Faculty of Arts and Social Sciences

School:

School of Languages and Cultures and

School of Letters, Arts and Media

Department/Program: International and Comparative Literary

Studies
Unit of Study:

ICLS2633

Session:

1, 2015

Unit of Study Outline

Unit Coordinators
Unit coordinators are listed on undergraduate and postgraduate coursework semester
timetables, and can be consulted for help with any difficulties you may have.
Unit coordinators (as well as the Faculty) should also be informed of any illness or other
misadventure that leads students to miss classes and tutorials or be late with assignments.
Unit Coordinator:
Location:
Email address:
Phone:
Consultation Hours:
Unit Teachers
Location:
Email address:
Phone:
Consultation Hours:
Location:
Email address
Phone:
Consultation Hours:

Dr Andrea Bandhauer
School of Languages and Cultures Mungo MacCallum A 18
Rm 520
andrea.bandhauer@sydney.edu.au
+61-2-9351 3146
Thursday 1-2 and by appointment
Dr Yasuko Claremont
Mungo MacCallum Rm 550
yasuko.claremont@sydney.edu.au
+61-2-9351 4500
Monday 11:30 12:30 and Wednesday 3:30-4:30
Dr Bruce Gardiner
Woolley room S321
bruce.gardiner@sydney.edu.au
+61-2-9351 6857
By appointment, preferably Mondays, Wednesdays, Fridays

This Unit of Study Outline MUST be read in conjunction with the Faculty of Arts and Social Sciences
Student Administration Manual (sydney.edu.au/arts/current_students/student_admin_manual.shtml)
and all applicable University policies.
In determining applications and appeals, it will be assumed that every student has taken the time to
familiarise themselves with these key policies and procedures.

ISLC2633 Cities of the World

UNIT DESCRIPTION

The city is a diverse and controversial theme in world literature and film. It touches
upon past and present, alienation and fulfilment, luxury and poverty, success and
failure, anonymity and fame. There are modern and old cities, cosmopolitan and
holy cities. By examining how the cultural and historical transformation of urban
living has been approached by writers of different cultural and national backgrounds,
this unit of study offers a journey to different geographic locations but also a journey
through time.
http://sydney.edu.au/handbooks/arts.]

LEARNING OUTCOMES
By the end of this unit of study students will have gained:
Critical insights into the similarities and differences of various manifestations of urban life
Critical insight to the changes (remedies to old problems but also new limitations)
initiated by city living
A critical perspective for the study of literature and film
Knowledge of a variety of appropriate methodologies for the comparison of literature
Skills in textual and contextual analysis
Skills in cross-cultural communicationTheoretical framework for: the discussion and
elaboration of ideas; written communication; critical thinking
Training in independent thinking and a critical approach to cultural assumptions and
literary representations.

LEARNING STRUCTURE
This Unit of Study comprises two hours face to face contact. There will be a lecture
and one tutorial. Students presentations will be delivered during the tutorials.
.

For each face-to-face class, students are expected to spend a minimum of three hours
revising the material presented and preparing the readings for the following class.
In addition to the Course Reader, students are required to consult reference books in
Fisher Library for the preparation of class presentations and essays: see the
Reference List at the end of this section for key reference books. There is also a Unit
of Study Readings list. You can access this list by going to the following website.
http://opac.library.usyd.edu.au/search/r#

Put in the course number and you should be able to see the list and print out articles
and chapters available online.
For the Tokyo-Model: All texts except Ango Sakaguchis On decadence are in
the Reader. This text and some poems will be downloadable by the end of
March

