Week 5 - The Stanza continued (‘A Quoi Bon Dire’ Charlotte Mew, ‘Not waving but drowning’ Stevie Smith, ‘Those Winter Sundays’ Robert Hayden, ‘Yes’ Muriel Rukeyser) Week 6 - Independent study week Week 7 - Blank Verse (‘from Beachy Head’ Charlotte Smith, ‘Ulysees’ Alfred Tennyson, ‘Rain’ Edward Thomas, ‘Directive’ Robert Frost) Week 8 - Open Forms (‘The Love Song of J.Alfred Prufrock’ T S Eliot, ‘The Idea of Order at Key West’ Wallace Stevens, ‘Ave Maria’ Frank O’Hara, ‘Diving into the Wreck’ Adrienne Rich) Week 9 - Open Forms (‘The Language of the Brag’ Sharon Olds, ‘The Colonel’ Carolyn Forche, ‘Reading Plato’ Jorie Graham, ‘move’ Lucille Clifton) Week 10 - Conclusions For further information, see Paul Farley County Main B206 CREW 308 Advanced Short Story: Form and Practice 15 credit module (half unit) Term 1 Course Outline: This unit will provide an opportunity for students to develop their knowledge and skills of the short story form, history and practice with a more advanced course. Each week you will have the opportunity to discuss, in detail, one or two specimen short stories and workshop their own creative work. Topics covered will include: plot, narrative and 'the twist in the tale'; the epiphany and other ways of ending; writing extreme experiences rewriting fairy tales, folk tales and myth flash and sudden fiction; voice and place (the ghost story) short stories in the literary world - the web, festivals, journals and competitions. Assessment: 4,000-word portfolio of creative materials (usually or four short stories); 1,000-word reflective essay; detailed bibliography indicating research undertaken Reading:
Course Structure Week 1. Introduction to the landscape and formats. Beginnings. Week 2. Story structure and character voice. Week 3. Navigating through soundscapes. Week 4. Working with and against the source text. Week 5. Project pitching. Week 6. Midterm tutorials. Week 7. Workshop. Week 8. Workshop. Week 9. Workshop. Week 10: Workshop. Vacation Reading Ayckbourn, A., 2002. The Crafty Art of Playmaking. London: Faber and Faber. Grace, F. and Bayley, C., 2016. Playwriting: A Writers’ and Artists’ Companion. London: Bloomsbury Grove, C. and Wyatt, S., 2013. So You Want to Write Radio Drama? London: Nick Hern Books. Teddern, S. and Warburton, N., 2016. Writing for TV and Radio: A Writers' and Artists' Companion. London: Bloomsbury. Radio recordings should be available through Box of Broadcasts service or will be embedded on Moodle. For further information, see Tajinder Singh Hayer, County Main B96 English Literature Modules Year 2 BEYOND UNDERGRADUATE ENGLISH AND CREATIVE WRITING Terms 1 and 2: weeks 2, 4, 8, 10, 14, 18
All of the following can be found in the Norton Anthology of American Literature Volumes A and B, 8th Edition unless otherwise stated: Term 1: Columbus, De Las Casas, Puritan writers and Enlightenment texts such as The Declaration of Independence Whitman, Song of Myself Thoreau, Walden (first two chapters, and chapter on ‘The Ponds’ and ‘Spring’) Dickinson, all the selection of her and letters in the Norton Emerson, ‘Self-Reliance’ Term 2: Hawthorne, The Scarlet Letter Poe, A selection of short stories and poems including ‘The Fall of the House of Usher’, ‘Willliam Wilson’ and ‘The Man of the Crowd’ Douglass, Narrative of the Life of Frederick Douglass, an American Slave, Written by Himself Jacobs, Incidents in the Life of a Girl (Norton only has extracts; find and read the full book, any edition) Twain, Huckleberry Finn (not in the Norton, use any edition) James, The Turn of the Screw (not in the Norton, use any edition) Melville, ‘Bartleby, the Scrivener’ and ‘Benito Cereno’ Davis, Life in the Iron Mills Vacation Reading: Students should begin their reading with The Declaration of Independence and the introductions to the Norton Anthology Volumes A and B. For