usually be replaced by a full stop; it is used where we have two sentences together that are considering similar matter. The only other place you find a semi-colon is when it is used to divide sets of items after a colon where the reader might get confused: it might be a series of small sentences like these; it might be a group of lists; it might be sets of similar things. Make sure that you really understand the different uses of the colon and the semi-colon.

32 Quotations Avoid dropping quotations into the middle of sentences:

It is clear that Owen is on the side of the ordinary soldier, 'Move him gently into the sun' ('Futility'), and against the generals. [WRONG]

Rewrite as: It is clear in 'Futility', for example, that Owen is on the side of the ordinary soldier as he speaks of moving the wounded man 'gently into the sun' (l. 1), and against the generals.

If you have doubts about your punctuation, get a book, and follow it. R. L. Trask, The Penguin Guide to Punctuation (London: Penguin, 1997) is clear and simple. If you want to improve your command of English, The Student's Guide to Writing by John Peck and Martin Coyle (Basingstoke: Palgrave, 1998) is readable, brief and informative. A basic grammar book is Marion Field's Improve Your Punctuation and Grammar (Oxford: How To Books, 2000).

Abbreviations Avoid the use of colloquial contractions such as don't, aren't, etc. Commonly used abbreviations are as follows: e.g. = example; i.e. = that is; cf. = compare; ff. = following (pages or numbers); f. = the following page or number. (Note the full stops.) You should not use abbreviations as part of your continuous text; you may use them very occasionally in your footnotes.

Common spelling errors You should always be aiming to increase your vocabulary; use a dictionary to check spelling of words that are new to you, especially those you have only heard and not seen in print. It is a good idea to have a dictionary by your side whenever you are working so that you can immediately check spellings and meanings. Remember that you are permitted to take a dictionary into all English Literature examinations.

Also remember to be particularly careful to check the spelling of the titles, authors and names of the characters in the texts you are writing about (e.g. The Waste Land - three words - not The Wasteland; Heathcliff, not Heathcliffe; Grendel, not Grendal). Carelessness in this area does not impress examiners.

Here is a list of the correct (UK English) spellings of words which are frequently misspelt:

33 accommodation archetypal corollary existence harassment irrelevant parallel rhythm symbolic definite fallible hierarchical archetype embarrass foresight hierarchy argument epistolary fulfil independent occur commitment epitome fulfilled infinite occurred committed exaggerate harass inimical occurrence responsible soliloquies withhold

knowledgeable metonymy patriarchal rigorous synonymous patriarchy separate threshold

pseudonymous relevant skilful truly soliloquy wilful

Make a special point of checking ance/ence, ent/ant, able/ible endings and ei/ie combinations.

The words in the following pairs are often confused. Make sure you know the difference by checking them in your dictionary: disinterested/uninterested discrete/discreet dependant/dependent complimentary/complementary there/their enormity/enormousness stationary/stationery practice/practise site/sight/cite where/wear infer/imply affect/effect simple/simplistic lose/loose

Centuries: when referring to centuries use a hyphen to form the compound adjective. No hyphen is needed for a noun. (It is an eighteenth-century novel. It was published in the eighteenth century.) Do not use an apostrophe before abbreviated decades: the 1960s, not the 1960s. **** Nobody expects you to get everything right all the time. As a student of English, however, you are expected to care about what you write and how you write. Spelling, punctuation and grammar matter because they help us to be precise, to be interesting and to be professional. But they also help us to enjoy the very simple pleasure of being able to make language work for us and to enjoy other people's writing.

4.4.17 Summary of Examples This section simply collects together the footnotes and notes used as examples throughout this Guide and presents them as endnotes, together with a short specimen bibliography, again using the examples already cited. Notes
1. Terence Hawkes, William Shakespeare 'King Lear' (Plymouth: Northcote House, 1995), p. 53. 2. The Norton Shakespeare, ed. Stephen Greenblatt, Walter Cohen, Jean E. Howard and Katharine Eisaman Maus (New York and London: Norton, 1997), p. 46. 3. Catherine Belsey, John Milton: Language, Gender, Power (Oxford: Basil Blackwell, 1988), p. 53. 4. Belsey, Milton, p. 60.

34
5. Toni Morrison, Tar Baby (London: Triad Grafton Books, 1983), p. 1. All further references are to this edition and are given in the text. 6. William Shakespeare, Hamlet, III.i.56-9, in William Shakespeare: The Complete Works, ed. Peter Alexander (London and Glasgow: Collins, 1951). All further references are to this edition and are given in the text. 7. Sylvia Plath, 'Ariel', in The Norton Anthology of Poetry, 4th edn, ed. Margaret Fergusson, Mary Jo Salter and Jon Stallworthy (New York: Norton, 1970), p. 1734, l. 1. All further references to Plath's poems are to this edition and are given in the text. 8. Plath, 'Lady Lazarus', in The Norton Anthology, p. 1735. 9. Tom McArthur, Worlds of Reference: Lexicography, Learning and Language from the Clay Tablet to the Computer (Cambridge: Cambridge University Press, 1986), p. 59. 10. McArthur, Worlds of Reference, p. 60. 11. Emily Dickinson: Selected Letters, ed. Thomas H. Johnson, 2nd edn (Cambridge, MA: Harvard University Press, 1985), pp. 194-7. 12. Martin Elsky, 'Words, Things, and Names: Jonson's Poetry and Philosophical Grammar', in Classic and Cavalier Essays on Jonson and the Sons of Ben, ed. Claude J. Summers and Ted-Larry Pebworth (Pittsburgh: University of Pittsburgh Press, 1982), pp. 31-55 (p. 41). 13. Elsky, Words, Things, and Names, p. 43. 14. J. D. Spikes, 'The Jacobean History Play and the Myth of the Elect Nation', Renaissance Drama, n.s. 8 (1970), 117-49 (p. 120). 15. Spikes, The Jacobean History Play, p. 120. 16. Michael Schmidt, 'Tragedy of Three Star-Crossed Lovers', Daily Telegraph, 1 Feb 1990, p. 14. 17. Lord Broughton, Reflections on a Long Life (London: Macmillan, 1909), II. 70. 18. D. G. James, The Romantic Comedy, 2nd edn (London: Longman, 1963), p. 6 19. Kathleen Williams, Jonathan Swift and the Age of Compromise (Kansas, 1958; London: Longman, 1959), p. 40. 20. Robert Henryson: Poems, ed. Charles Elliott, 2nd edn (London: Longman, 1967), p. 97. 21. Charles Elliott (ed.), Robert Henryson: Poems , 2nd edn (London: Longman, 1967), p. 97. 22. Linda Bamber, 'History, Tragedy, Gender', in Shakespeare's History Plays: 'Richard II' to 'Henry V', ed. Graham Holderness (Basingstoke: Macmillan, 1992), pp. 64-73. 23. Helene Keyssar, 'The Dramas of Caryl Churchill: the Politics of Possibility', Massachusetts Review, 24 (1983), 198-216 (p. 201). 24. Roland Barthes, 'The Death of the Author', quoted in Andrew Bennett and Nicholas Royle, Introduction to Literature, Criticism and Theory, 2nd edn (Hemel Hempstead: Prentice Hall, 1999), p. 23. 25. Martin Coyle, 'Attacking the Cult-Historicists', Renaissance Forum, 1: 1 (1996). Available at http://www.hull.ac.uk/renforum [accessed 17 December 2001]. 26. Brent Cunningham, 'The World Sees News through New York Eyes', Columbia Journalism Review, March/April 2001. Available at http://www.cjr.org/year/01//1/cunninghm.asp [accessed 1 September 2005]. 27. The Company of Wolves, dir. Neil Jordan (RKO: 1981) 28. Augustus Leopold Egg, Past and Present (1858), Tate Britain, London.

