Part II Enrolment 2015-16

DEPARTMENT OF ENGLISH
&
CREATIVE WRITING
PART II ENROLMENT BOOKLET
FOR STUDENTS ENTERING YEARS 2 and 3 in 2015-16
N.B.:
1. Set Texts: Although every effort has been made to provide accurate reading lists
for 2015-16 in this booklet, we are occasionally obliged to make changes to our
choice of set texts. Please consult with course conveners over the summer if you
would like to get an up-to-date picture of the set reading for a given course.
Second and Final Year Enrolment
For Part II English Literature and Creative Writing, 2015-16
GENERAL GUIDANCE FOR INTENDING ENGLISH MAJORS AND COMBINED MAJORS
The Ground Rules
Most Lancaster Part II schemes of study require students to take 8 units of assessment, and
they are normally expected to enrol for 4 of them in their 2nd Year and the remaining 4 in
their 3rd Year (or 4th Year, if they are a DELC student who will do a year abroad). Where
half-units are involved, two half-units are the equivalent of a whole one.
English Literature Majors must take a minimum of six units of English, and may take a
maximum of eight: the range of options and restrictions is explained under ENGLISH MAJOR
SCHEMES, below. Those taking six units would normally take three in each year. Pure
English Literature majors do not take any Creative Writing courses.
English Literature with Creative Writing involves three units of English and one unit of
Creative Writing in each year.
English Literature, Creative Writing and Practice involves two units of English and two units
of Creative Writing in each year. It is, in effect, a Combined Major degree scheme, but,
unusually, both disciplines fall within a single Department.
Other Combined Majors with English will take four units in English and four in the other
discipline across Part II as explained under COMBINED MAJOR SCHEMES, below.
Minors may take one or two units in English. (They may choose any combination of courses,
subject to prerequisites and/or quotas, except that they may not take ENGL 301 and may
not take English Final Year half-units).
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HOW TO ENROL FOR PART II COURSES
There are two stages to enrolment:
1. Online Enrolment: Friday 17th April Tuesday 28th April 2015
You will need to enrol electronically for the English courses you intend to take next year.
Follow the instructions for electronic enrolment that have been sent to your Lancaster email
address by the Student Registry.
As from 2016, all third-year English majors will take at least two final year half-modules. For
this reason, if you are a current first-year English Major it is compulsory that you sign up for
ENG398 (Final Year Group C Option). If you are a combined major and would like to register
for the option to do two English Literature half modules in your final year, you should select
ENGL 398 (Final Year Group C option). If you are a current first year English Major and you
would like to take four half modules in your third year please also select ENGL 399 (Final
Year Group C Option). By selecting on one or both of 398 and 399, you are choosing to
complete half modules in your final year. You are not committing yourself to any specific
half modules at this time.
If you are on:
BA (Hons) English Literature, Creative Writing and Practice
You will also be enrolled for CREW 298 (Year 2) and CREW 398 (Year 3) to indicate that you
will be completing half modules as part of your Creative Writing studies. You do not select
specific half modules at this time.
Any specific half module courses selected electronically will not be valid.
2. Confirming your Enrolment: Wednesday 6th and Thursday 7th May 2015.
Please read this section carefully it will tell you what to do in order to confirm your
enrolments.
Students registered on the following degree schemes:
BA (Hons) English Literature

BA (Hons) English Literature with Creative Writing
DO NOT need to come in to the department to have their enrolment confirmed UNLESS you
have enrolled for the option to complete half modules or you receive an email from us
asking you to do so.
2
Final Year students who have enrolled for ENGL 398 (Final Year Half Modules) and all
students on the English Literature, Creative Writing and Practice degree scheme
You will need to come to the Department on Wednesday 6th or Thursday 7th May 2015 to
make your half module choices.
Please bear in mind that places on half modules are limited and that some can become
over-subscribed. For this reason, we will ask you to rank your choice of half modules and
use your rankings to assist us in making allocations. Please bear in mind that for all sorts of
reasons, some of which are beyond our control (e.g. staff availability), we cannot guarantee
that you will get your first-choice preferences.
Please also note that if you choose to enrol for ENGL 398 (final year English half modules)
you are committing to following the half modules in your final year. The naming of a
course convenor for a half module in this booklet does not mean that this person will
necessarily teach the course in 2015-16.
Combined Major and Minor Students:
Following online enrolment, you will need to pick up a print-out of the courses for which
you have enrolled from your Administering Department (This is usually the first named
department of your degree scheme). In English and Creative Writing Department forms will
be available to collect on Wednesday 6th or Thursday 7th May 2015.
Students from other departments needing a signature from English should also come to the
English department on Wednesday 6th or Thursday 7th May 2015
Please see below for a list of degree schemes administered by the Department of English
and Creative Writing.
You must get a signature of approval for every course for which you have enrolled, from an
appropriate person in the department where the course is taught. For English and Creative
Writing courses, this can be Anne Stewart-Whalley (the Departmental Officer). You should,
therefore, first take it to any departments in which you minor, then take it to the
department in which you intend to major (who will take the form from you and complete
the process). If you intend to do a Combined Major, treat the first-named department (as
the degree schemes are listed in the Courses Handbook) as the major department, and the
other department as if it were a minor (e.g. for English and Religious Studies, go to Religious
Studies first then bring the form to English; for Theatre Studies and English, come to English
first, then take the form to Theatre Studies).
N.B. Those about to go into Part II will be asked to give details of all eight of the units they
expect to take in Years 2 and 3/4. Majors must include at least one full-unit course coded
A and at least one full-unit course coded B (or half-unit equivalents) as part of their
overall Part II programme. See the table on p. 10 for details of A and B courses. You are
not finally committed at this stage to the courses you will actually take in Year 3/4 (and
must, in any case, firmly enrol for those courses in May of Year 2). The idea is to ensure that
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your whole course of study is coherent, and that it meets necessary degree requirements;
but you will be permitted to change your options in May of Year 2, provided these
conditions are still met.
Combined Schemes Administered by English and Creative Writing
English Literature and History