further information, please see Dr Tony Sharpe County Main B97 ENGL 207: British Romanticism Course Aims and Objectives: This course is divided into key areas across the two terms: Revolution; The Self; Politics and Poetics; and the Gothic. We will by examining revolutionary writing of the Romantic period, including the poetry of Anna Barbauld, William Blake, and William Wordsworth, and the prose of Edmund Burke, Thomas Paine, and Mary Wollstonecraft. We will then consider ideas of the self in the poetry of Charlotte Smith and Letitia Landon, Lord Byron’s Manfred, and the labouring-class writing of John Clare. We also examine the relationship between politics and poetics for the second-generation poets John Keats and Percy Bysshe Shelley, and then, the slave narratives of Olaudah Equiano, Mary Prince, and the orientalism of S. T. Coleridge and Thomas de Quincey. Finally, the course will turn its attention to the popular literary movement of ‘Gothic’ which
Shakespeare, William, Romeo and Juliet Stevenson, Robert Louis, The strange case of Dr Jekyll and Mr Hyde Stoker, Bram, Dracula required critical readings will be posted on MOODLE. [Optional reading: Susan Orlean, The orchid thief] Set Films: Adaptation, 2002 Alice, 1988 (dir. Jan Svankmajer) Alice in Wonderland, 1951 (Disney) Alice in Wonderland, 2012, (dir. Tim Burton) Apocalypse now, 1979 Breaking bad (TV series) Brokeback Mountain, 2005 Dark shadows, Dr Jekyll and Mr Hyde, 1920 (dir. John S. Robertson) Dr Jekyll and Mr Hyde, 1931/2 (dir. Rouben Mamoulian) Ethel and Ernest, 2016 Hannibal (TV series) Minority report, 2002 Pale rider, 1985 Pride and prejudice, 1940 and prejudice, 1995 TV series Rear window, 1954 Shakespeare in love, 1998 1954 The silence of the lambs, 1991 West Side Story, 1960 What we do in the shadows, 2014 William Shakespeare’s Romeo + Juliet, 1996 Other required and optional viewing will be announced/posted on MOODLE. Use lists for vacation reading and viewing. For any information, see Professor Kamilla Elliott County Main B211 English Literature Modules for 3rd/Final Year. ENGL 301: Dissertation Unit (Compulsory for English Majors) Course Outline:
Thomas Pynchon, The Crying of Lot 49 For further information see Dr Tony Sharpe County Main B97 Course Outline: The twenty-first century has seen the emergence of Middle Eastern literature in English and translation into English as one of the most exciting new areas of world literature. This is partly due to the topical interest of a region that has experienced, so far this century, the ‘war on terror’; the ‘Arab Spring’ with its wintery aftermath; civil war; sectarian violence; the rise and fall of ‘ISIS’; and a mass refugee crisis. These events provide settings for a body of work that is also of literary interest. While creative work helps to illuminate national, regional and global contexts, it is only ever partly shaped by politics. On this course we will explore questions of production and reception, as well as the historical and social concerns that shape contemporary Middle Eastern literature; the representational work that it does; and reasons for its growing international visibility. We will study novels, memoirs, short stories, and drama, in English/translation into English, from the wider region, with a particular emphasis on the Arab world. No prior knowledge is needed. Assessment: Blog entries: Students select 2 out of 3 uploaded to the course blog before weekly seminars, to submit by the end of week 8 of the course: 1000 words total, 20% of total assessment. Long Essay: 3,500 words, 80%. Due 12pm (midday), first Monday of Term 2. Set Texts Primary Texts (in order of study) Rewritings (weeks 1-2) Sulayman al-Bassam, The Al-Hamlet Summit (2004/2006). A full performance is available at Kamal Daoud, The Meursault Investigation, trans. John Cullen (2015) Place, Space and Mobility (weeks 3-5) Alaa al-Aswany, The Yacoubian Building, trans. Humphrey Davies (2002/2004) Saud Alsanousi, The Bamboo Stalk, trans. Jonathan Wright (2013/2015) [On moodle] Leila Aboulela, ‘The Museum’, from Coloured Lights (2001) Violence, Trauma, Affect (weeks 7-8)