35 Bibliography Primary Texts [i.e. literary or other works] Allen, E., A Knack to Know a Knave (London, 1594; facs edn, Oxford: Malone Society Reprints, 1963) Austen, Jane, Pride and Prejudice (2007). [Kindle version]. Retrieved from Amazon.com on 17/8/12. Woolf, Virginia, Jacob's Room, ed. Kate Flint (Oxford: Oxford University Press, 1992)

Films Casablanca, dir. Michael Curtiz (Warner Brothers, 1942) Modern Times, dir. Charles Chaplin (United Artists, 1936)

Paintings Brown, Lucy Madox, Ferdinand and Miranda Playing Chess (1871), Private Collection Meteyard, Sidney Harold, 'I am half-sick of shadows', said the Lady of Shalott (1913), The Pre-Raphaelite Trust, London.

Secondary Sources [i.e. criticism] Barron, W. J. R., 'Introduction', Sir Gawain and the Green Knight, ed. W. J. R. Barron (Manchester: Manchester University Press, 1974) Bennett, Andrew, and Nicholas Royle, Introduction to Literature, Criticism and Theory, 2nd edn (Hemel Hempstead: Prentice Hall, 1999) Miller, J. Hillis, 'Narrative and History', English Literary History, 41 (1974), 455-73 Thompson, Ann, 'Are There Any Women in King Lear?', in The Matter of Difference: Materialist Feminist Criticism of Shakespeare, ed. Valerie Wayne (New York and London: Harvester Wheatsheaf, 1991), pp. 117-28

Internet Sources and Websites Coyle, Martin, 'Attacking the Cult-Historicists', Renaissance Forum, 1: 1 (1996). Available at http://www.hull.ac.uk/renforum [accessed 17 December 2009]. Cunningham, Brent, 'The World Sees News through New York Eyes', Columbia Journalism Review, March/April 2001. Available at http://www.cjr.org/year/01//1/cunninghm.asp [accessed 1 September 2010].

36

4.5

Essay Checklist

Here are some questions to ask yourself while writing an essay. A negative, or unsure, answer to any of these questions means that you should revise and polish your essay further.

Structure: What is the main argument (thesis) of my essay? Have I made sure to organize my essay around the development and support of this argument rather than the presentation of observations or topics? Does the one main argument in each paragraph reinforce/develop my papers central argument? Is there a clear logic behind the way in which I have organized my paragraphs to follow each other? Have I given equal weight to the texts I discuss? If not, have I justified why not? Have I eliminated any arguments that might be interesting but that dont relate to my thesis or the main argument of my paragraph? Does my conclusion effectively summarize and reinforce the significance of my overall argument? Style and Grammar: Does each sentence follow naturally and logically from the preceding one? Have I made sure that each sentence is only presenting ONE main idea? Have I been clear, concise and direct in my phrasing? If I use words like consequently, although, and however, do these words make sense in the context in which Ive presented them? Have I avoided clich and generalization and figurative language? Have I avoided subjective statements? Have I avoided unnecessary, wordy and vague structures consisting of it is, what is and there are? If I have used the word this, have I made sure to follow it with a noun? Have I re-read my sentences to make sure that it is very clear who or what is performing the action in those sentences? Am I sure that I know the meaning of all the terms I use? References/Citations: Have I fully acknowledged all of my sources? Do my quotations help to prove my point? Have I indicated how they do so? Have I made sure not to end any paragraphs with a quotation? Have I made sure to explain the significance of my quotations? Do my quotations make grammatical sense in the context of my own sentence? Is it clear who is speaking and in what context? Have I checked the Style Guide to make sure that I am using the appropriate style conventions? Have I double-checked quotations to make sure that they are accurate?

37

5. Year One Module Descriptions and Timetable Information 5.1 Module Descriptions for English Literature I
English Literature I is compulsory for all single and joint honours English Literature students. The course consists of two modules, as follows: Module SE2130 Introduction to the Novel and Poetry SE2131 Reading and Identity Components Introduction to the Novel Poetry Semester(s) Autumn
(One lecture for Novels and one for Poetry each week)

Lecturers Ann Heilmann, Julia Jordan Carl Plasa Martin Coyle Neil Badmington Becky Munford

Spring
(Two lectures per week)

There are two lectures each week for English Literature I: Tuesday 12.10am Wednesday 10am In the autumn semester the lecture on Tuesday is on Poetry and the lecture on Wednesday is on the Novel. In the spring semester both lectures are on Reading and Identity. You will have one seminar for English Literature I each week; this seminar supports both modules. You should have been put in a seminar group at enrolment, but if you were not or did not make a note of the information, please contact Nicola Bassett in the office (Room 2.67).

38

SE2130 Introduction to the Novel and Poetry

The module aims to introduce students to two key genres and their forms. The poetry unit looks at a range of poems in English from different historical periods, and is concerned with the ways in which language and form work in poetry and the kinds of readings we can employ in looking at poems. The parallel novel unit traces the development of the modern novel through the close examination of four major examples of the genre from the nineteenth and twentieth centuries. Concentrating on works by Charlotte Bront, Charles Dickens, James Joyce and Toni Morrison, the unit will ask what is unique about the novel form, and explore why it became the most dominant form of literary expression over the course of these two centuries. We will pay attention to the specific period contexts of each novel, and introduce a variety of critical and theoretical approaches to reading novels. ON SUCCESSFUL COMPLETION OF THE MODULE A STUDENT WILL BE ABLE TO: Demonstrate their knowledge of some of the issues involved in the criticism of poetry across its various forms and be able to apply their knowledge to a number of texts through the central practice of close reading. On completion of the novel section, students should have an enriched understanding of the history of the modern novel. They should be able to undertake close readings of the set texts whilst displaying an awareness of relevant literary, historical, and critical contexts. HOW THE MODULE WILL BE DELIVERED: The module will be taught by two lectures per week for one semester, plus one seminar a week covering both units. SKILLS THAT WILL BE PRACTISED AND DEVELOPED: The key skill for both units is the development of analytic skills that will inform critical writing and result in an assured essay style, paying close attention to form and meaning. HOW THE MODULE WILL BE ASSESSED: The module is assessed by an essay on the novel and by a 2.5 hour exam on poetry. Type assessment Exam Essay of % Title Duration (exam) / Word length (essay) 2.5 hours 1600 words Approx. date of assessment January January

50 50

Poetry The Novel

The main readings for this module are texts and journal articles. Students should contact the module leaders as early as possible if they will require the provided readings in an alternative format. Timetabled sessions include lectures and discussion sessions where students may have the opportunity to make presentations and/or lead discussion. Lectures are usually supplemented with handouts or slides summarising content at a reasonable level of detail. These are usually made available to students on Learning Central at least 24 hours before the session. There are no academic or competence standards which limit the availability of adjustments or alternative assessments for students with disabilities.

SYLLABUS CONTENT: For poetry: The nature of the different forms of poetry, including ballad, sonnet, elegy, modern poetry and the main topics of poetry (love, death, religion) as well as such ideas as wit, intertexuality and modernism.