English Literature and Philosophy
English Literature and Religious Studies
Students on all other schemes should visit the other department first.
4
Information for
Students Entering
their Second Year in
2015-16
5
Enrolment Arrangements for Students entering their Second Year
BA (Hons) English Literature; BA (Hons) English Literature with Creative Writing:
Enrol for your Year 2 and 3 courses electronically between 9am on Friday 17th April
and 12pm on Tuesday 28th April 2015.
Once online enrolment has closed, your enrolment will be checked by a member of
the Department. If a problem is found, we will contact you by email by the morning
of Tuesday 5th May. The email will come from Anne Stewart-Whalley or Janet Tyson.
If you are contacted by email as above, then you will need to come in to the
department on Wednesday 6th or Thursday 7th May 2015 and see Anne Stewart-
Whalley (County Main B109) between 10am and 4pm to resolve any problems.
If you do not hear from us by email by 12 pm on Tuesday 5th May, you can assume
your enrolment has been approved.
If you have any questions, please contact Anne Stewart-Whalley at a.stewart-
whalley@lancaster.ac.uk
BA (Hons) English Literature, Creative Writing and Practice:
Enrol for your Year 2 and 3 courses electronically between 9am on Friday 17th April
and 12pm on Tuesday 28th April 2015.
See Anne Stewart-Whalley in B109 County Main on Wednesday 6th or Thursday 7th
May 2015 between 10am and 4pm to make your Creative Writing half module
choices.
Combined Majors and English Minors
Combined Major students should collect their enrolment form from the first-named
department for their degree scheme (please see the information on p. 4). Minor
students should collect the form from their Major department. Please note that
forms from the English Department will be available for collection from B109,
County Main on Wednesday 6th and Thursday 7th May 2015
Obtain a signature for any Minor courses, or the courses administered by the second-
named department in your degree scheme.
Obtain signatures from your Major Department, or the first-named subject in your
degree scheme, and leave the form with them to complete the enrolment process.
Anne Stewart-Whalley (County Main B109) will be available between 10am and 4pm
on Wednesday 6th and Thursday 7th May 2015 to sign forms for English
Literature/Creative Writing courses for Combined Major and Minor students.
N.B. Enrolment is invariably a bit of a scrum. Please be patient and bear with us. All courses
will run as advertised, subject to staff availability.
6
Information for Students Entering their Second Year
1. BA (Hons) English Literature
MAJORS may take English courses which will provide SIX, SEVEN, or all EIGHT units of
assessment on which the degree result will be based.
Students take four units of assessment in each of their second and final years.
Majors must include at least one full-unit course coded A and at least one full-unit
course coded B as part of their overall Part II programme. See the table on p. 10 for
details of A and B courses.
As from 2016-7 all English majors must take at least two Special Option half-unit
courses (coded C)
Combined majors may take Special Option half units but are not obliged to do so.
Please see the note on p.3 regarding half module choices.
Second Year
Must take ENGL 201

Must take further courses from Second Year course list (p. 10) to give a total of four
units of assessment (three plus one from another department if taking a minor)
Final Year
Must take ENGL 301.

Must also take either TWO final year English modules plus TWO final year half
modules or ONE final year English module and FOUR final year half modules.
If you are taking two half modules then you must study one in each term; if you are
taking four then you must study two in each term.
ENGL 398/ENGL 399: Final Year Group C Courses
As from 2016, English majors must take at least TWO half modules. For this reason all
English majors must enrol for ENGL398. By enrolling for ENGL 398, you are committing to
follow TWO half unit mode of study, rather than any particular courses. By choosing ENGL
399 you are committing to follow FOUR half unit modules.
These courses are being offered in the 2015-16 academic year, but please note that the half
units offered in future years may vary.
Title Option Unit Course Convenor

Science Fiction C 0.5 Dr Brian Baker
The Byron-Shelley Circle C 0.5 Prof Simon Bainbridge
Victorian Gothic C 0.5 Dr Catherine Spooner
Early Modern Outlaws on Land and Sea C 0.5 Dr Liz Oakley-Brown
Schools Volunteering Module C 0.5 Prof Hilary Hinds
Ceremony in Early Modern Drama C 0.5 Prof Alison Findlay
7
Literature and the Visual Arts C 0.5 Dr Andrew Tate
Bible and Literature C 0.5 Dr Jo Carruthers
Womens Writing C 0.5 Prof Lynne Pearce
Monstrous Bodies C 0.5 Prof Sharon Ruston
Between The Acts C 0.5 Prof John Schad
Reforming the Body C 0.5 Dr Liz Oakley-Brown
Victorian Autobiography C 0.5 Prof Kamilla Elliott
Representing Palestine C 0.5 Dr Lindsey Moore
Students completing half units may also select one of the following offered by the
Department of European Languages and Cultures (again, please note that courses offered in
future years may vary):

Witchcraft, Heresy, and Inquisition: The C 0.5 Dr O Perea-Rodriguez
Prosecution of Otherness' in Europe (14th-
17th c)
Translation as a Cultural Practice (Lent) C 0.5 Dr R Braun
Imagining Modern Europe: Post- C 0.5 Dr D Grass
Revolutionary Utopias and Ideologies in the
first Half of the Nineteenth Century
Latin America and Spain on Film: C 0.5 Dr Amit Thakkar
Masculinities and Violennce
2. BA (Hons) English Literature with Creative Writing
You must include at least one full-unit course coded A and at least one full-unit course
coded B (or half-unit equivalents) as part of your overall Part II programme. See the table
on p. 10 for details of A and B courses. You must choose ENGL 398 Final Year Group C
Option. Half units: you must study one in each term. Please see the list above for details of
these choices. You may take Engl 399 which allows you to take four half-unit courses.
Second Year
Must take ENGL 201
Must take CREW 203
Then take two further courses from the English Second Year list (p. 10)
Final Year
Must take ENGL 301
Must take CREW 303
Must take ENGL 398
Then select one further course from the English Final Year List, (see p. 10).
8
3. BA (Hons) English Literature, Creative Writing and Practice
English Literature, Creative Writing and Practice students may choose to do the ENGL 301
Dissertation module and may choose the ENGL 398 Final Year Group C Option. You may
take two of these half units and you must study one in each term. To register for the two
half module option, choose ENGL 398. Please see the list above for details of these choices
and the note on p.3 about choosing and allocating half modules. Students on this degree
scheme can also choose Creative Writing half modules from the list below.
Title Year Unit Course Convenor

Short Fiction I 2 0.5 Dr Zoe Lambert
Poetry, Genre and Practice 2 0.5 Prof Paul Farley
Creative Non-Fiction I 2 0.5 Dr George Green
Advanced Short Story 3 0.5 Dr Zoe Lambert
Advanced Non-Fiction 3 0.5 Dr George Green
Narrative and New Media 3 0.5 Dr Jenn Ashworth
Poetry and Experiment 3 0.5 Dr Eoghan Walls
Second Year
Must take ENGL 201

Must take CREW 203 and two of the Year 2 CREW half modules from the list above
(one in each term).
Then choose one other course from the English Second Year list (p.10)
Final Year
Must take CREW 303 and two of the Year 3 CREW half modules from the list above
May take ENGL 301 (optional)
Must choose one other English Third Year course from the list (p.10) if taking ENGL
301, or two if not taking ENGL 301.
Students may choose to take two or four third-year Special Option half modules
(ENGL 398 or ENGL 399).
4. Combined Major Schemes:
Combined Majors take courses that will provide FOUR units of assessment in each half of
the Combined Scheme.
Apart from the requirements listed below, there are no further stipulations about course
choices. Students, however, should choose their courses with the aim of creating a
coherent scheme of study across the two subjects of the degree. If you wish to discuss your
proposed course choices, you should contact the Director of Undergraduate Studies in the
Department of English and Creative Writing, Dr Michael Greaney (County Main B98;
m.greaney@lancaster.ac.uk) before you enrol electronically.
9
Requirements for Combined Majors
Second Year
Must take two English courses, one of these must be ENGL 201 (see p.10 for a list of
other modules)
Final Year
Two English courses (see below).
According to the particular scheme chosen, students should pay very careful attention to
the requirements of their other departments.
PART II - UNDERGRADUATE COURSES
ENGLISH LITERATURE
SECOND YEAR 2015-16

Course Title Option Unit Course Offered
Number Convenor 15-16?
ENGL 201 The Theory and Practice of 1 Prof Arthur Yes
Criticism (compulsory) Bradley
ENGL 202 Renaissance to Restoration: A 1 Dr Liz Oakley- Yes
English Literature 1580-1688 Brown
ENGL 203 Victorian Literature B 1 Prof Keith Yes
Hanley
ENGL 204 American Literature to 1900 B 1 Prof Kamilla Yes
Elliott
ENGL 207 British Romanticism A 1 Prof Sharon Yes
Ruston
ENGL 208 Literature and Film B 1 Prof Kamilla Yes
Elliott
FINAL YEAR 2016-17