Attendance and Participation

The minimum attendance requirement is 80% of the total course. Students are also expected
to participate actively in tutorials and in the group and individual class work tasks. Absences
must be justified in writing; students should contact lecturers or the Coordinator as soon as
problems arise.
Class presentations
Topics are included in the Unit of Study outline (below). Students must sign up for a
presentation topic in Week 1 Lecture or as soon as possible thereafter. The first
presentations are in week 3.
Individual presentations should last 10 minutes and no longer. You will be stopped after 10
minutes speaking. You should include short (1-2 minute) extracts from films in your
presentation, or other audio (visual) material. The time taken to show these materials will not
be counted in presentation length.
Advice on giving presentations
You must provide a typewritten plan of your presentation on a single A4 sheet that you will
hand in to your tutor and prepare a power-point presentation.
Class presentations should be considered not only as an assessment task but also as a
means of providing a guide to the material for other students in the class. Audio and visual
aids are encouraged but audiovisual documents (e.g. film extracts) must be kept brief. Do not
try to do too much: 10 minutes go by faster than you think. Be clear and concise in your
objectives, try to focus on two or three key points.
Guide to essay writing
Read the question carefully and make sure you are answering it. Avoid lengthy tangents
and digressions. 2500 words is only ten pages maximum!
Use secondary sources (reference books, journal articles, electronic journals and other
web-based materials).
State your arguments clearly, engage your reader with them and develop them with
reference to the primary text(s), secondary sources and examples. Remember: you get
credit for original, engagingly-written and well-argued material.
Some personal anecdotal material is allowable if you clearly demonstrate its relevance and
if it provides an interesting way in to the topic, but beware of being over-indulgent in this
area.
An Introduction should engage the readers attention, present the topic and flag your
arguments.
A Conclusion is not simply a repetition of the Introduction: it should draw the threads of
your arguments together. It can suggest possible future avenues of inquiry but should not
launch into new arguments. You must conclude, after all. Good conclusions are harder to
write than you think: give them time, dont rush them at the last minute.
Be consistent and rigorous in your footnoting (or endnoting) and referencing. We do not
impose a preference for style, but do insist on consistent, coherent, and conscientious
referencing. Common styles used in the Faculty of Arts are MLA, Harvard and Chicago.
These style manuals are available in Fisher Library. Very lengthy footnotes or endnotes
should be avoided.
Citing works. You should be scrupulous in acknowledging your sources, including when
you use someones material (even communicated in conversation) as general inspriation or

background. As a rule, direct quotations of more than three lines or 100 words are
indented. Other direct quotations are run in to the text. If you have read the set text in its
original language, it is acceptable and even desirable to quote the original in your essay,
rather than the translation. Reference works written in other languages, however, should
be translated as your teacher may not understand them!
proofread your work. Sloppy English and seas of typos are not acceptable at this level of
study and you will be marked down for them.

Grades are:
High Distinction
85% +
Distinction
75%+
Credit
65%+
Pass
50%+
The final result for the year is determined at the Faculty Examiners meeting. Raw marks may be scaled in order
to ensure conformity with the above guidelines.
Assessment Criteria for Essays
FAIL: Work demonstrates insufficient engagement with the text(s) under scrutiny; responses do not reflect the
text, are unclear or confused, and do not reveal an adequate knowledge of the whole text.
PASS: Work demonstrates engagement with the text(s) under scrutiny, a range of clear and coherent responses
which reflect on the text, a reasonable knowledge of the whole text, an appropriate use of related lecture and
tutorial materials and some reference to secondary sources.
CREDIT: Work demonstrates engagement with the text(s) under scrutiny, a wide range of clear and coherent
responses which reflect to some depth on the text, a good knowledge of the whole text, an appropriate use of
secondary sources, and analytical ability.
DISTINCTION: Work demonstrates engagement with the text(s) under scrutiny, a wide range of clear and
coherent responses which reflect in depth on the text, a good knowledge of the whole text and its context,
originality and depth of analysis, and an appropriate use of a range of secondary sources.
HIGH DISTINCTION: Work demonstrates engagement with the text under scrutiny, a wide range of
clear and coherent responses which reflect in depth on the text, an excellent knowledge of the whole
text and its context, a skilful use of a range of primary and secondary sources, and a high level of
originality and depth of critical analysis.

Suggested Essay topics

Module 1 (Berlin):
1. Both, Heym and Kstner in their poems criticise the modern city as a space of
relentless industrialisation, blind believe in progress, alienation and ultimately
catastrophy. However, their poems and their approaches to depicting this
apocalypse are entirely different. Discuss this with view to literary history (e.g.
different trends) and to the historical setting of the respective poem.
2. For Benjamin, the Berlin of his childhood is a map of memory. Explain Benjamins
concept of reminiscence and archaeology with regards to his Berlin Chronicle.