39 For the novel: Week 1: Introduction to the Novel Week 2: Charlotte Bront, Jane Eyre Week 3: Charlotte Bront, Jane Eyre Week 4: Charles Dickens, Great Expectations Week 5: Charles Dickens, Great Expectations Week 6: Reading Week Week 7: James Joyce, A Portrait of the Artist as a Young Man Week 8: James Joyce, A Portrait of the Artist as a Young Man Week 9: Toni Morrison, The Bluest Eye (1970; London: Vintage, 1994) Week 10: Toni Morrison, The Bluest Eye Week 11. Conclusion: Future Directions of the Novel INDICATIVE READING AND RESOURCE LIST: For Poetry: Set Text: The Norton Anthology of Poetry, fifth edition, ed. Margaret Ferguson, Mary Jo Salter and Jon Stallworthy, Norton, 2005 Secondary Reading (Poetry) The following are introductory. Further suggestions will be issued in the lectures. M.H. Abrams, A Glossary of Literary Terms, sixth edition (Holt, Reinhart & Winston, 1993) Thomas Carper and Derek Attridge, Meter and Meaning (Routledge, 2003) Terry Eagleton, How To Read a Poem (Blackwell, 2007) Tom Furniss and Michael Bath, Reading Poetry: An Introduction (Harvester Wheatsheaf, 1996) X.J. Kennedy and Dana Gioia, An Introduction to Poetry, ninth edition, (Longman, 1998) John Lennard, The Poetry Handbook (Oxford, 1996) Stephen Matterson and Darryl Jones, Studying Poetry (London: Arnold, 2000) John Peck and Martin Coyle, Practical Criticism, (Macmillan, 1995) (probably the most useful of all the books listed) Barry Spurr, Studying Poetry (Macmillan, 1997) Jeremy Tambling, RE: Verse: Turning Towards Poetry (Harlow: Pearson Education, 2007) For The Novel: Set texts: Charlotte Bronte. Jane Eyre, ed. Beth Newman. Case Studies in Contemporary Criticism (Boston: Bedford Books of St Martin's Press, 1996) [other editions are also acceptable] Charles Dickens. Great Expectations, ed. Janice Carlisle. Case Studies in Contemporary Criticism (Boston: Bedford Books of St, Martin's Press, 1996) [other editions are also acceptable] James Joyce, A Portrait of the Artist as a Young Man, ed. Jeri Johnson (Oxford Worlds Classics, 2008). Toni Morrison, The Bluest Eye (1970; London: Vintage, 1994) Secondary Reading (the Novel) Armstrong, Nancy. Desire and Domestic Fiction: A Political History of the Novel. New York and Oxford: Oxford University Press, 1987. Armstrong, Tim. Modernism: A Cultural History. Cambridge: Polity, 2005. Bradbury, Malcolm. The Modern British Novel. London: Secker and Warburg, 1993. Bradshaw, David. A Concise Companion to Modernism. Oxford: Blackwell, 2003. Brantlinger, Patrick and William B. Thesing, eds. A Companion to the Victorian Novel. Oxford: Blackwell, 2002. Brooker, Peter, ed. Modernism/Postmodernism. London: Longman: 1992. Childs, Peter. Modernism. London: Routledge, 2000. Connor, Steven. Postmodernist Culture: An Introduction to Theories of the Contemporary. Oxford: Blackwell, 1989. David, Deirdre, ed. The Cambridge Companion to the Victorian Novel. Cambridge: Cambridge University Press, 2001. Eagleton, Terry. Literary Theory: An Introduction. 2nd edition. Oxford: Blackwell, 1996. -----. The English Novel. Oxford: Blackwell, 2005. Gilmour, Robin. The Novel in the Victorian Age: A Modern Introduction. London: Edward Arnold, 1986.

40 Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. London: Routledge, 1988. Jameson, Fredric. Postmodernism, or, The Cultural Logic of Late Capitalism. London: Verso, 1991. Levenson, Michael, ed. The Cambridge Companion to Modernism. Cambridge: Cambridge University Press, 1999. Lukacs, Georg. Theory of the Novel, trans. Anna Bostock. Cambridge, MA: MIT Press, 1990. -----, ed., Theory of the Novel: A Historical Approach. Baltimore: Johns Hopkins University Press, 2000. Nicol, Brian, ed. Postmodernism and the Contemporary Novel: A Reader. Edinburgh: Edinburgh University Press, 2002. Nicholls, Peter. Modernisms: A Literary Guide. Basingstoke: Macmillan, 1995. OGorman, Francis, ed. A Concise Companion to the Victorian Novel. Oxford: Blackwell, 2005. Stevenson, Randall. Modernist Fiction. New York: Prentice Hall, 1998. Waugh, Patricia. Practising Postmodernism, Reading Modernism. London: Edward Arnold, 1992. Williams, Raymond. Culture and Society 1780-1950. Harmondsworth: Penguin, 1961.

41

SE2131 Reading and Identity

This module introduces students to how identity is conventionally understood in Western culture and how literature has a capacity to question, defamiliarize and even transform the sense of who or what we are (Andrew Bennett and Nicholas Royle). We will examine how the human is constructed in opposition to non-human forms (such as vampires, ghosts, animals, and machines) and what happens when the human is thrown into uncertainty and crisis. We will also look at film adaptations of some of the literary texts in order to examine how the different forms are able or required to approach questions of identity in different ways. ON COMPLETION OF THE MODULE A STUDENT WILL BE ABLE TO: On completion of the module, students should be able to demonstrate an understanding of some of the ways in which literature interrogates conventional notions of identity. HOW THE MODULE WILL BE DELIVERED: Timetabled sessions include lectures and discussion sessions where students may have the opportunity to make presentations and/or lead discussion. Sessions are normally supplemented with handouts and slides with content of a reasonable level of detail. Handouts are usually made available to students on Learning Central at least 24 hours before the session. Some sessions will make use of film clips and stills, and students will be asked to examine the precise visual qualities of these. Film clips will be subtitled whenever this is possible and appropriate. It will not be possible to provide transcripts or audio-described versions of the clips or to post clips on Learning Central. Students will receive two weekly lectures and a supporting weekly seminar. The lectures aim to provide key knowledge and critical perspectives on all the texts on the module; the seminars provide the opportunity for closer textual analysis and small-group discussion. SKILLS THAT WILL BE PRACTISED AND DEVELOPED: The particular skills of the module bear upon reading and understanding material in a way that foregrounds the relationship between fiction and identity. This requires careful scholarship, sensitivity to language and form, and historical/contextual awareness. Employability skills include the ability to synthesise information, operating in group-based discussion involving negotiating ideas, and producing clear, informed arguments in a professional manner. HOW THE MODULE WILL BE ASSESSED: Type assessment Essay Essay of % Duration (exam) / Word length (essay) 1600-word essay 1600-word essay Approx. date assessment of

50% 50%

May (both essays due at end of module) May (both essays due at end of module)

The module is assessed according to the Marking Criteria set out in the English Literature Course Guide. There are otherwise no academic or competence standards which limit the availability of adjustments or alternative assessments for students with disabilities.

SYLLABUS CONTENT (indicative): The main readings for this module are novels, poems, and films. Students should contact the module leader as early as possible if they will require readings in an alternative format. Films will be screened with subtitles whenever this is possible. It will not be possible to provide transcripts or audio-described versions of the films.

42 Readings Bram Stoker, Dracula (1897; New York: Norton, 1997). Christina Rossetti, Goblin Market (1862; New York: Dover, 1994). Angela Carter, The Bloody Chamber and Other Stories (1979; London: Vintage, 1995). (Film) The Company of Wolves (dir. Neil Jordan, 1984). Daphne du Maurier, Rebecca (1938; London : Virago, 2003). (Film) Rebecca (dir. Alfred Hitchcock, 1940). J.G. Ballard, Crash (1973; London: HarperPerennial, 2008). Philip K. Dick, Do Androids Dream of Electric Sheep? (1968; London: Gollancz, 2007). (Film) Blade Runner: The Final Cut (dir. Ridley Scott, 2008; originally released in 1982).

NB: Please be aware that J.G. Ballards Crash contains passages of a violent and sexually explicit nature. You may find the text unsettling, but one of the projects of the lectures and seminars on the novel will be to theorize its extreme, potentially disturbing qualities. The assessment will not require you to write about Crash. (If you do wish to write about the novel, you will, of course, have the option to do so.)