ENGL 301 Dissertation Unit 1 Dr Michael Yes
Greaney
ENGL 303 Modernism towards B 1 Mr Tony Yes
Postmodernism Pinkney
ENGL 306 Shakespeare A 1 Prof Alison Yes
Findlay
ENGL 308 Contemporary Literature B 1 Dr Lindsey Yes
Moore
10
ENGL 398 Final Year Group C Option C 1 Yes
(two half-modules)
(four half-modules)
CREATIVE WRITING
SECOND YEAR 2015-16

CREW 203 Intermediate Creative - 1 Dr George Yes
Writing Workshop Green
CREW 204 Short Fiction - 0.5 Dr Zoe Yes
Lambert
CREW 205 Poetry, Genre and Practice - 0.5 Prof Paul Yes
Farley
CREW 206 Creative Non-Fiction I - 0.5 Dr George Yes
Green
FINAL YEAR 2016-17

CREW 303 Creative Writing Workshop - 1 Dr George Yes
Green
CREW305 Advanced Creative - 0.5 Dr George TBC
Non-Fiction Green
CREW 307 Narrative and New Media - 0.5 Dr Jenn TBC
Ashworth
CREW 308 Short Fiction II - 0.5 Dr Zoe TBC
Lambert
CREW 309 Poetry and Experiment - 0.5 Dr Eoghan TBC
Walls
11
Information for
Students Entering
their Final Year in
2015-16
12
Enrolment Arrangements for Students entering their Final Year
BA (Hons) English Literature Majors; BA (Hons) English Literature with Creative Writing:
Enrol for your courses electronically between 9am on Friday 17th April and 12pm
Tuesday 28th April 2015.
Once online enrolment has closed, your enrolment will be checked by a member of
the Department. If a problem is found, we will contact you by email by the morning
of Tuesday 5th May 2015. The email will come from Anne Stewart-Whalley or Janet
Tyson.
If you are contacted by email as above, then you will need to come in to the
department on Wednesday 6th May or Thursday 7th May 2015 and see Anne
Stewart-Whalley (County Main B109) between 10am and 4pm to resolve any
problems.
If you do not hear from us by email by 12 pm on Tuesday 5th May 2015, you can
assume your enrolment has been approved. However, students who have opted to
take the Special Option English half modules (ENGL398) must come into the
department on either 6th or 7th May to make their choices.
If you have any questions, please contact Anne Stewart-Whalley at a.stewart-
whalley@lancaster.ac.uk
BA (Hons) English Literature, Creative Writing and Practice:
Enrol for your courses electronically between 9am on Friday 17th April and 12pm
Tuesday 28th April 2015.
See Anne Stewart-Whalley in B109 County Main on Wednesday 6th May or
Thursday 7th May 2015 to make your Creative Writing half module choices.
Combined Majors and English Minors
Combined Major students should collect their enrolment form from the first-named
department for their degree scheme (please see the information on p.4). Minor
students should collect the form from their Major department. Please note that
forms from the English Department will be available for collection from B109,
County Main on Wednesday 6th May and Thursday 7th May 2015
Obtain a signature for any Minor courses, or the courses administered by the second-
named department in your degree scheme.
Obtain signatures from your Major Department, or the first-named subject in your
degree scheme, and leave the form with them to complete the enrolment process.
Anne Stewart-Whalley (County Main B109) will be available between 10am and 4pm
on Wednesday 6th May and Thursday 7th May 2015 to sign forms for English
Literature/Creative Writing courses for Combined Major and Minor students.
N.B. Enrolment is invariably a bit of a scrum. Please be patient and bear with us. All courses
will run as advertised, subject to staff availability.
13
Information for Students Entering their Final Year
1. BA (Hons) English Literature
MAJORS may take English courses which will provide SIX, SEVEN, or all EIGHT units of
assessment on which the degree result will be based.
Students take four units of assessment in each of their second and final years.
Majors must include at least one full-unit course coded A and at least one full-unit
course coded B as part of their overall Part II programme. See the table on p.17 for
details of A and B courses.
Courses coded C are final-year Special Option half-unit courses available to English
Majors, students on combined English and Creative Writing programmes, and (space
permitting) combined major students.
Final Year
Must take ENGL 301.

Must take further English courses from the Final Year course list (p.17) to give a total
of four units of assessment (three plus one from another department if taking a
minor).
6, 7 and 8-Unit English Majors may choose ENGL 398 Final Year Group C Option. You
may take two of these half units, and must study one in each term. See p.3 for notes
on ranking and allocation of half modules.
ENGL 398: Final Year Group C Courses
These courses are being offered in the 2015-16 academic year. By enrolling for ENGL 398,
you are committing to follow the half unit mode of study, rather than any particular courses.

Science Fiction C 0.5 Dr Brian Baker
The Byron-Shelley Circle C 0.5 Prof Simon Bainbridge
Victorian Gothic C 0.5 Dr Catherine Spooner
Early Modern Outlaws on Land or Sea C 0.5 Dr Liz Oakley-Brown
Schools Volunteering Module C 0.5 Prof Hilary Hinds
Ceremony and Performance C 0.5 Prof Alison Findlay
Literature and the Visual Arts C 0.5 Dr Andrew Tate
Bible and Literature C 0.5 Dr Jo Carruthers
Representing Palestine C 0.5 Dr Lindsey Moore
Monstrous Bodies C 0.5 Prof Sharon Ruston
Reforming the Body C 0.5 Dr Liz Oakley-Brown
Victorian Autobiography C 0.5 Prof Kamilla Elliott
Between the Acts C 0.5 Prof John Schad
Women Writers C 0.5 Prof Hilary Hinds
14
Students completing Special Option half units may also select one of the following offered
by the Department of European Languages and Cultures

Witchcraft, Heresy, and Inquisition: The C 0.5 Dr O Perea-Rodriguez
Prosecution of Otherness' in Europe (14th-
17th c)
Translation as a Cultural Practice (Lent) C 0.5 Dr R Braun
Imagining Modern Europe: Post- C 0.5 Dr D Grass
Revolutionary Utopias and Ideologies in the
first Half of the Nineteenth Century
Latin America and Spain on Film: C 0.5 Dr Amit Thakkar
Masculinities and Violennce
2. BA (Hons) English Literature with Creative Writing
You must include at least one full-unit course coded A and at least one full-unit course
coded B (or half-unit equivalents) as part of your overall Part II programme. See the table
on p.17 for details of A and B courses.
English Literature with Creative Writing students may choose ENGL 398 Final Year Group C
Option. You may take two of these half units: and you must study one in each term. To
register for the Special Option half modules, choose ENGL 398. Please see the list above for
details of these choices and p.3 for notes on ranking and allocation of half modules.
Final Year
Must take ENGL 301

Must take CREW 303
Then select two further courses from the English Final Year List, (see p.17), which
may include two Special Option half modules (ENGL 398).
3. BA (Hons) English Literature, Creative Writing and Practice
English Literature, Creative Writing and Practice students may choose to do the ENGL 301
Dissertation module and may choose the ENGL 398 Final Year Group C Option. You may
take two of these half units and you must study one in each term. To register for the option
to take half modules, choose ENGL 398.
Please see the list above for details of these choices. You will also be able to select two
Creative Writing half modules from the list below and will study one in each term.
Title Year Unit Course Convenor