3. In Wim Wenders Wings of Desire, Berlin is a fractured wasteland but also a space
for dreams of utopia. Discuss this, also with regards to the role the angels play in this
film.
4. Sonnenallee is a symbolic space where the division of Berlin is acted out as well
as rejected. Through the films imagery and attitude, Sonnenallee also becomes a
space of memory and debatably of longing. Discuss this with regards to issues of
colonisation, identity and ostalgia.
Within the framework of this module, you can also set your own topic. You
must,
however,
discuss
this
with
me
by
email.
(andrea.bandhauer@sydney.edu.au)
Bibliography
1. Georg Heym: apocalypse and the modern city (poem, 1910)
Readings:
- Fritzsche, Peter. Reading Berlin 1900. Harvard University Press, 1996.
- Donahue, Neil H. A Companion to the Literature of German Expressionism. Rochester NY:
Camden House, 2005.
2. Erich Kstner: urbanisation and alienation (poem, 1932)
- Stern, Guy Exile honoris causa: The Image of Erich Kstner among Writers in Exile.
Donahue, Neil H. (ed. and introd.); Kirchner, Doris (ed.); Flight of Fantasy: New Perspectives
on Inner Emigration in German Literature, 1933-1945. New York, NY: Berghahn; 2003, 22334.
3. Walter Benjamin: narrating the city (A Berlin Chronicle, written 1932)
Woodruff, Adam. 'The Shape of a City': Recollection in Benjamin's 'A Berlin Chronicle' and
Breton's Nadja. Journal of Narrative Theory, 2003 Summer; 33 (2): 184-206.
The films Wings of Desire and Sonnenallee can be viewed in Fisher Library.
4. Wim Wenders: angels in the divided city (Wings of Desire (film) 1987)
For readings on Wings of Desire, please go to
http://www.wim-wenders.com/movies/movies_spec/wingsofdesire/wingsofdesire.htm
(Essays. Interviews, Articles)
Other recommended readings:
- Barry, Thomas F. "The Weight of Angels: Peter Handke and Der Himmel ber Berlin."
Modern Austrian Literature 23.3/4 (1993): 53-64.
- Caldwell, David and Paul W. Rea. "Handke's and Wender's Wings of Desire: Transcending
Postmodernism." German Quarterly 64.1 (1991): 46-54.
- Conlon, James. Wings of Desire and the Value of Morality. In. Post Script. Essays in Film
and the Humanities 23:1 (Fall 2003): 37-50.
- Cook, Roger F. and Gerd Gemnden. The cinema of Wim Wenders: image narrative, and
the postmodern condition. Detroit, Mich: Wayne State University Press, 1997.
- Green, Peter. "Germans Abroad: Herzog, Wenders, Adlon." Sight and Sound Winter
1987/88: 128-29.
- Helmetag, Charles H. "...Of Men and Angels: Literary Allusions in Wim Wender's Wings of
Desire." Film/Literature Quarterly 18.4 (1990): 251-53.
5

- Hooks, Bell. "Representing Whiteness: Seeing Wings of Desire." Yearning: Race, Gender,
and Cultural Politics. Boston: West End Press, 1990. 165-71.
- Kolker, Robert Philipp and Peter Beicken. "Wings of Desire: Between Heaven and Earth."
Wim Wenders: Cinema as Vision and Desire. Cambridge: Cambridge UP, 1993. 138-60.
- Luprecht, Mark. Opaque Skies: Wings of Desire --Angelic Text, Context, and Subtext. Post
Script- Essays in Film and the Humanities 17:3 (Summer 1998): 47-54.
- Oksiloff, Assenka. Eden is Burning: Wim Wenders Technique of Synaesthesia. The
German Quarterly. 69:1 (Winter, 1996): 32-47.
- Paneth, Ira. "Wim and His Wings." Film Quarterly 42 (Fall 1988): 2-8. (Interview)
- Raskin, Richard (ed. and introd.). Wim Wenders Wings of Desire. A Danish Journal of Film
Studies ( (Dec 1999): 4-180 (Special Issue).
- Rogowski, Christian. "'Der liebevolle Blick'? The Problem of Perception in Wim Wenders's
Wings of Desire." Seminar (Nov. 1993): 398-409.
- Wolfson, Nathan. PoMo Desire?: Authorship and Agency in Wim Wenders Wings of Desire
(Der Himmel ber Berlin.) Film and Philosophy 7 (2003): 126-40.
5. Leander Haumann: after the wall: Ostalgia after the unification? (At the shorter End
of Sonnenallee (film), 1999).
Recommended readings:
- Allan, Sen. Ostalgie. Fantasy and the Normalization of East-West Relations in PostUnification. In: German Cinema Since Unification. Clarke, David (ed. and introd.); London,
England: Continuum, 2006, 105-26: 2006.
- Cooke, Paul. Performing 'Ostalgie': Leander Haussmann's Sonnenallee. German Life and
Letters, 2003 Apr; 56 (2): 156-67.
- Cormican, Muriel. Thomas Brussig's Ostalgie in Print and on Celluloid. Schnfeld,
Christiane (ed. and introd.); Rasche, Hermann (ed.) Processes of Transposition: German
Literature and Film. Amsterdam, Netherlands: Rodopi, 2007, 251-67
- Jozwiak, Joseph F. 'The Wall in Our Minds?' Colonization, Integration, and Nostalgia.
Journal of Popular Culture, 2006 Oct; 39 (5): 780-95.
Netherlands: Rodopi; 2007. 383 pp. (book article)
Andrea Bandhauer