INDICATIVE READING LIST: (Indicative primary readings are outlined above under Syllabus Content.) Indicative secondary readings: General Belsey, Catherine, Critical Practice, 2nd ed. (London and New York: Routledge, 2002). Eagleton, Terry, Literary Theory: An Introduction, 2nd ed. (Oxford: Blackwell, 1996). Bennett, Andrew and Nicholas Royle, An Introduction to Literature, Criticism and Theory, 4th ed. (Harlow: Pearson Longman, 2009). Walder, Dennis, Literature in the Modern World (Oxford: Open University Press, 1991). Dracula Arata, Stephen. D, The Occidental Tourist: Dracula and the Anxiety of Reverse Colonialism, Victorian Studies 33, (1989/90), 621-45. Auerbach, Nina, Our Vampires, Ourselves (Chicago: University of Chicago Press, 1995). Gelder, Ken, Reading the Vampire (London and New York: Routledge, 1994). Halberstam, Judith, Technologies of Monstrosity: Bram Stokers Dracula, in Cultural Politics at the Fin de Sicle, ed. Sally Ledger and Scott McCracken (Cambridge: Cambridge University Press, 1995), pp. 248-266. (Also in Victorian Studies, 36 (1993), 333-52.) Hughes, William, Fictional Vampires in the Nineteenth and Twentieth Centuries, in A Companion to the Gothic, ed. David Punter (Oxford: Blackwell, 2000), pp. 143-14. Hughes, William and Andrew Smith, eds., Bram Stoker: History, Psychoanalysis and the Gothic (Basingstoke: Macmillan, 1998). Warwick, Alexandra, Vampires and the Empire: Fears and Fictions of the 1890s, in Cultural Politics at the Fin de Sicle, eds. Sally Ledger and Scott McCracken (Cambridge: Cambridge University Press, 1995), pp. 202-20. Goblin Market Bristow, Joseph, No Friend Like a Sister? Christina Rossettis Female Kin, Victorian Poetry, 332 (1995), 257-81. Burlinson, Kathryn, Christina Rossetti, Writers and their Works series (Plymouth: Northcote House, 1999). Carpenter, Mary Wilson, Eat Me, Drink Me, Love Me: The Consumable Female Body in Christina Rossettis Goblin Market, Victorian Poetry, 29.4 (1991), 415-34. Connor, Steven, Speaking Likenesses: Language and Repetition in Christina Rossettis Goblin Market, Victorian Poetry, 22.4 (1984), 439-48.

43 Helsinger, Elizabeth K., Consumer Power and the Utopia of Desire: Christina Rossettis Goblin Market, ELH, 58.4 (1991), 903-33. Holt, Terrence, Men Sell Not Such in Any Town: Exchange in Goblin Market, Victorian Poetry, 28.1 (1990), 51-67. Marsh, Jan, Christina Rossettis Vocation: The Importance of Goblin Market, Victorian Poetry 32.3-4 (1994), 233-48. Mermin, Dorothy, Heroic Sisterhood in Goblin Market, Victorian Poetry, 21.1 (1983), 107-18. Michie, Helena, There Is No Friend Like a Sister: Sisterhood as Sexual Difference, ELH, 56.2 (1989), 401-21. Morrill, David F., Twilight Is Not Good for Maidens: Uncle Polidori and the Psychodynamics of Vampirism in Goblin Market, Victorian Poetry, 28.1 (1990), 1-16. Salerno, Allen J., Reappraisals of the Flesh: Christina Rossetti and the Revision of Pre-Raphaelite Aesthetics, Journal of Pre-Raphaelite Studies, 10 (2001), 71-89. The Bloody Chamber and The Company of Wolves Anwell, Maggie, Lolita Meets the Werewolf: The Company of Wolves, in The Female Gaze: Women as Viewers of Popular Culture, ed. Lorraine Gamman and Margaret Marshment (London: Womens Press, 1988), pp. 76-85 Armitt, Lucie, The Fragile Frames of The Bloody Chamber, in The Infernal Desires of Angela Carter: Fiction, Femininity, Feminism, ed. Joseph Bristow and Trev Lynn Broughton (Harlow: Addison Wesley Longman, 1997), pp. 88-99. Bacchilega, Cristina, Postmodern Fairy Tales: Gender and Narrative Strategies (Philadelphia: University of Pennsylvania Press, 1997). Crofts, Charlotte, Anagrams of Desire: Angela Carters Writing for Radio, Film and Television (Manchester: Manchester University Press, 2003) Makinen, Merja, Angela Carters The Bloody Chamber and the Decolonisation of Female Sexuality, Feminist Review, 42 (1992), 2-15. Roemer, Danielle M., and Cristina Bacchilega, eds, Angela Carter and the Fairy Tale (Detroit: Wayne State University Press, 2001) Sage, Lorna, ed., Flesh and the Mirror: Essays on the Art of Angela Carter (London: Virago, 1994), pp. 117-35 Sheets, Robin Ann, Pornography, Fairy Tales and Feminism: Angela Carters The Bloody Chamber, in Forbidden History: The State, Society, and the Regulation of Sexuality in Modern Europe, ed. John C. Fout (Chicago: University of Chicago Press, 1992), pp. 335-59. Rebecca Auerbach, Nina, Daphne du Maurier, Haunted Heiress (Philadelphia: Pennsylvania University Press, 2000). Buse, Peter and Andrew Stott, eds., Ghosts: Deconstruction, Psychoanalysis, History (Basingstoke: Macmillan, 1999). du Maurier, Daphne, The Rebecca Notebook and Other Memories (London: Virago, 2004). Hanson, Helen, Hollywood Heroines: Women in Film Noir and the Female Gothic Film (London and New York: I.B. Tauris, 2007). Horner, Avril and Sue Zlosnick, Daphne du Maurier: Writing, Identity and the Gothic Imagination (Basingstoke and London: Palgrave Macmillan/New York: St. Martins Press, 1998). Light, Alison, Forever England: Femininity, Literature and Conservatism Between the Wars (London and New York: Routledge, 1991). Modleski, Tania, The Women Who Knew Too Much: Hitchcock and Feminist Theory (New York and London: Routledge, 1988). Taylor, Helen, ed., The Daphne du Maurier Companion (London: Virago, 2007) Crash Ballard, J.G., A Users Guide to the Millennium: Essays and Reviews (London: Flamingo, 1997). Bukatman, Scott, Terminal Identity: The Virtual Subject in Postmodern Science Fiction (Durham, NC: Duke University Press, 1993). Delville, Michel, J. G. Ballard (Plymouth: Northcote House, 1998). Luckhurst, Roger, The angle between two walls: The Fiction of J.G. Ballard (Liverpool: Liverpool University Press, 1997). Sinclair, Iain, Crash (London: BFI, 1999).

44 Do Androids Dream of Electric Sheep? and Blade Runner Brooker, Will, ed., The Blade Runner Experience: The Legacy of a Science Fiction Classic (London: Wallflower, 2005). Bruno, Giuliana, Ramble City: Postmodernism and Blade Runner, October 41 (1987): 61-74. Bukatman, Scott, Blade Runner (London: BFI, 1997). Kerman, Judith B., Retrofitting Blade Runner: Issues in Ridley Scotts Blade Runner and Philip K. Dicks Do Androids Dream of Electric Sheep?, 2nd ed. (Madison: University of Wisconsin Press, 1997). Sammon, Paul M., Future Noir: The Making of Blade Runner (London: Orion, 1996).

45

5.2 Module Descriptions for English Literature II

English Literature II consists of two modules, both of which are taught across the year: Module SE2132 Texts in Time 15001800 Components Reformation to Revolution Restoration to 1800 SE2133 Literature, Culture, Place Semester(s) Autumn Lecturers Lewis Beer

Spring Across both semesters

Melanie Bigold Katie Gramich Carl Plasa

There are two lectures each week for English Literature II: Tuesday, 2.10pm, Texts in Time Thursday 1.10pm, Literature, Culture, Place. You will have one seminar for English Literature II each week; this seminar supports both modules. You should have been put in a seminar group at enrolment, but if you were not or did not make a note of the information, please contact Nicola Bassett in the office (Room 2.67).