Advanced Creative Non-Fiction 3 0.5 Dr George Green
Narrative and New Media 3 0.5 Dr Jenn Ashworth
15
Poetry and Experiment 3 0.5 Dr Eoghan Walls
Advanced Short Story 3 0.5 Dr Zoe Lambert
Final Year
Must take CREW 303 and two of the CREW half units from the list above.
May take ENGL 301 (optional).
Must choose one (if taking ENGL 301) or two (if not taking ENGL 301) from the
English Third Year course list (see p.17), which may include two third-year Special
Option half modules (ENGL 398)
4. Combined Major Schemes:
Combined Majors take courses that will provide FOUR units of assessment in each half of
the Combined Scheme.
Apart from the requirements listed below, there are no further stipulations about course
choices. Students, however, should choose their courses with the aim of creating a
coherent scheme of study across the two subjects of the degree. If you wish to discuss your
proposed course choices, you should contact the Director of Undergraduate Studies in the
Department of English and Creative Writing, Dr Michael Greaney (County Main B98;
m.greaney@lancaster.ac.uk) before you enrol electronically.
Requirements for Combined Majors
Final Year
Two English courses (see p.16). Combined majors are not normally able to take
ENGL 398 half-units. However, you may request to be placed on the reserve list if
spaces are available. Please see Anne Stewart-Whalley in County Main B109 on 6th
or 7th May.
According to the particular scheme chosen, students should pay very careful attention to
the requirements of their other departments.
16
PART II - UNDERGRADUATE COURSES
ENGLISH LITERATURE
FINAL YEAR 2015-16

ENGL 301 Dissertation Unit 1 Dr Michael Yes
Greaney
ENGL 303 Decadence to Modernism: B 1 Mr Tony Yes
1890-1945 Pinkney
ENGL 304 American Literature from B 1 Dr Tony Yes
1900 Sharpe
ENGL 306 Shakespeare A 1 Prof Alison Yes
Findlay
ENGL 308 Contemporary Literature B 1 Dr Lindsey Yes
Moore
CREATIVE WRITING
FINAL YEAR 2015-16

Number Convenor 15-16
CREW 303 Creative Writing Workshop - 1 Dr George Yes
Green
CREW 304 Advanced Non-Fiction - 0.5 Dr George Yes
Green
CREW 307 Narrative and New Media - 0.5 Dr Jenn Yes
Ashworth
CREW 308 Advanced Short Story - 0.5 Dr Zoe Yes
Lambert
CREW 309 Poetry and Experiment - 0.5 Dr Eoghan Yes
Walls
17
Year 2 courses
Prerequisites: For ENGL courses, Part I English Literature (ENGL100). For CREW courses,
Part I Creative Writing (CREW103).
Please note that reading lists are provisional.
ENGL 201: The Theory and Practice of Criticism (Compulsory)
This is the core course of English at Lancaster. It is designed to enable students to reflect on
the ways in which they approach literature and to introduce them to key concepts in
contemporary literary studies. By examining major thinkers like Marx, Freud, Foucault and
Derrida, and examining key ideas like ideology, the unconscious, discourse and biopolitics,
this course asks fundamental questions about the status and function of literature in
society: What is literature? What makes it an object suitable for an academic discipline?
Who reads it, produces it, and why? How is literature connected to the critical movements
that seem to define literature even as they seek to appreciate and explain it? We ask
questions about the relationship between author, text and reader, we analyse various
theories about the process or practice of writing and reading as students, as critics, and in
general as consumers of literature in the culture of today. In relation to the English degree
as a whole, 201 aims to equip students with the knowledge, experience and skill necessary
to bring a greater sophistication, care and rigour to their literary studies in their final year.
Assessment: 1 x 1,500-word essay (20%), 1 x group oral presentation (30%), 1 x 4,000-word

project (50%).
Set Text:
Antony Easthope and Kate McGowan (eds), A Critical and Cultural Theory Reader (Open
University Press, 2nd Edition, 2004).
For further information, see Prof Arthur Bradley (County Main B106)
18
ENGL 202: Renaissance to Restoration: English Literature 1580-1688
The course will take us from the closing decades of the Tudor monarchy (1580-1603) to the
episodes of power, revolution and restitution that characterised Stuart rule (1603-1688).
During this time, English culture saw upheavals in politics that were accompanied by shifts
in discourses such as gender, religion, sex, science and education. Renaissance to
Restoration: English Literature 1580-1688 will thus examine the literature of change in the
late sixteenth and seventeenth centuries, for example Spensers provocative Elizabethan
verse epic The Faerie Queene, the brilliant and edgy theatre of the likes of Christopher
Marlowe, Ben Jonson and Thomas Middleton, and the prose writings of revolutionaries like
John Milton and monarchist libertines like Aphra Behn. Our readings will mainly be focused
on topics designed to provide us with ingress into the literature, culture and historical
vitality of the period: Love, Sex and Death, Court, Country, City, Power and Politics and
Heaven and Hell. We will be reading cross-sections from works by many authors to explore
these themes from as many angles as possible. We will consider the similarities between a
range different of primary texts but we will also be keen to observe and analyse
differences.
Assessment: In-class test as take-home essay paper: 1x 1,000-word essay (10%); 1 x 2,000-
word essay (30%); 1 x 2.5 hours final examination (60%)
Set texts include:

The Broadview Anthology of Seventeenth Century Poetry and Prose, ed. Alan Rudrum et. al.
John Milton, Paradise Lost, ed. John Leonard (Penguin).
Margaret Cavendish, The Blazing World and Other Writings (Penguin).
Aphra Behn, Oroonoko, or The Royal Slave, ed. Paul Salzman (Oxford).
Thomas Middleton, Women Beware Women, Revels Students Edition (Manchester
University Press).
Vacation Reading: Bacons Essays, Donne's poetry and sermons (all in the Broadview
Anthology)
For further information, see Prof Hilary Hinds (County Main B207)
19
ENGL 203: Victorian Literature
This course aims to introduce students to a wide range of Victorian literature, including
novels, poetry, short stories, drama, social criticism, travel writing, and children's fiction. It
seeks to give students an understanding of the role played by that literature in the defining
cultural debates of Victorian Britain, as well as explore literary conventions, innovations and
debates. The course is structured around four major themes: Progress, England and
Elsewhere, The Fallen Woman and Scandal, Sensation and Spectacle. The aim of the
course is to explore and interrogate the complexity of 'Victorian' attitudes within and across
these areas.
Assessment: 1 x take home close reading paper (10%), 1 x 2,000-word essay (30%); 1 x 2.5
hours final examination (60%)
Set Texts include:

(in the order they appear on the course)
The Broadview Anthology of Victorian Poetry (Concise Edition). (Poets covered include
Tennyson, Robert Browning, Dante Gabriel Rossetti, Christina Rossetti, Gerard Manley
Hopkins, Matthew Arnold, amongst others. The anthology will feature in both terms.)
H. G. Wells, The Island of Doctor Moreau
Charles Dickens, Great Expectations
William Morris, News From Nowhere
Henry Rider Haggard, King Solomons Mines
George Eliot, Adam Bede
Elizabeth Barrett Browning, Aurora Leigh (book 6)
Mary Elizabeth Braddon, Lady Audley's Secret
Charlotte Bront, Villette
Roger Luckhurst (ed.), Late Victorian Gothic Tales
Oscar Wilde, An Ideal Husband
Vacation Reading: We advise that you read as many of the novels as possible especially
the longer ones by Dickens, Eliot, Braddon and Bront in preparation for the course. It will
also be helpful to you to read an introduction to Victorian literature (there are many in the
library choose one that focuses on issues/history/genres that you find most appealing).
For further information, see Dr Jo Carruthers (County Main B205)
20
ENGL 204: American Literature to 1900
This course considers how American Literature has evolved from its colonial origins, with
particular emphasis on key figures of the nineteenth century. What we call American
Literature and how we define America and the American experience depends on who is
writing and to whom. We shall encounter many different voices, many conflicting and
contrasting views, a diversity of complex experiences and a great range of writing in form
and style (dont expect the poetic and novelistic forms you are used to in British literature).
The course will be broadly thematic in its approach, aiming to build up through recurring
themes, images, questions and stylistic features, an increasingly complex picture of the
literature created by English-speaking Americans.
Assessment: 1 x in-class test (10%); 1 x 2,000-word essay (30%); 1 x 2.5 hours final
examination (60%)
Set Texts:
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 poems 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
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 Andrew Tate (County Main B100)
21
ENGL 207: British Romanticism
This course is divided into four key areas across the two terms: Revolution and
Romanticism; Romantic Education: Women and Children; Politics and Poetics; the Gothic
In the first term, we will begin by examining the relationship between Romanticism and
revolution, particularly in terms of the events of the French Revolution which help to define
the period. We will then consider how ideas generated during the period related to issues
of gender, developing this theme to examine poetry by women, and considering the
importance of re-educating as a means for bringing about change within the period. In the
first half of the second term, we examine the relationship between politics and poetics for
the major second generation poets, examining some of the more complex underlying ideas
about the workings of the mind, of identity, and of the imagination as they find expression
in the major writers of the period. In the second half, the course will turn its attention to the
popular literary movement of Gothic which emerges during the Romantic period, exploring
its manifestation in a range of texts. The course aims to give students a well-rounded sense
of Romanticism as a full development of earlier eighteenth-century ideas and movements as
well as a distinct period in itself. We will work out of close knowledge of key texts in order
to begin to tackle some of the wider, more abstract ideas such as: nature; imagination; the
sublime. We will also consider literary ideas within a broader social, historical and
philosophical context.
Assessment: 1 x take home close reading paper (10%), 1 x 2,000-word essay (30%) 1 x 2.5
hours final examination (60%).
Set Texts:
The Norton Anthology of English Literature 9th Edition: Vol D. The Romantic Period. Eds.
Lynch and Stillinger. W. W. Norton & Co. New York and London, 2012.
Book Length Texts Required for Term 1

William Godwin, Caleb Williams, ed. Pamela Clemit (Oxford World Classics edition)
Mary Wollstonecraft, The Wrongs of Woman, in Mary and the Wrongs of Woman, ed. Gary
Kelly (Oxford World Classics edition)
Jane Austen, Sense and Sensibility, ed. Ros Ballaster (Penguin Classics edition)
Book Length Texts Required for Term 2

Matthew Lewis, The Monk, ed. Emma McEvoy (Oxford World Classics edition)
Mary Shelley, Frankenstein, 1818 Text, ed. Marilyn Butler (Oxford World Classics Edition)
N.B. Also: Romanticism: A Source Book, ed. Simon Bainbridge (2008) not a set text, but
contains useful additional contexts, especially for Women and Revolution and Sharon
Ruston, Romanticism: An Introduction (London: Continuum, 2007). Please make sure to read
the 1818 edition of Frankenstein.
Vacation Reading: Read the novels in advance. Read around the subject using Simons
Source Book, Sharons Romanticism: An Introduction, or The Cambridge Introduction to
Romanticism.
For further information, see Prof Sharon Ruston (County Main B92)
22
ENGL 208 Literature and Film
This course surveys formal, generic, historical, cultural, narrative, and theoretical
relationships between literature and film across a range of periods, genres, topics, and
cultures, paying particular attention to the practice and analysis of literary film adaptation.
It also addresses some other modes of literary adaptation (e.g. television, graphic novels,
tie-in merchandise, mobile phone applications, etc.).
Course format:
Two 80-minute lecture-practical workshops per week (consisting of lecture, film clips,
workshop activities, and discussion). Attendance is required and monitored.
There are optional film shooting and editing workshops in Weeks 14 and 15 on
Wednesday afternoons; sign-ups will be circulated; numbers are limited.
Assessment: 2 x in-class tests (weeks 10 and 20; 25% each), 1 x creative project
accompanied by a 3,000-word critical essay due in Week 21 (creative project 25%; critical
essay 25%).
Set Texts
[Optional: Mario Puzo, The godfather]
[Optional: Susan Orlean, The orchid thief]
Andrew Dix, Beginning film studies
Annie Proulx, Brokeback Mountain (on MOODLE)
Bram Stoker, Dracula
Cornell Woolrich, Rear window (on MOODLE)
Jane Austen, Pride and prejudice
Joseph Conrad, Heart of Darkness
Lewis Carroll, Alices adventures in Wonderland
Paul Farley, The dark film
Philip K. Dick, Minority Report (on MOODLE)
Robert Louis Stevenson, The strange case of Dr Jekyll and Mr Hyde
Thomas Eidson, The last ride
William Shakespeare, Romeo and Juliet
Critical and secondary readings will be posted on MOODLE.
Please note that the texts for ENGL 208 will not be ordered through the campus bookshop.
Many are available online as free e-texts.
Set Films:
Adaptation, 2002
Alice, 1988 (dir. Jan Svankmajer)
Alice in Wonderland, 1951 (Disney)
American Splendor, 2003
Apocalypse Now, 1979
Bram Stokers Dracula, 1992
23
Brokeback Mountain, 2005
Dr Jekyll and Mr Hyde, 1920 (dir. John S. Robertson)
Dr Jekyll and Mr Hyde, 1931/2 (dir. Rouben Mamoulian)
Minority Report, 2002
Pride and Prejudice, 1940
Rear Window, 1954
Romeo and Juliet, 1968 (dir. Franco Zeffirelli)
Shakespeare in Love, 1998
The Godfather, 1972
The Missing, 2003
Wavelength, 1967
William Shakespeares Romeo + Juliet, 1996
Use these lists for vacation reading and viewing.
For any other information, see Prof Kamilla Elliott (County Main B211)
24
Year 2 Creative Writing Modules
CREW 203: Intermediate Creative Writing Workshop
Students will develop the key skills introduced at Part I level and in the first year of Part II
with an emphasis on writing as process, exploring creative voice, identifying point of view,
the implied author and authorial guises and considering the creative and interactive nature
of reading. A proactive workshop environment in the first term will enable the development
of specific aesthetic and technical skills through lively participation in constructive criticism
relating to fellow students work-in-progress. Through this process, you will gain a deeper
understanding of many important concepts such as structure, linguistic texture and
resonance, point-of-view, form, pace, characterisation, the mediation of tone, and reader
awareness. While the learning environment will usually be in the form of workshops, certain
weeks will be designated for focussed and practical set tasks. You will be expected to read
widely from modern and contemporary creative works and to explore the work of writers
on writing. The aim of the course is to develop a closely edited creative and peer-critiqued
body of work that displays your own form of expression alongside skills and insights
developed through the course.
Assessment: 1 x 8,000-word portfolio of your own creative work or equivalent