Module 2: Tokyo
1. Mori Ogai is often seen as having modernized Japanese fiction in early Meiji.
What are your views on his achievement?. Your discussion should have references
to the two stories, Under Reconstruction and The Dancing Girl.
2. Tokyo is simply a particular locality in the world, but this locality represents the
specificity of Japans socio-cultural developments, in which tradition and modernity
have critically interacted. Discuss in relation to Tanizaki Junichirs TheTatooer.
3. Rightly or wrongly, the West has made a significant impact on Japanese society
since the Meiji Restoration in 1868. Discuss how and in what way Nagai Kafus
Western experience impacted on his works, such as The Fox.
4. Sakaguchi Ango is well known for his subversive voice against the norm of
Japans cultural values. How do you evaluate the reasons for his doing so?
Bibliography

Williams, Mark Literary Mischief: Sakaguchi Ango, Culture, and the War (Review)
http://muse.jhu.edu.ezproxy2.library.usyd.edu.au/journals/journal_of_japanes
e_studies/v039/39.1.williams.pdf
Sugawara, Katsuya Great Bearer: Images of the US in the Writings of the Air Raids,
Comparative Literature Studies, 04/2005, Vol. 41, Issue 4, pp. 451 - 463.
http://muse.jhu.edu.ezproxy2.library.usyd.edu.au/journals/comparative_literature_stu
dies/v041/41.4katsuya.pdf
Dunlo, Lane, Autumn wind: and other stories, Tut books, 1994.
Lewell, John, Modern Japanese Novelists, New York, Tokyo: Kodansha
International, 1993.
Maeda, Ai, The Spirits of Abandoned Gardens: On Nagai Kafs The Fox in Text
and the City, ed. James A. Fujii, Durham and London: Duke University Press, 2004.
(in the Reader)
Morton, Leith, An Anthology of Contemporary Japanese Poetry, New York & London:
Garland Publishing, 1993, So, Sakon, Burning the Bones, pp. 63-64 & Unforgiven,
pp. 65-67. (in the Reader)
Dorsey, James, Culture, Nationalism, and Sakaguchi Ango, Journal of Japanese
Studies, Vol. 27, No. 2, 200l.
Yasuko Claremont

Module 3: New Orleans

Essay topics, which may (but need not) serve as prompts for tutorial
presentations
1.
It is not entirely a disadvantage to be born a member of a small isolated metropolis
instead of a great central one. If the geographical situation be a fortunate one, if
the detachment from, and the connection with, the civilised world be nicely adjusted,
there follows for the smaller metropolis a freedom of development which is as
great a gain for the city as for an individual. In such a smaller mother-city, individual
acts assume an importance, individual lives an intrinsic value, which it would be
absurd to attribute to inhabitants of a great centre; our gods seem closer to us, our
fates more personal.
Grace King, on New Orleans (1904)
How does your reading of New Orleans writing confirm or contradict Kings thesis?
2.
The word in language is half someone elses. It becomes ones own only when the
speaker populates it with his own intention, his own accent And not all words for
just anyone submit easily to this appropriation many words stubbornly resist,
others remain alien, sound foreign in the mouth of the one who appropriates them
it is as if they put themselves into quotation marks against the will of the speaker.
Language is not a neutral medium that passes freely and easily into the private
property of the speakers intentions; it is populated with the intentions of others.
Mikhail Bakhtin, The Dialogic Imagination
How do Creole, Quadroon, African-American, and Anglo-American characters
perturb New Orleans writing? How do characters and narrators, individually and
communally, deal with the sociolects, dialects, and idiolects that betray their origins,
situations, and aspirations?