46

SE2132 Texts in Time 15001800

This module explores a wide range of poetry, prose, and drama from the period 15001800, paying particular attention to the relationship between texts and their historical contexts. The first semester provides an introduction to Renaissance Literature. Students will study some of the most celebrated texts of the sixteenth and early-seventeenth centuries, including the works of Thomas Wyatt, Philip Sidney, Edmund Spenser, Ben Jonson and John Milton. There will be an emphasis on the ways in which writers of the Tudor and Stuart periods made use of fashionable literary forms (such as the sonnet, the allegorical epic, the city comedy and the pastoral hymn) and responded to their historical contexts (such as the Henrician and Elizabethan courts, the Jacobean stage and the religious and political controversies of the period). Throughout this part of the module we will consider the various means by which Renaissance authors strove to establish their own authority and legitimacy within the fertile but oppressive climate(s) of this era. The second semester will be concerned with literature from the Restoration to the beginning of the nineteenth century. This part of the module will explore a diverse range of texts from 1660-1800; including, but not restricted to: John Miltons Paradise Lost (1674), Alexander Popes The Rape of the Lock (1712), Samuel Richardsons Pamela (1740), and the revolutionary political tracts from Edmund Burke, Thomas Paine, and Mary Wollstonecraft. Particular emphasis will be placed on the importance of context and the literary text. ON SUCCESSFUL COMPLETION OF THE MODULE A STUDENT WILL BE ABLE TO: demonstrate an awareness of some of the key literary texts and contexts of the period, and be able to discuss significant themes, tropes, and discourses. analyse the literature of the sixteenth, seventeenth, and eighteenth centuries with critical skill, theoretical understanding, and a sense of historical context. HOW THE MODULE WILL BE DELIVERED: This module will be taught across the year, with one lecture per week and a fortnightly seminar alternating with the other Year One module taught in the same timetable group. Where lectures are supplemented with handouts or Powerpoint presentations, these are usually made available to students on Learning Central at least 24 hours before the session. SKILLS THAT WILL BE PRACTISED AND DEVELOPED: The particular skills of the module bear upon reading and understanding context and literary texts. This requires careful scholarship, sensitivity to language and historical awareness. Employability skills include the ability to synthesise information, operating in group-based discussion involving negotiating ideas and producing clear, informed arguments in a professional manner. HOW THE MODULE WILL BE ASSESSED: The first part of the module is assessed by an assessed essay. The second part is assessed by an exam in which there will be two questions: 1) a close reading of a given text (a number of excerpts will be provided; 2) essay response (again, a number of questions will be provided and students will be asked to compare and contrast at least two texts from the course.) Type assessment Essay Exam of % Title Duration (exam) / Word length (essay) 1600 words 2.5 hours Approx. date of assessment January May

50 50

Introduction to Renaissance Literature Restoration to 1800

This module is assessed according to the Marking Criteria set out in the English Literature Course Guide. There are otherwise no academic or competence standards which limit the availability of adjustments or alternative assessments for students with disabilities.

SYLLABUS CONTENT: All texts studied on the first part of the module are contained in a published anthology.

47 Lecture schedule for first half of the module: 1. Introduction to Renaissance Verse (lyricism, metre, rhyme; poems by Elizabeth I, Thomas Campion and Andrew Marvell) 2. Lyric Poetry Sir Thomas Wyatt the Elder, selected poems (1530s) 3. Lyric Poetry Sir Philip Sidney, Astrophil and Stella (1580s) 4. Epic Allegory Edmund Spenser, The Faerie Queene, Book 1, Cantos 1-3 (1580s) 5. Epic Allegory Edmund Spenser, The Faerie Queene, Book 1, Cantos 4-6 Reading Week 7. 8. 9. 10. 11. Epic Allegory Edmund Spenser, The Faerie Queene, Book 1, Cantos 7-9 Epic Allegory Edmund Spenser, The Faerie Queene, Book 1, Cantos 10-12 City Comedy Ben Jonson, Volpone, Acts 1 2 (1606) City Comedy Ben Jonson, Volpone, Acts 3 5 Prophetic Pastoral John Milton, LAllegro, Il Penseroso, Lycidas (1630s)

The main readings for the second part of the module are contained in a published anthology and two additional texts, with some supplementary reading on Learning Central. Students should contact the module leader as early as possible if they will require readings in an alternative format. Lecture schedule for second half of the module: 1. Introduction An age of enlightenment (1660-1800) 2. Religion in the seventeenth century - John Milton: Paradise Lost, Book 1,2 (1667; 1674) 3. Religion in the seventeenth century - John Milton: Paradise Lost, Book 2, 4 (1667; 1674) 4. Sex and the City: Restoration Drama - Aphra Behn, The Rover (1677) 5. Sex and the City: Restoration Drama - Aphra Behn, The Rover (1677) 6. Satire and Scandals -- Alexander Pope, The Rape of the Lock (1714); Jonathan Swift, A Modest Proposal; Lady Mary Wortley Montagu: Virtue in Danger (1721) and Epistle from Arthur Gray to Mrs. Murray (c. 1721) 7. Rise of the Novel Samuel Richardson, Pamela (1740) 8. Rise of the Novel Samuel Richardson, Pamela (1740) 9. Escape to the country: Stephen Duck, The Threshers Labour(1730); Mary Collier, The Womans Labour (1739); Thomas Gray, An Elegy Wrote in a Country Churchyard (1751) ; Oliver Goldsmith, The Deserted Village (1770) 10. Revolutionary Thought Edmund Burke, from Reflections on the Revolution in France (1790); Thomas Paine, The Rights of Man (1791); Mary Wollstonecraft Godwin, A Vindication of the Rights of Men (1790) INDICATIVE READING AND RESOURCE LIST: The Norton Anthology of English Literature: Volume B, the Sixteenth and Early Seventeenth Centuries, 9th Revised Edition, ed. Stephen Greenblatt et al. (W.W. Norton and Co., 2012). [Please note: all course texts are also available in the 8th edition.] British Literature 1640 - 1789: An Anthology, 3rd Edition, ed. Robert DeMaria, Jr. (Blackwells, 2008) Aphra Behn, The Rover and other Plays, ed. Jane Spencer (Oxford University Press, 2008) Samuel Richardson, Pamela, Or Virtue Rewarded, ed. Thomas Keymer (Oxford University Press, 2008)

48

SE2133 Literature, Culture, Place

This module explores representations of place in twentieth- and twenty-first century Welsh, Caribbean and African American literature, paying particular attention to how place is linked to questions of cultural and racial identity. ON COMPLETION OF THE MODULE A STUDENT WILL BE ABLE TO: demonstrate knowledge and understanding of the ways in which place has been figured in literary texts produced in different geographical spaces and at different historical junctures; analyse the principal thematic concerns and formal features of these texts from a variety of critical and theoretical perspectives. HOW THE MODULE WILL BE DELIVERED: The module will be delivered by one 1-hour lecture per week across both semesters and be supported by seminars alternating between this module and the other module taught in the same timetable group. Lectures will give an overview of the materials and ways of approaching them and be supplemented by slides or handouts (the latter usually available to students on Learning Central at least 24 hours beforehand). Seminars will provide students with an array of learning opportunities including close textual analysis, small group discussion and informal presentation. SKILLS THAT WILL BE PRACTISED AND DEVELOPED: This module enables students to develop an understanding of the importance of place and the ways in which it has been imagined in Welsh, Caribbean and African American literary and cultural traditions. Employability skills include the capacity to synthesise information; participate effectively in groupbased discussion; and produce clear, cogent and informed arguments in a professional manner. HOW THE MODULE WILL BE ASSESSED: The module is assessed by two pieces of written work, as indicated below: Type assessment Assessed Essay Assessed Essay of % Duration (exam) / Word length (essay) 1600 1600 Approx. date assessment January May of