(approximated at 20 pages of poetry/50 pages of correctly formatted script) plus a reflective
self-critique of no more than 1,000 words; a 1000 word annotated bibliography may be
submitted in lieu of the reflective commentary.
The majority of the work submitted must have been previously discussed at workshops.
Students should expect to submit around 1,000 words (or equivalent) for critiquing in
workshops on a fortnightly basis.
Set Texts:
Relevant authors and literary texts will be recommended by your tutor throughout the year.
You will also be expected to read widely and discuss current reading in the workshops.
There are no set texts for this course but the following are suggested in terms of practical
guides. A wide variety of useful books are in the Creative Writing section of the Library.
Linda Anderson, Creative Writing Coursebook: A Handbook with Readings

Paul Mills, The Routledge Creative Writing Coursebook
J. Bell, The Creative Writing Course Book: Forty Authors share Advice and Exercises for
Fiction and Poetry (an excellent many-voiced source of inspiration for aspiring writers)
J. Newman, E. Cusick and A. La Tourette, The Writers Workbook (a sound practical guide)
Damon Knight, Creating Short Fiction: The Classic Guide to Writing Short Fiction
Clare Brown and Don Paterson, Dont Ask Me What I Mean: Poets in their Own Words
Barry Turner, The Writers Handbook
James M. Frey, How to Write a Damn Good Novel
For further information, see Dr Eoghan Walls (County Main B89)
25
CREW 204: Short Fiction (Half Module)
QUOTA
The aims of this course are to provide an opportunity for second year students to develop a
knowledge of the short story form, and to develop their experience of writing the form.
They will gain experience in reading, writing, workshopping and reflecting on short fiction,
and will develop a knowledge of the history and development of the form, current
theoretical approaches to reading and practice in this form, and an awareness of their own
literary context. The course will offer students the opportunity to develop their oral and
written communication skills, enhance awareness of their approach to the creative process,
and enhance their skills in the critical analysis of texts. This course is then developed by the
third year specialization in short fiction.
This module will explore the writing of short stories in a workshop environment through the
development of the students own work, combined with the directed reading of selected
texts. Over the course of ten weeks, you are expected to read and discuss each key text, and
to submit your own work for workshopping on a regular basis. Students are also expected to
explore some of the books and essays listed as supplementary reading: the books are
selected to offer different perspectives on the key issues raised. The course should be
considered as having a cumulative effect, in that books discussed early on may be drawn
upon in later weeks to illustrate different aspects of writing. During the course, you are also
expected to keep a journal, in which you reflect upon your writing and reading. The journal
will form the basis of the reflective element of your final portfolio.
Assessment: 1 x portfolio comprising up to 3 short stories, totaling no more than 4,000

words (if you wish to deviate from this, please consult your tutor) and one reflective essay
based upon your writers journal (1,000 words)
Set Texts:
(all available on Moodle)
Cathedral, Raymond Carver, Where Im Calling From, Harper Collins
How To Talk to Your Mother (Notes), Lorrie Moore, Self-Help, Faber and Faber
Barbie-Q, Sandra Cisneros, Woman Hollaring Creek, Bloomsbury
Testicular Cancer vs The Behemoth, Adam Marek, Instruction Manual For Swallowing,
Comma Press
Reunion, John Cheever, The Granta Book of the American Short Story, v.2, ed. Richard Ford,
Granta.
Bliss, Katherine Mansfield, The Collected Short Stories of Katherine Mansfield, Penguin,
2001.
The Ant of the Self, Drinking Coffee Elsewhere, ZZ Packer, Canongate, 2005.
For further information, see Dr Zoe Lambert (County Main B91)
26
CREW 205: Writing Poetry (Half Module)
QUOTA
The emphasis in this module is on reading as well as writing poetry. There is a decent
collection of verse in the Library and students will be expected and encouraged to seek out
work as a result of seminar and discussion. The writing of poetry is largely dependent on
your abilities and adventurousness as a reader. However, technical aspects should not be
neglected, and it is strongly recommended that every student buys or borrows a copy of
Rhymes Reason by John Hollander and The Poets Manual and Rhyming Dictionary by
Frances Stillman (more for the use of this books former element than its latter!) You are
expected to keep a journal throughout the course, the contents of which will be used to
create your reflective piece for your portfolio.
Assessment: 1 x portfolio consisting of poems (3,000 words equivalent*) and a reflective

essay based on your writers journal (1,000 words).
*We are looking for work that engages with and reflects a fairly intense 10-week seminar
series. This could conceivably be anything from a long haiku sequence to a short epic. If you
insist on strict parameters, 10 poems, each between sonnet and sestina length, would be
acceptable.
Key Texts:
John Hollander, Rhymes Reason (Yale University Press, 2001)
Shira Wolosky, The Art of Poetry (Oxford University Press, 2001)
Michael Donaghy, The Shape of the Dance (Picador, 2009)
Frances Stillman, The Poets Manual and Rhyming Dictionary (Thames and Hudson, 1972)
Recommended Texts:
Ruth Padel, 52 Ways of Looking at a Poem (Chatto and Windus, 2002)
John Redmond, How to Write a Poem (Blackwell, 2005)
Eavan Boland and Mark Strand, The Making of a Poem (Norton, 2001)
Recommended Reading:
Roddy Lumsden (ed.), Identity Parade: New British & Irish Poets
Jo Shapcott and Matthew Sweeney (eds.), Emergency Kit
Neil Astley (ed.), Staying Alive
Neil Astley (ed.), Being Alive
Don Paterson and Charles Simic (eds.), New British Poetry
Deryn Rees-Jones (ed.), Making for Planet Alice
For further information, see Prof Paul Farley (County Main B206)
27
CREW 206: Creative Non-Fiction I (Half Module)
QUOTA
This module will explore the writing of creative non-fiction through the development, in a
workshop environment, of the students own work, combined with the directed reading of a
selection of contemporary work and secondary texts. Over the course of ten weeks, you are
expected to read and discuss each key text, and to submit your own work for workshopping
on a regular basis. Students are also expected to familiarise themselves with books listed as
supplementary and background reading: the books are selected to offer different
perspectives on the key issues raised. The course should be considered to have a cumulative
effect, in that the books discussed early on may be drawn upon in later weeks to illustrate
different aspects of writing. During the course you are also expected to keep a journal, in
which you reflect upon your writing and reading. This journal will form the basis of the
reflective element of your final portfolio. This journal will be discussed in an end-of-term
personal tutorial with your tutor.
Assessment: 1 x portfolio, consisting of a 4,000-word piece of creative non-fiction and a

reflective essay. (1,000 words).
Essential reading for workshops:

Sandra Cisneros, The House on Mango Street
Gay Talese, Frank Sinatra has a Cold
Laurent Binet, HHhH
Christopher Isherwood, Goodbye to Berlin
Tim OBrien, The Things They Carried
Supplementary Texts:
Tom Wolfe, The New Journalism (essay available online)
Geoff Dyer Out of Sheer Rage
Penelope Lively, Making It Up
Truman Capote, In Cold Blood
Hunter S Thompson Fear and Loathing in Las Vegas (or any other Thompson text)
David Sedaris, Me Talk Pretty Some Day (or any other Sedaris text)
For further reading, see the course Moodle site.
For further information, see Dr George Green (County Main B93)
28
Final Year Courses
ENGL 301: Dissertation Unit (Compulsory for English Majors)
This unit is compulsory for all English Literature majors, and is taken in the Third Year. The
course is intended to give students the opportunity to pursue a topic of their choice in
intensive detail, developing research, extended writing and bibliographical skills in a
programme of directed independent study. Students will complete a dissertation of 10,000
words, which must be word processed and properly annotated and have an appropriate
bibliography. The final assessment will take into account presentation (including annotation
and bibliography) as well as the academic content of the dissertation.
There will be a general lecture at the start of Term 3 of the Second Year, to advise students
on the choice of their dissertation topic. There are two lectures in third year, at the start of
Terms One and Two, on research skills and matters of style and structure.
All students will be asked to submit an outline of their chosen topic, including a preliminary
bibliography, to the Course Convenor by the end of the Summer term of second year. If
there are concerns about your topic at that stage, you will be contacted by the Convenor at
the start of the summer break; otherwise you can begin working on your chosen area.
Students will be assigned to a supervisor at the beginning term one of their 3 rd year.
Assessment: 1 x dissertation (10,000 words)
For further information, see Dr Michael Greaney (County Main B98)
29
ENGL 303: Decadence to Modernism, 1890-1945
**Please note that ENG303 will run in this form for the final time in 2015-2016. From 2016-
2017 it will be relaunched as Modernism Towards Postmodernism, and will cover a range
of writing from both sides of the Atlantic from the period 1900-1960. Authors covered will
include T.S Eliot, Virginia Woolf, Jean Toomer and Samuel Beckett and many others. If you
are a current 1st year and would like to take Modernism Towards Postmodernism in 2016-
2017, please register for ENGL303 and we will be in touch in due course about confirming
your registration on this re-launched course.**
This course aims to examine some of the key writers from a turbulent epoch of artistic
experiment and innovation. We will look in close textual detail at the culture of decadence
that flourished in the 1890s, and at the challengingly innovative kinds of poetry and fiction
that emerge in subsequent decades as the new language of Modernism. We will seek also to
understand the wider social and cultural contexts, including imperialism, nationalist
struggles, socialist revolution, feminism and mass-culture, in which these works powerfully
intervene.
Assessment: 1 x 3,000-word essay (40%), 1 x 3 hour final examination (60%).
Set Texts include:

Joseph Conrad, Lord Jim
Arthur Conan Doyle, The Adventures of Sherlock Holmes
T.S. Eliot, Collected Poems 1909-1962
Jean Rhys, Good Morning, Midnight
James Joyce, A Portrait of the Artist as a Young Man
Virginia Woolf, Mrs Dalloway and To the Lighthouse
D.H. Lawrence, Women in Love

Katherine Mansfield, Selected Stories
H.G. Wells, The Time Machine
W. H Auden, Selected poems (widely available in anthologies or on the web)
W. B. Yeats, Selected poems (widely available in anthologies or on the web)
Ford Madox Ford, The Good Soldier
Vacation Reading: The longest texts on this course are the novels by Conrad, Joyce and
Lawrence. You are encouraged to read one or more of these during the summer vacation.
For further information, see Mr Tony Pinkney (County Main B98)
30
ENGL 304: American Literature from 1900
**Please note that ENG304 will run for the final time in this form in 2015-2016**
This course is a selective survey of the development of American Literature during the
twentieth century, examining literary responses to modernity and postmodernity and
relating literary texts to their cultural and social contexts. In the period covered by the
course these contexts were changing radically: industrialisation and technological advance,
increased urbanisation, the expansion of the US economy and then its collapse in the Wall
Street Crash and ensuing Great Depression, alongside Americas development into a global
power, all altered the conception of what America was and what it stood for, in ways that
challenged writers view of their role in this rapidly-evolving society. Furthermore, with the
Anglo-American definition of America losing some of its authority, voices previously
marginalized became audible, as regional and minority writers declared, I, too, am
America. (It is desirable that students taking this course should also have taken ENGL 204.)
Assessment: 1 x 3,000-word essay (40%), 1 x 3 hour final examination (60%).
Set Texts:
The Norton Anthology of American Literature, Vols D & E, Eighth Edition (New York, 2012)
F. Scott Fitzgerald, The Great Gatsby (1925)
Ernest Hemingway, Fiesta (1926)
Thomas Pynchon, The Crying of Lot 49 (1966)
Toni Morrison, Song of Solomon (1977)
E. Annie Proulx, Close Range: Wyoming Stories (1999)
Marilynne Robinson, Gilead (2004)
Texts discussed in seminar also include the following (all are in the Norton except those
listed above; earlier editions contain most but not necessarily all of this material):
Robert Frost, poems

William Carlos Williams, poems
Wallace Stevens, poems
Zora Neal Hurston, selections; Jean Toomer, from Cane
Langston Hughes, poems; Cullen, poems
William Faulkner, As I Lay Dying
Postwar poetry by Allen Ginsberg, Elizabeth Bishop, Robert Lowell, John Ashbery (Norton),
others may be posted on Moode
Short fiction by John Barth (from web), Donald Barthelme, Raymond Carver, John Cheever,
Hemingway (web), Pynchon, Flannery OConnor, Alice Walker, Junot Diaz, Jhumpa Lahiri
Native American writing by Leslie Marmon Silko, Louise Erdrich, Simon Ortiz, Joy Harjo
Vacation Reading: Please read as many of these as possible in preparation for the course.
For further information, see Dr Tony Sharpe (County Main B97)
31
ENGL 306: Shakespeare
Ben Jonson claimed of Shakespeare he was not of an age but for all time. This course
examines Shakespearean drama in its own time: as a platform in which early modern
debates about agency and government, family, national identity, were put into play, and in
relation to how we perceive these issues now. The stage was and is a place in which issues
of gender, class, race, gain immediacy through the bodies and voices of actors. By examining
texts from across Shakespeares career, we will explore their power to shape thoughts and
feelings in their own age and in ours. We will consider Shakespeares manipulation of genre
(poetry, comedy, history, tragedy and romance) and the ways the texts make active use of
language (verse, prose, rhyme, rhythm) and theatrical languages (costume, stage positions)
to generate meaning. The course will consider how, in the past and in the present,
Shakespeares texts exploit the emotional and political possibilities of poetry and drama
Assessment: 1 x 3,000-word essay (40%); 1 x presentation (unassessed), 1 x 3 hour final

examination (60%).
NB The Performance Project will not be available in 2015-16. Students wishing to take a
performance-based assessment may wish to consider taking the half unit ENGL379
Set Text:
The Norton Shakespeare: International Student Edition, edited by Stephen Greenblatt et al.
(W.W. Norton, 2015)
Vacation Reading: The full list of plays for next years syllabus will be finalised in the
summer in the hope that we can see some in performance. Vacation reading should start
with the following, which will be included: Titus Andronicus; Richard III; Twelfth Night;
Measure for Measure; The Sonnets; Coriolanus, The Tempest.
For further information, see Prof Alison Findlay (County Main B94)
32
ENGL 308: Contemporary Literature
ENGL 308: Contemporary Literatures focuses on different kinds of (postmodern,