3.
Do you know, I find myself drinking twice as much coffee here as I did in New York.
For me the climate here [in New Orleans] is debilitating. Perhaps because of the
dampness and the, and the very low altitude, really theres no altitude at all, its
slightly under sea level. Have another cup with me? Of course, Manhattan hasnt
much altitude either. But I grew up in the Adirondacks really. We lived on high
ground, good elevation.
Tennessee Williams, Jane in Vieux Carr (1978)
How peculiar to New Orleans writing are the responses to sexual passion and
expression that you find in it?
4.
All New Orleans writing must somehow master its abiding predisposition to defend
and advertise the citys peculiarities by way of local colour and the picturesque.
How, and how much, has it done so?
5.
Even the most apparently homogeneous of cities is fundamentally a miscellaneous
agglomeration of neighbourhoods that cultivate the finest distinctions among
themselves, especially regarding the manners and matter of conversation. How true
is this of the cultural geography of New Orleans?
List of Major Works in New Orleans Literary and Cultural History
Abb Prevost (1697-1753), Manon Lescaut (1731), arr. Massenet (1884), then
Puccini (1893)
Frances Trollope (1780-1863), Domestic Manners of the Americans (1832)
Victor Sjour (1817-1874), various plays & fictions in French, recently translated
Armand Lenusse, ed. Les Cenelles (1845), trans. Latortue & Adams (1979)
Louis Gottschalk (1829-1869), various piano compositions
Harriet Beecher Stowe (1811-1896), Uncle Toms Cabin (1852)
Edgar Degas (1834-1917), various paintings (1872-1873)
George Washington Cable (1844-1925), The Grandissimes (1880)
Mark Twain (1835-1910), Life on the Mississippi (1883)
Lafcadio Hearn (1850-1904), Chita: A Memory of Last Island (1889)
Kate Chopin (1851-1904), The Awakening (1899)
O. Henry [William Sydney Porter] (1862-1910), various short stories
Charles Chesnutt (1858-1932), Paul Marchand, F.M.C. (wr.1921, pub. 1999)
Zora Neale Hurston (1901-1960), Hoodoo, part 2 of Mules and Men (1935)
William Faulkner (1897-1962), Absalom, Absalom! (1936)
Tennessee Williams (1911-1983), A Streetcar Named Desire (1947); Vieux Carr
(1978)
Nelson Algren (1909-1981), A Walk on the Wild Side (1956)
Walker Percy (1916-1990), The Moviegoer (1961)
John Kennedy Toole (1937-1969), A Confederacy of Dunces (pub.1980)
Brenda Osbey, Desperate Circumstances, Dangerous Woman (1991)
Sybil Kein, Delta Dancer (1984); An American South (1996)
Literary Bibliographies

Bryan, Violet Harrington, The Myth of New Orleans in Literature (Knoxville:

University of Tennessee Press, 1993), Bibliography, pp. 193-211.
Hamel, Rginald, La Louisiane crole: littraire, politique et sociale, 1762-1900, 2
vols. (Ottawa: Lemac, 1984), Bibliographie gnrale sur la Louisiane, vol.
2, pp. 643-64.
Kaser, James, The New Orleans of Fiction: A Research Guide (Lanham: Rowman &
Littlefield, 2004), e-book.
Prsence Francophone [Special issue on Louisiana], Bibliographie gnrale, 43
(1993): 111-28.
Rubin, Louis, A Bibliographical Guide to the Study of Southern Literature (Baton
Rouge: Louisiana State University Press, 1969).
Salley, Coleen, Nineteenth Century New Orleans in Books, Southern Quarterly
22.2 (Winter 1982): 177-85.
Bruce Gardiner

Semester One
Week
1

Week
beginning

Lecture

02 March

Introduction to ICLS2633
No tutorials
Cities of the World
This module will take you through important
periods of Berlins complex history of the 20th
century.

Module 1
Week 2

09 March

Tutorial

Berlin in the first decades of the Discussion on texts:

Georg Heym: The God of the
20th century
City (1910)
Erich Kstner: The Evolution of
Mankind (1932)
Walter Benjamin: A Berlin
apocalypse and the modern
Chronicle (1932)
city
Presentation 6:
urbanisation and alienation
Heym/Kstner: Urbanisation
narrating the city
and alienation
Presentation 7:
Walter Benjamin: Narrating
Berlin

16 March

Wim Wenders: Wings of Desire

(1987)
The divided city
Angels in the divided city
Urban spaces

Presentation 8:
Urban spaces in Wings of Desire
Presentation 9:
The role of angels in
Wings of Desire

23 March

Wings of Desire
Memory and narrating Berlin

Presentation 10:

Memory in Wings of Desire

Presentation 11:
Becoming human

BREAK
Module 2

30 March*

6-12 April

Leander Haussmann:
Sonnenallee (1999)
Memories of the GDR
Ostalgia (longing for the GDR?)