50% 50%

The essay is assessed according to the Marking Criteria set out in the English Literature Course Guide. There are otherwise no academic or competence standards which limit the availability of adjustments or alternative assessments for students with disabilities. SYLLABUS CONTENT: The main readings for this module are books and journal articles. Students should contact the module leaders as early as possible if they require readings in an alternative format. Primary Texts Welsh Trezza Azzopardi, The Hiding Place (Picador, 2001) Kate Roberts, Feet in Chains (1936; Parthian, 2012) Selected short stories by Alun Lewis and Kate Roberts. Available in a Course Reader. Dylan Thomas, A Dylan Thomas Treasury: Poems, Stories and Broadcasts (Phoenix, 2001) R. S. Thomas and Gillian Clarke, selected poems. Available in a Course Reader. Raymond Williams, Border Country (1960; Parthian Books, 2005) Caribbean Edward Brathwaite, Caliban (1969), in The Arrivants: A New World Trilogy (Oxford University Press, 1973), pp. 191-95. Distributed as photocopy. Caryl Phillips, Cambridge (1991; Vintage, 2008) Jean Rhys, Wide Sargasso Sea, ed. Angela Smith (1966; Penguin, 2000)

49 African American Robert Hayden, Middle Passage (1966), in Collected Poems, ed. Frederick Glaysher, introd. by Arnold Rampersad (Liveright, 1996), pp. 48-54. Distributed as photocopy. Nella Larsen, Quicksand (1928), in Quicksand and Passing, ed. Deborah E. McDowell (Rutgers University Press, 1986) Toni Morrison, Song of Solomon (1977; Vintage, 2004) Indicative topics: Dwelling and deracination Gendered spaces Interpenetration of language and place Borderlands Ideas of home Dislocated subjects: The Middle Passage and the slave ship Place and race Identity and belonging Colonial encounters

INDICATIVE READING AND RESOURCE LIST: Welsh Kirsti Bohata, Postcolonialism Revisited (University of Wales Press, 2004) Matthew Jarvis, Welsh Environments in Contemporary Poetry (University of Wales Press, 2008) M. Wynn Thomas, Internal Difference: Literature in Twentieth-Century Wales (University of Wales Press, 1992) Raymond Williams, The Country and the City (Spokesman Books, 2011) Raymond Williams, Who Speaks for Wales?: Nation, Culture, Identity, ed. Daniel Williams (University of Wales Press, 2008) Caribbean and African American Maria Diedrich, Henry Louis Gates, Jr. and Carl Pedersen, ed., Black Imagination and the Middle Passage (Oxford University Press, 1999), pp. 5-13 Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (Verso, 1993), pp. 1-40 Farah Jasmine Griffin, Who Set You Flowin?: The African-American Migration Narrative (Oxford University Press, 1995) John Cullen Gruesser, Confluences: Postcolonialism, African American Literary Studies, and the Black Atlantic (University of Georgia Press, 2007) James Walvin, The Slave Trade (Thames & Hudson, 2011) Detailed bibliographies for specific topics and authors will be issued in lectures.

50

5.2 Module Descriptions for Medieval and Renaissance English Literature

Module SE2134 Epic and Romance

Components Literature in the Age of Chivalry Beowulf in Context

Semester(s) Autumn

Lecturers Rob Gossedge

Spring

Carl Phelpstead

SE2135 Shakespeare and Chaucer

Shakespeares Comedies Geoffrey Chaucer

Autumn Spring

Irene Morra Megan Leitch

There are two lectures each week for Medieval and Renaissance English Literature: Tuesday, 4.10pm, Shakespeare & Chaucer Thursday, 10am, Epic and Romance. You will have one seminar for Medieval and Renaissance English Literature each week; this seminar supports both modules. You should have been put in a seminar group at enrolment, but if you were not or did not make a note of the information, please contact Nicola Bassett in the office (Room 2.67).

51

SE2134 Epic and Romance

This module offers students the chance to read and consider critically two major medieval genres in the context of the social and cultural history of the period. It is taught in two parts: part 1 is called Literature in the Age of Chivalry, and will be taught in the Autumn semester; part 2 is called Beowulf in Context, and will be taught in the Spring semester. Part 1: Literature in the Age of Chivalry will examine the transition and relationship between two key medieval literary forms: epic and romance. It chronicles how the French and Anglo-Norman chansons de geste (songs of deeds), epic poems concerned with battles and war, were followed by (and overlap with) written romance narratives, which focused on a single hero, his travails and triumphs. For the epic, the course shall study the Anglo-Norman Song of Roland (c.1100), read in translation, and as an example of romance students will read two lais (narrative poems) by Marie de France (c.1170), also in translation. Thomas Malorys Le Morte Darthur (c.1469), meanwhile, is something of a hybrid, moving from tales of war and the foundation of a British kingdom in its early parts, to a series of related individual romances in the remainder of the text. In studying these texts we will be examining how and why medieval literature shifted from epic to romance, and how this shift reflected cultural and social changes in the twelfth and later centuries. Additionally, students will engage with a range of issues and contexts important to the future study of medieval literature, including courtly love, chivalry, the Crusades and feudalism. Students will also become familiar with two of Europes most popular and important narratives: that of Charlemagne and Rolands battles in northern Spain, which became the archetypal account of the struggle between Christianity and Islam in the medieval West; and the medieval legends of King Arthur, Guinevere and the Knights of the Round Table, the popularity of which continue to the present day. Part 2: Beowulf in Context introduces students to English poetry from the Anglo-Saxon period (the period from the fifth century AD to around the time of the Norman Conquest in 1066). Students will make a detailed study of the most famous Anglo-Saxon poem, Beowulf, in a translation by the Nobel prize-winning contemporary Irish poet, Seamus Heaney. The emphasis in the module will be on understanding the poem in its historical and cultural contexts and this will include reading it alongside translations of other texts from the period.

ON SUCCESSFUL COMPLETION OF THE MODULE A STUDENT WILL BE ABLE TO: read a range of medieval chansons and romances with understanding of their language and implications demonstrate a detailed knowledge of Seamus Heaneys translation of Beowulf and an informed awareness of key issues in the study of the poem see the relevance of contextual material and recent criticism think critically about the interrelation of texts and their contexts write a lucid account of selected material in the light of issues and approaches explored in the course HOW THE MODULE WILL BE DELIVERED: There will be one lecture per week devoted to this module and one seminar per week, which will cover this module and the other in Medieval and Renaissance English Literature offered in the same semester. SKILLS THAT WILL BE PRACTISED AND DEVELOPED: During this course students will become familiar with several means of reading early literature. They will improve their scholarly and critical skills, engage in contemporary academic debates and will learn how to produce lucid critical arguments. Particular emphasis will be placed on the importance of genre and form what they mean, how they operate and how they come into being. Though both Parts 1 and 2 of this module will use texts in translation, there will be some need for students to become familiar with forms of English literature which are quite different from contemporary English. Employability skills include the ability to synthesise information, operating in group-based discussion involving negotiating ideas and producing clear, informed arguments in a professional manner.

52 HOW THE MODULE WILL BE ASSESSED: Parts 1 and 2 of this module are assessed by separate pieces of written work; the first essay will allow students to explore the differences between Old French epic and Middle English romance. The second essay will allow students to demonstrate knowledge of Beowulf and to show familiarity with the poems historical and literary contexts and with critical discussion of the poem. Type assessment Essay Essay of % Title Duration (exam) / Word length (essay) 1600 1600 Approx. date of assessment January May