Note: All the individual poetry volumes above have been subsumed into editions of Collected Works, but if these are used, students will be asked at least to inspect a copy of the original volume (or its recent Faber reprint, as appropriate). There are also second-hand copies available through internet Providers, usually quite reasonably-priced. Indicative Course Structure (will vary, as appropriate, if one of the poets is omitted): 11. W.H. Auden, Look Stranger! (1936) 12. continued 13. Louis MacNeice, Autumn Journal (1939) 14. continued 15. Elizabeth Bishop, Poems: North & South/A Cold Spring (1955): North & South 16. Independent Study week: work on the shorter essay, to be submitted by Friday 4.00pm 17. Bishop, continued: A Cold Spring 18. Robert Lowell, Life Studies (1959) 19. Lowell, Continued 20. Sylvia Ariel (1965) Vacation Reading: The primary above, should be looked at enough in advance to decide whether one should be omitted (a majority vote will decide this if necessary). A list of suggested secondary reading will also be available in advance, on request from me. For further information, see Tony Sharpe County Main B97 Course Outline: This module is run by the Department of English Literature and Creative Writing, with the support of the FASS Engagement team and central Careers. It aims to enhance students’ employability by providing an assessed work placement opportunity as an option on the curriculum. It will also encourage students actively to about the transferability of skills gained through the study of English and/or Creative Writing. The Department, via the FASS Engagement team, will set up a number of work placements in the (broadly defined) culture, heritage and creative sectors: with, for example, publishers, museums, newspapers, heritage sites, and arts venues. Students may alternatively source their own work placements, subject to prior discussion with the convenor.
Set Texts: The Norton Anthology of English Literature 9th Edition: Vol D. The Romantic Period. Eds. and Stillinger. W. W. Norton & Co. New York and London, 2012. John Polidori, The Vampyre, in The Vampyre and Other Tales of the Macabre, ed. Robert Morrison and Chris Baldick, Oxford World Classics (Oxford: OUP, 2008) Mary Shelley, Frankenstein, 1818 Text, ed. Marilyn Butler, Oxford Classics (Oxford: OUP, 1993) Thomas de Quincey, Confessions of an English Opium-Eater, ed. Barry Milligan (Harmondsworth: Penguin, 2003). Vacation Reading: I’d advise you to read the prose works over the summer. Please do make sure to read the 1818 text of Frankenstein For further information, please contact Prof Sharon Ruston County Main B92 Course Outline ‘[T]he Gothic’, as Nick Groom argues, ‘was not simply a reaction to the Enlightenment, and the rise of the Gothic novel is part of a longer history’ (Groom, 2012, p.xiv). In coining the term Premodern Gothic, this innovative half-unit considers some of the ways in which a range of generically diverse texts produced in England between c.1450 and 1600 engage with Gothic tropes and sensibilities - e.g. ghosts, vampires, castles, darkness, magic, terror and wonder - before ‘the rise of the Gothic novel’. Assessment 1 x 1,000-word essay (20%) 1 x 3,500 word essay (80%) Course Structure Week 11: Introduction: Working back from the Gothic novel: Horace Walpole’s The Castle of Otranto Week 12: Shakespeare’s Goths: Titus Andronicus Week 13: Staging the Renaissance Gothic: Hamlet Week 14: Folklore, Monks and Martyrs: Medieval Ghost Stories Week 15: Supernatural Spaces: Sir Gawain and the Knight Week 16: Independent Week