Presentation 12:
The notion of ostalgia
Presentation 13:
Ostalgia and Youth

SESSION BREAK / EASTER

Tokyo in cultural memory, disasters and imagination
This module will focus on Tokyo, a mega metropolitan capital city
existing in its centuries-old history. Tokyo was called Edo under the
feudal rule of the Tokugawa Shogunate (1602-1868), during which
time Japan was largely isolated from the world. The Meiji Restoration
in 1868 concentrated on a so- called policy of enlightenment and
civilization in Japan through incorporating Western practices into its
culture, including a policy of imperial expansion. The aftermath of the
1923 Great Kanto Earthquake was that Tokyo was rebuilt into a
modern city. However, in1945 Tokyo was burnt to the ground by a
massive American fire-bombing air raid. Nevertheless, Tokyo has risen
yet again and prospered as the capital of a democratic nation.
What have the people of Tokyo learnt from their experiences, and how
have artists expressed their understanding of Tokyos destruction and
resurgence? We will examine the representations of Tokyos cultural
memory, morality and identity that were portrayed in short stories and
poetry.

13 April

gai Mori, Under

Reconstruction and The
Dancing Girl, Introduction of
topology

Presentation 14:
Loyalty vs duty

Presentation 15
Cultural conflicts between the East
and the West

Presentation 16:
What elements are modern in the
two stories?

20 April*

Junichir Tanizaki, The

Tattooer

Presentation 16:
Imagined City in TheTattooer

Presentation 17:
Aesthetics or Decadence: Junichir
Tanizaki

Presentation 18:
Literary activism

Presentation 19: Values that the

author has emphasized in
TheTattooer

27 April

Kafu Nagai, The Fox

Presentation 20:
Imagined Garden in The
Fox

Presentation 21:
The Characterization of
the Family in The Fox

Presentation 22:
The themes of The Fox

Presentation 23:
Kafs Perceptions of the

10

West and East

04 May

Ango Sakaguchi, The Idiot Presentation 24:

The themes of The Idiot
(1946), On
Presentation 25:
decadence(1946)
Postwar nationalism

Presentation 26:
Individualism vs conformity

New Orleans

Module 3
10

11 May

11

18 May

12
13

25 May
01 June

Introduction to New Orleans

literature, through a selection
of French and English poems
(to be distributed in class)
George Washington Cable,
The Grandissimes
Kate Chopin, The Awakening
Walker Percy, The Moviegoer

First essay on Berlin or Tokyo

due on Friday 15 May by 5 p.m.

Second essay on Tokyo or New

Orleans due on Friday 5 June
by 5 p.m.

STUVAC
08 June*
STUVAC
EXAMS
15 June
EXAM PERIOD commences
* NB: Public holidays on Friday 3 April, Monday 8 June.

READING REQUIREMENTS

In addition to the Course Reader, students are required to consult reference books
in Fisher Library for the preparation of class presentations and essays: see the
Reference List at the end of this section for key reference books. There is also a Unit
of Study Readings list. You can access this list by going to the following website.
http://opac.library.usyd.edu.au/search/r#

Put in the course number and you should be able to see the list and print out articles
and chapters available online.
For the Berlin-Model: All texts are in the Reader. The films can be watched in the
library.
For the Tokyo-Model: All texts except Ango Sakaguchis On decadence are in the
Reader. This text and some poems will be downloadable by the end of March.
For the New Orleans-Model: George Washington Cable, The Grandissimes (1880)
Kate Chopin, The Awakening (1899), Walker Percy, The Moviegoer (1961)

ONLINE COMPONENTS
This unit requires regular use of the Universitys Learning Management System (LMS), also
known as Blackboard Learn. You will need reliable access to a computer and the Internet to
use the LMS.
The easiest way to access is through MyUni (click on the MyUni link on the university home
page, http://sydney.edu.au or link directly to the service at https://myuni.sydney.edu.au/.

11

There is a Blackboard LMS icon in the QuickLaunch window on the left hand side of the
screen.
If you have any difficulties logging in or using the system, visit the Student Help area of the
LMS site, http://sydney.edu.au/elearning/student/help/.
Mobile Learn
You can also access your LMS sites via the Sydney Uni App for iPhone and Android. The
full set of features available on the mobile app for the University LMS can be found in detail
in this PDF document: Features in the mobile App for the University LMS (PDF)
To download the University of Sydney mobile app directly to your phone or mobile device
you need to be able to access the marketplace associated with your device's operating
system.

iTunes store on your iPhone/ iPod touch or iPad

Play Store or the Android Marketplace (depending on the phone's OS)

BlackBerry App World on your BlackBerry smartphone device

Palm App Catalog on your HP webOS device

Once you are at the marketplace or app store:

1. Search for University of Sydney
2. Install the app
3. Open the app and click on the icon 'Bb Learn' to access the LMS
4. Login to the LMS with your UniKey and password.
Important: due to the limitations of mobile devices you cannot submit assignments using the
assignment tool. You should not complete graded tests (quizzes) using your mobile device
due to the possibility of Internet drop out.
The Universitys Privacy Management Plan governs how the University will deal with
personal information related to the content and use of its web sites. See
http://sydney.edu.au/privacy.shtml for further details.
ASSESSMENT TASKS AND DUE DATES
Example:
1 Oral presentation
(equivalent to 1000 words)
Essay 1 (Either on Berlin or on Tokyo)
(equivalent to 2500 words)
Essay 2
(equivalent to 2500 words)

10%
45% (Due on Friday 15 May by 5 p.m.)
45% (Due on Friday 5 June by 5 p.m.))

Class presentations
Topics are included in the Unit of Study outline (below). Students must sign up for a presentation topic
in Week 1 Lecture or as soon as possible thereafter. The first presentations are in week 3.
Individual presentations should last 10 minutes and no longer. You will be stopped after 10 minutes
speaking. You should include short (1-2 minute) extracts from films in your presentation, or other
audio (visual) material. The time taken to show these materials will not be counted in presentation
length.
Advice on giving presentations
You must provide a typewritten plan of your presentation on a single A4 sheet that you will hand in
to your tutor and prepare a power-point presentation.

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Class presentations should be considered not only as an assessment task but also as a means of
providing a guide to the material for other students in the class. Audio and visual aids are encouraged
but audiovisual documents (e.g. film extracts) must be kept brief. Do not try to do too much: 10
minutes go by faster than you think. Be clear and concise in your objectives, try to focus on two or
three key points.

SUBMISSION OF WRITTEN WORK

Compliance Statements
All students are required to submit an authorised statement of compliance with all work
submitted to the University for assessment, presentation or publication. A statement of
compliance certifies that no part of the Work constitutes a breach of Academic Dishonesty
and Plagiarism Policy.
The format of the compliance statement will differ depending on the method required for
submitting your work (see Assessment Submission below). Depending on the submission
method, the statement must be in the form of:
a. a University assignment cover sheet;
b. a University electronic form; or
c. a University written statement.
Assessment Submission
Option 1 Online submission only
Electronic submission of assessment tasks via the Universitys Learning Management
System will be required by the due date.
Essays and assignments not submitted on or before the due date are subject to penalty.
Refer to http://sydney.edu.au/arts/current_students/late_work.shtml for the Policy on Late
Work.
ACADEMIC DISHONESTY AND PLAGIARISM
Academic honesty is a core value of the University. The University requires students to act
honestly, ethically and with integrity in their dealings with the University, its members,
members of the public and others. The University is opposed to and will not tolerate
academic dishonesty or plagiarism, and will treat all allegations of academic dishonesty or
plagiarism seriously.
The Universitys Academic Dishonesty and Plagiarism Policy 2012 and associated
Procedures are available for reference on the University Policy Register at
http://sydney.edu.au/policies (enter Academic Dishonesty in the search field). The Policy
applies to the academic conduct of all students enrolled in a coursework award course at the
University.
Under the terms and definitions of the Policy,

academic dishonesty means seeking to obtain or obtaining academic advantage

(including in the assessment or publication of work) by dishonest or unfair means or
knowingly assisting another student to do so.
plagiarism means presenting another persons work as ones own work by
presenting, copying or reproducing it without appropriate acknowledgement of the
source.

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The presentation of another person's work as one's own without appropriate

acknowledgement is regarded as plagiarism, regardless of the authors intentions.
Plagiarism can be classified as negligent (negligent plagiarism) or dishonest (dishonest
plagiarism).
An examiner who suspects academic dishonesty or plagiarism by a student must report the
suspicion to a nominated academic in the relevant faculty. If the nominated academic
concludes that the student has engaged in dishonest plagiarism or some other sufficiently
serious form of academic dishonesty, the matter may be referred to the Registrar for further
disciplinary action under the terms of the Academic Dishonesty and Plagiarism Policy 2012
and Chapter 8 of the University of Sydney By-Law 1999 (as amended).
USE OF SIMILARITY DETECTION SOFTWARE