50 50

Literature in the Age of Chivalry Beowulf in Context

The module is assessed according to the Marking Criteria set out in the English Literature Course Guide. There are otherwise no academic or competence standards which limit the availability of adjustments or alternative assessments for students with disabilities. SYLLABUS CONTENT: The main readings for this module are texts and journal articles. Students should contact the module leader as early as possible if they will require readings in an alternative format. Autumn: Literature in the Age of Chivalry 1: Introduction to Epic and Romance 2: The Song of Roland: the epic hero 3: The Song of Roland: king and Christianity 4: Marie de France, Guigemar: learning how to be a knight 5: Marie de France, Bisclavret: tips for a werewolf 6: Thomas Malory, Le Morte Darthur: Lancelot and English romance 7: Thomas Malory, Le Morte Darthur: Balyn and Balan, hybrid (anti-)heroes 8: Thomas Malory, Le Morte Darthur: the Holy Grail 9: Thomas Malory, Le Morte Darthur: Lancelot and Guinevere 10: Thomas Malory, Le Morte Darthur: king and myth Spring: Beowulf in Context 1. Old English Literature: Difference and Continuity 2. Beowulf lines 185; Orality, Style, Performance 3. Monstrosity in Beowulf 4. Beowulf and/as History and the Dating of the Poem 5. The Norse Myth of Ragnarok 6. Christianity and Paganism 7. Tolkien on Beowulf; How to Read Criticism, How to Refer to it and Why 8. Women in Beowulf 9. From Old to Modern English: Heaneys Translation and its Predecessors 10. End of module: Summary, Questions & Answers SET TEXTS: Autumn: Literature in the Age of Chivalry The primary texts for this module are: The Song of Roland, trans. Glyn Burgess (Penguin: Harmondsworth, 1990) Marie de France, Bisclavret and Guigemar (copies to be made available in the first lecture) Thomas Malory, Le Morte Darthur, ed. Stephen H. A. Shepherd (NY: Norton, 2004) A detailed reading list will be made in the first lecture. Spring: Beowulf in Context The set text is: Beowulf: A Verse Translation, tr. Seamus Heaney, ed. Daniel Donoghue, Norton Critical Editions, W. W. Norton & Co. (2002) A list of recommended secondary reading will be provided at the beginning of the semester, with further suggestions on lecture handouts throughout the semester.

53

SE2135 Shakespeare and Chaucer

This module provides the opportunity to study texts by two of the most influential writers in English Literature. The first part of the module is devoted to Shakespeares comedies. It will examine representative comedies from a variety of critical perspectives. Paying close attention to language, structure, and narrative, students will come to a closer appreciation of the ways in which the comedies reflect a relationship between art, theatre, and society. In the second part of the module students will explore the language, poetry, contexts, themes and critical issues relating to a selection of texts from The Canterbury Tales by Geoffrey Chaucer. ON SUCCESSFUL COMPLETION OF THE MODULE A STUDENT WILL BE ABLE TO: analyse how individual Shakespearean plays reflect, question, and engage critically with questions of genre, language, gender, authority, and theatre formulate comparative conclusions about the plays read Chaucers poetry with an understanding of its language and detailed implications, see the relevance of contextual material and be able to engage in critical debates about the texts in the light of modern criticism

HOW THE MODULE WILL BE DELIVERED: The module will be taught throughout the year and will consist of one lecture a week and fortnightly seminars alternating with seminars for the other Medieval and Renaissance English Literature module. Lectures will provide students with an introduction to social, cultural, and historical context, an overview of key critical approaches, and close analytical reading of individual texts. Seminars will continue to discuss primary texts in detail, and will work on developing skills in essay writing and close analysis. For the Chaucer component of the module seminars will devote considerable attention to understanding and translating Chaucers language. SKILLS THAT WILL BE PRACTISED AND DEVELOPED: This module will develop and practise skills in close reading and independent critical thinking. Students will be encouraged to contemplate the connections and tensions between the texts studied within each part of the module, and to formulate original arguments around that relationship. In so doing, they will develop their ability to synthesize information and to push ideas into independent, informed conclusions. These essential skills will be developed in assessments that will help students to improve and refine writing skills. They will also be developed in seminar discussions that will give students the opportunity to practise skills in public speaking. HOW THE MODULE WILL BE ASSESSED: Each part of this module will be assessed by a 2.5 hour exam: skills tested in these exams will include: critical commentary, translation (for Chaucer), and essay writing. Type assessment Exam Exam of % Duration (exam) / Word length (essay) 2.5 hours 2.5 hours Approx. date assessment January May of

50 50

The module is assessed according to the Marking Criteria set out in the English Literature Course Guide. There are otherwise no academic or competence standards which limit the availability of adjustments or alternative assessments for students with disabilities. SYLLABUS CONTENT: The Norton Shakespeare, ed. Stephen Greenblatt (Norton, 2008). Geoffrey Chaucer, The Canterbury Tales: A Selection, ed. Robert Boenig and Andrew Taylor (Toronto: Broadview, 2009). [The complete Broadview edition or Larry Benson, ed., The Riverside Chaucer are suitable alternatives.]

54 Texts from The Norton Shakespeare studied in the first semester: The Two Gentlemen of Verona The Merchant of Venice Much Ado About Nothing Measure for Measure In the second semester the following texts from the Canterbury Tales are to be studied: General Prologue The Millers Tale The Franklins Tal INDICATIVE READING AND RESOURCE LIST: Shakespeares Comedies: Barker, Deborah and Ivo Kamps. Shakespeare and Gender: A History. Verso, 1995. Barnet, Sylvan, ed. Twentieth-Century Interpretations of The Merchant of Venice: A Collection of Critical Essays. Prentice-Hall, 1970. Bulman, James. The Merchant of Venice. Manchester UP, 1991. Davis, Walter R., ed. Twentieth-Century Interpretations of Much Ado About Nothing: A Collection of Critical Essays. Prentice-Hall, 1969. Erne, Lukas. Shakespeare as Literary Dramatist. Cambridge UP, 2003. de Grazia, Margreta and Stanley Wells, eds. The Cambridge Companion to Shakespeare. Cambridge UP, 2001. Halio, J.L., ed. Twentieth-Century Interpretations of As You Like It: A Collection of Critical Essays. Prentice-Hall, 1968. Mahon, John W. and Ellen Macleod Mahon. The Merchant of Venice: New Critical Essays. Routledge, 2002. Orgel, Stephen and Sean Keilen, eds. Shakespeare and Gender. Garland, 1999. Rackin, Phyllis. Shakespeare and Women. Oxford UP, 2005. Reynolds, Peter. William Shakespeare As You Like It: A Dramatic Commentary. Penguin, 1988. Shapiro, James. Shakespeare and the Jews. Columbia UP, 1996. Thomas, Vivian. The Moral Universe of Shakespeares Problem Plays. Croon Helm, 1987. Geoffrey Chaucer: Helen Cooper, The Canterbury Tales, 2nd ed. (Oxford: Oxford University Press, 1996) Helen Phillips, An Introduction to the Canterbury Tales: Reading, Fiction, Context (London: Macmillan, 1999) Peter Brown, ed., A Companion to Chaucer (Oxford: Blackwell, 2002) Stephen Knight, Geoffrey Chaucer (Oxford: Blackwell, 1986) Steve Ellis, ed., Chaucer: The Canterbury Tales (London: Longman, 1998) Steve Ellis, ed., Chaucer: An Oxford Guide (Oxford: Oxford University Press, 2005) Valerie Allen and Axel Axiotis, eds., Chaucer: Contemporary Critical Essays (London: Macmillan, 1997) Norman Davis et al., A Chaucer Glossary (Oxford: Clarendon, 1979)

55

APPENDIX 1: Year One Assessment Criteria

The following criteria are used when examining assessed work in Year One: Class
First

Mark range
70 +%

Upper Second

60-69%

Lower Second

50-59%

Third

40-49%

Description of qualities looked for An excellent pass, demonstrating: Knowledge and understanding: an ability to select and articulate diverse material, manifesting an original, perceptive and incisive critical understanding of relevant issues Skills: an ability to contest and go beyond secondary material and received wisdom; sustained and cogent argument; good command of written English in all aspects, including stylistic flexibility A good pass, demonstrating: Knowledge and understanding: a solid foundation of knowledge and critical understanding of a wide and relevant range of material Skills: ability to select and organise material purposefully and cogently; ability to handle complex ideas with clarity; evidence of independent and reflective thought; capacity for critical analysis; good, varied and economical expression; accurate grammar and syntax; good range and control of vocabulary and style; good presentation; basic use of the formal conventions of academic exchange A satisfactory pass, demonstrating: Knowledge and understanding: some critical awareness, and a reasonable foundation of knowledge, particularly of required reading Skills: ability to organise an argument; ability to select relevant material for the answering of a particular question; some capacity for critical analysis; competence in the handling of discursive prose with generally accurate grammar and syntax and appropriate vocabulary and style A bare pass, demonstrating: Knowledge and understanding: evidence of some relevant knowledge of material Skills: some ability to organise an argument and competence in handling of prose writing; elementary capacity for critical analysis Poor work which falls short of the standards required for a pass. Lacks knowledge of the primary text(s) and/or issues; argument garbled; poor English and poor presentation

Fail

0-39%

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APPENDIX 2: Electronic Submission of Assessed Work via Learning Central

a. b. c. d. e. Log on to Learning Central at https://learningcentral.cf.ac.uk/webapps/portal/frameset.jsp using your usual username and password Access the appropriate module (the modules you are registered for are listed on the right hand side of the screen) Click on the Assignments tab on the left hand side of the screen Click View/Complete for the assignment you wish to submit If Learning Central has not already filled in the appropriate boxes, you will need to add your name at the submission screen and enter your Student (or Candidate) Number and Module Code in the submission title box (see below) Click Browse to find your piece of work on your PC or laptop, select it and then click Open Press Upload to upload your work You will then see a confirmation screen which checks you have submitted the correct piece of work. Click yes, submit if you have selected the correct essay If you have problems submitting your essay please contact the ENCAP IT Technicians encap-it@cardiff.ac.uk / Room 0.44, Ground Floor, Humanities Building Fig1. Sample student submission screen

f. g. h. i.

VERY IMPORTANT: The Submission Title must be your Student (or Candidate) Number followed by the relevant Module Code, e.g. 0123456 / SE5310

Please note that if you do not correctly submit your essays electronically via Turnitin you may be awarded a mark of zero for the module.

57

APPENDIX 3: Academic Staff Details

Staff lecturing in Year One are indicated in bold. Member of Staff Room Email
Dr Neil Badmington Dr Lewis Beer Dr Melanie Bigold Professor Martin Coyle Chair of the Exam Board Dr John Freeman Dr Rob Gossedge Professor Katie Gramich Dr Richard Gwyn Professor Ann Heilmann 2.07 1.21 2.16 2.45 1.10 2.14 1.15 1.08a 2.29
Badmington@cf.ac.uk BeerLR@cf.ac.uk BigoldM@cf.ac.uk CoyleMJ@cf.ac.uk

Teaching and Research Interests

Twentieth and twenty-first century literature (especially American), Film, Critical Theory Medieval literature (especially fourteenthcentury), Shakespeare History of the book; manuscript culture; womens writing and literary history Shakespeare, Renaissance Drama

FreemanJP@cf.ac.uk Creative Writing, Poetry GossedgeRA@cf.ac.uk Arthurian Literature, Medieval Cultural Studies, GramichK@cf.ac.uk Gwyn@cf.ac.uk HeilmannA@cf.ac.uk

Dr Tristan Hughes Dr Julia Jordan Professor Martin Kayman Head of School Dr Megan Leitch Dr Anthony Mandal

1.09 2.17 2.71 2.18 1.11

HughesT7@cf.ac.uk JordanJE@cf.ac.uk KaymanM@cf.ac.uk LeitchM@cf.ac.uk Mandal@cf.ac.uk

Dr Laurent Milesi Professor Radhika Mohanram Dr Jane Moore

2.32 2.05 2.19

Milesi@cf.ac.uk

Modernism and Medievalism Twentieth-century literature, Welsh writing, postcolonial literature, womens writing Creative Writing Victorian and Edwardian literature, the New Woman, womens writing & gender (Victorian to contemporary), Neo-Victorianism Creative Writing Fellow Twentieth-century literature and theory Critical Theory, Cultural History, Law and Literature Medieval literature, especially Chaucer, Arthurian literature, Middle English romance Romantic literature; Nineteenth-century British fiction, Austen; the Gothic and sensation fiction; print culture and digital humanities Twentieth-century literature and Critical Theory

MohanramR1@cf.ac.uk Postcolonial Studies, Gender Studies, Cultural

Dr Irene Morra Dr Becky Munford

2.20 2.06

Dr Tomos Owen Professor Carl Phelpstead Director of Studies Dr Carl Plasa Mr Tim Rhys Professor Julia Thomas Professor Chris Weedon Ms Shelagh Weeks Dr Heather Worthington Deputy Director of Studies for Year One

1.22 2.39

Theory British Romanticism; Irish Literature 1800-1850, especially Thomas Moore; Women's Writing, especially Mary Wollstonecraft MorraI@cf.ac.uk Drama, Music and Literature, Twentieth-Century Literature, Film MunfordR@cf.ac.uk Feminist history and theory, modernist and contemporary womens writing, European Gothic, gender and fashion. OwenTL@cf.ac.uk Twentieth-century literature, Welsh Writing in English PhelpsteadC@cf.ac.uk Medieval literature (especially Old English and Old Norse), medievalism
MooreJV@cf.ac.uk Plasa@cf.ac.uk

2.13 1.10 2.15 1.14 1.08b 2.40

Critical Theory, Postcolonialism, Victorian and Modernist literature RhysT@cf.ac.uk Creative Writing, Film ThomasJ1@cf.ac.uk Victorian literature and art, Illustration, Theories of word and image WeedonCM@cf.ac.uk Critical theory, feminist theory, cultural politics, race, identity, womens writing Weeks@cf.ac.uk Creative Writing; short story WorthingtonHJ@cf.ac.uk Nineteenth- and twentieth-century crime fiction, children's literature,

58

APPENDIX 4: Key Dates

Autumn Semester
Teaching Week Week 0 Week 1 Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10 Week 11 CHRISTMAS RECESS CHRISTMAS RECESS CHRISTMAS RECESS Week 12 Week 13 Week 14 Date W/c 24 Sept W/c 1 Oct W/c 8 Oct W/c 15 Oct W/c 22 Oct W/c 29 Oct W/c 5 Nov W/c 12 Nov W/c 19 Nov W/c 26 Nov W/c 3 Dec W/c 10 Dec W/c 17 Dec W/c 24 Dec W/c 31 Dec University re-opens Wed 2 Jan Sun 6 Jan CHRISTMAS RECESS ENDS GUIDED STUDY WEEK EXAMINATION PERIOD EXAMINATION PERIOD Fri 25 Jan EXAMINATION PERIOD ENDS
ENROLMENT WEEK Assessment dates and deadlines

Mon 1 Oct TEACHING BEGINS Wed 17 Oct Student-Staff Panel (tbc)

READING WEEK Thurs 15 Nov Assessed essay packs distributed

Fri 14 Dec TEACHING ENDS University closed from midday on Fri 21 Dec

W/c 7 Jan W/c 14 Jan W/c 21 Jan

Thurs 17 Jan Year 1 essays due

59

Spring Semester
Week 1 W/c 28 Jan TEACHING BEGINS Wed 30 Jan Student-Staff Panel (tbc)

Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8 EASTER RECESS EASTER RECESS EASTER RECESS Week 9 Week 10 Week 11 Week 12 Week 13 Week 14 Week 15 Week 16 Week 17

W/c 4 Feb W/c 11 Feb W/c 18 Feb W/c 25 Feb W/c 4 Mar W/c 11 Mar W/c 18 Mar W/c 25 Mar W/c 1 Apr W/c 8 Apr W/c 15 Apr W/c 22 Apr W/c 29 Apr W/c 6 May W/c 13 May W/c 20 May W/c 27 May W/c 3 Jun W/c 10 Jun

READING WEEK 14 March Assessed essay packs distributed Sat 23 Mar EASTER RECESS BEGINS

Sun 14 Apr Easter Recess ENDS TEACHING RESUMES 22 April 10 May: Pre-enrolment Fri 3 May TEACHING ENDS GUIDED STUDY WEEK EXAMINATION PERIOD BEGINS EXAMINATION PERIOD EXAMINATION PERIOD EXAMINATION PERIOD EXAMINATION PERIOD Fri 14 Jun SPRING SEMESTER ENDS Thurs 16 May Year 1 essays due

Week 18 Week 19

W/c 17 Jun W/c 24 Jun