Students should be aware that written assignments submitted in this Unit of Study will be
submitted to similarity detecting software known as Turnitin. The detection and identification
of work that may be suspected of plagiarism is an academic judgment for the unit
coordinator, and similarity detecting software is one of the tools that an examiner or marker
may use to inform a decision that plagiarism has occurred.
Turnitin searches for matches between text in your written assessment task and text sourced
from the Internet, published works and assignments that have previously been submitted to
Turnitin for analysis. It produces an originality report showing matches with various sources,
and an overall level of match or similarity index.
There will always be some degree of text-matching when using Turnitin. These are caused
by the use of direct quotations, technical terms and phrases, and the listing of bibliographic
material. This does not mean you will automatically be accused of plagiarism.
Further information about Turnitin is available at
http://sydney.edu.au/arts/current_students/plagiarism_and_turnitin.shtml.
SPECIAL CONSIDERATION
The Faculty of Arts and Social Sciences assesses student requests for assistance relating to
completion of assessment in accordance with the regulations set out in the University
Assessment Policy 2011 and Assessment Procedures 2011. Students are expected to
become familiar with the Universitys policies and Faculty procedures relating to Special
Consideration and Special Arrangements.
Students can apply for:

Special Consideration - for serious illness or misadventure

Special Arrangements - for essential community commitments

Simple Extension an extension of up to 5 working days for non-examination

based assessment tasks on the grounds of illness or misadventure.

Further information on special consideration policy and procedures is available on the

Faculty website at http://sydney.edu.au/arts/current_students/special_consideration.shtml.
OTHER POLICIES AND PROCEDURES RELEVANT TO THIS UNIT OF STUDY
The Facultys Student Administration Manual is available for reference at the Current
Students section of the Faculty Website (http://sydney.edu.au/arts/current_students/). Most
day-to-day issues you encounter in the course of completing this Unit of Study can be
addressed with the information provided in the Manual. It contains detailed instructions on
processes, links to forms and guidance on where to get further assistance.

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STAYING ON TOP OF YOUR STUDY

For full information visit http://sydney.edu.au/arts/current_students/staying_on_top.shtml
The Learning Centre assists students to develop the generic skills, which are necessary for
learning and communicating knowledge and ideas at university. Programs available at The
Learning Centre include workshops in Academic Reading and Writing, Oral communications
Skills, Postgraduate Research Skills, Honours, masters Coursework Program, Studying at
University, and Workshops for English Language and Learning. Further information about
The Learning Centre can be found at http://sydney.edu.au/stuserv/learning_centre/.
The Write Site provides online support to help you develop your academic and professional
writing skills. All University of Sydney staff and students who have a Unikey can access the
WriteSite at http://writesite.elearn.usyd.edu.au/.
The Faculty of Arts and Social Sciences has units at both an Undergraduate and
Postgraduate level that focus on writing across the curriculum or, more specifically, writing
in the disciplines, making them relevant for all university students. To find out more visit
http://sydney.edu.au/arts/teaching_learning/writing_hub/index.shtml and
http://sydney.edu.au/arts/teaching_learning/pg_writing_support/index.shtml.
In addition to units of study on writing, The FASS Writing Hub offers drop-in sessions to
assist students with their writing in a one-to-one setting. No appointment is necessary, and
this service is free of charge to all FASS students and/or all students enrolled in WRIT units.
For more information on what topics are covered in a drop-in session and for the current
schedule, please visit http://sydney.edu.au/arts/writing_hub/writing_support/index.shtml
Pastoral and academic support for Aboriginal and Torres Strait Islander students is
provided by the STAR Team in Student Support services, a dedicated team of professional
Aboriginal people able to respond to the needs of students across disciplines. The STAR
team can assist with tutorial support, mentoring support, cultural and pastoral care along
with a range of other services. More information about support for Aboriginal and Torres
Strait Islander students can be found at
http://sydney.edu.au/current_students/student_services/indigenous_support.shtml.
The Library offers students free, online tutorials in library skills at
http://sydney.edu.au/library/skills. There's one designed especially for students studying in
the Humanities and Social Sciences at http://libguides.library.usyd.edu.au/. And don't forget
to find out who your Faculty Liaison Librarians are.
OTHER SUPPORT SERVICES
Disability Services is located on Level 5, Jane Foss Russell Building G20; contact 8627 8422
or email disability.services@sydney.edu.au. For further information, visit their website at
http://sydney.edu.au/stuserv/disability/.
Counselling and Psychological Services (CAPS) are located on Level 5, Jane Foss Russell
Building G20; contact 8627 8433 or email caps.admin@sydney.edu.au. For further
information, visit their website at http://sydney.edu.au/current_students/counselling/.

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