postcolonial/world, Gothic, post-9/11, feminist/queer, experimental) contemporary
literature. The course consolidates student knowledge of ways in which writers redress
notions of English literature, including ways in which they both respond to and stimulate
critical theory. Beginning in the 1950s, we consider the explosion of new literatures from
the decolonising/newly postcolonial world and the rise of new literary forms in the post-war
period. The course also emphasises work from the end of the twentieth and beginning of
the twenty-first centuries, foregrounding, at all stages, English literature in its international
dimensions: we read texts from Africa, South Asia, the Caribbean and Australasia, as well as
from multicultural and devolved Britain. Recurrent themes include borders, margins,
haunting, apocalypse, rewriting, migration and metamorphosis; these terms also reflect
formal qualities of the texts studied (i.e. aspects of genre, structure and style). The course
considers inter-generic forms (e.g. the graphic novel) as well as a range of more standard
literary genres (novels; short stories; poetry), highlighting literary experimentation and
critically reflecting on notions of the contemporary.
Assessment: 1 x 3,000-word essay (40%); 1 x exam (60%)
Set Texts:
Generally any edition of set texts is acceptable. It is strongly recommended that you tackle
Rushdies The Satanic Verses, which is long and difficult, over summer. Copies of primary
texts are in the Library and available from the campus bookstore at the beginning of the
academic year.
Chinua Achebe, Things Fall Apart (1958)
Margaret Atwood, Oryx and Crake (2003)
J. G. Ballard, The Beach Murders (1966) on Moodle
Iain Banks, The Wasp Factory
Julian Barnes, The Sense of an Ending
Samuel Beckett, The Expelled/The Calmative/The End/First Love (2009 Faber edition)
Douglas Coupland, Hey Nostradamus! (2003)
Tsitsi Dangarembga, Nervous Conditions (1988)
Janet Frame, Faces in the Water (1961)
Mohsin Hamid, The Reluctant Fundamentalist (2007)
Alan Moore, & D. Gibbons, Watchmen (1987)
Helen Oyeyemi, White is for Witching (2009)
Salman Rushdie, The Satanic Verses (1988)
Sam Selvon, The Lonely Londoners (1956)
Bryan Talbot and Mary Talbot, Dotter of Her Fathers Eyes (2012)
Jeanette Winterson, The World & Other Places (2000)
Caribbean & Black British poetry available on Moodle
A list of recommended secondary reading will be made available on the course Moodle site.
For further information, see Dr Lindsey Moore (County Main B103)
33
Year 3 Creative Writing Modules
CREW 303: Creative Writing Workshop
Students will develop the key skills introduced at Part I level and in the first year of Part II
with an emphasis on writing as process, exploring creative voice, identifying point of view,
the implied author and authorial guises and considering the creative and interactive nature
of reading. A proactive workshop environment in the first term will enable the development
of specific aesthetic and technical skills through lively participation in constructive criticism
relating to fellow students work-in-progress. In the second term, students will work in small
groups on their final portfolio. Through this process, you will gain a deeper understanding of
many important concepts such as structure, linguistic texture and resonance, point-of-view,
form, pace, characterisation, the mediation of tone, and reader awareness. While the
learning environment will usually be in the form of workshops, certain weeks will be
designated for focussed and practical set tasks. You will be expected to read widely from
modern and contemporary creative works and to explore the work of writers on writing.
The aim of the course is to develop a closely edited creative and peer-critiqued body of
work that displays your own form of expression alongside skills and insights developed
through the course.
Assessment: 1 x 8,000-word portfolio of your own creative work or equivalent (16-20 pages
of poetry) plus a reflective self-critique of no more than 2,000 words. The majority of the
work submitted must have been previously discussed at workshops.
Students should expect to submit around 1,000 words (or equivalent) for critiquing in
workshops on a fortnightly basis.
Set Texts:
Relevant authors and literary texts will be recommended by your tutor throughout the year.
You will also be expected to read widely and discuss current reading in the workshops.
There are no set texts for this course but the following are suggested in terms of practical
guides. A wide variety of useful books are in the Creative Writing section of the Library.
Linda Anderson, Creative Writing Coursebook: A Handbook with Readings

Paul Mills, The Routledge Creative Writing Coursebook
J. Bell, The Creative Writing Course Book: Forty Authors share Advice and Exercises for
Fiction and Poetry (an excellent many-voiced source of inspiration for aspiring writers)
J. Newman, E. Cusick and A. La Tourette, The Writers Workbook (a sound practical guide)
Damon Knight, Creating Short Fiction: The Classic Guide to Writing Short Fiction
Clare Brown and Don Paterson, Dont Ask Me What I Mean: Poets in their Own Words
Barry Turner, The Writers Handbook
James M. Frey, How to Write a Damn Good Novel
34
CREW 305: Creative Non-Fiction II (Half Module)
QUOTA Term 2
This module will explore the writing of creative non-fiction through the development, in a
workshop environment, of the students own work, combined with the directed reading of a
selection of contemporary work and secondary texts. This module builds both thematically
and technically on CREW 206, which was introductory and primarily concerned with
biography and memoir; CREW 305 concentrates on reviews, essays, and cultural reflection.
Over the course of ten weeks, you are expected to read and discuss each key text, and to
submit your own work for workshopping on a regular basis. Students are also expected to
familiarise themselves with the books listed as supplementary reading below and
background reading (available on Moodle): the books are selected to offer different
perspectives on the key issues raised. The course should be considered to have a
cumulative effect, in that the books discussed earlier in the term (as well as those discussed
in CREW 206) may be drawn upon in later weeks to illustrate different aspects of writing.
During the course you are also expected to keep a journal, in which you reflect upon your
writing and reading. This journal will form the basis of the reflective element of your final
portfolio. This journal will be discussed in an end-of-term personal tutorial with your tutor.
Assessment: 1 x portfolio, consisting of a 4,000-word piece of creative non-fiction and a

reflective essay based on your writers journal (1,000 words).

Paul Morley, Words and Music
Lester Bangs, Psychotic Reactions and Carburettor Dung
Ian Macdonald, Revolution in the Head
Pauline Kael, I Lost It at the Movies
Anthony Lane, Nobodys Perfect
Jon Savage, Englands Dreaming
Julian Cope, Head On
Tracey Thorn, Bedsit Disco Queen
Supplementary Reading
John Gross ed, The Oxford Book of Essays
Simon Reynolds, Rip It Up and Start Again
Pauline Kael, The Age of Movies
David Thomson, Moment That Made the Movies
Janet Malcolm, Forty-One False Starts
For further information, see Dr George Green (County Main B93)
35
CREW 307: Narrative and New Media (Half Module)
QUOTA
This course will provide the space for you to work on a creative project that utilises
opportunities afforded by new media. New media narratives (please see the list of set texts
for examples) are often interactive, participatory, immersive and cross-platform and you will
be encouraged to design and provide writing samples from a project that engages with
these features. During the course we will examine a variety of new media narratives,
compare them to non-linear old media narratives (books!) and you will work towards
placing your own creative work in a literary and critical context.
The topics we will cover will respond to your own project ideas and interests, but may
include:
Interactivity and immersion,

Space, place, mapping and journeying,
The problem of character,
Who is the author? Collaboration and crowd-sourced fictions.
Note: while we will talk about the ways these narratives can resemble games, this is not a
course where you will be designing a computer game. You do not need to have any special
computer skills only an interest in the opportunities afforded to writers by new media
forms.
Assessment:
Assessed by portfolio: 3,000 word creative portfolio of materials (this will be comprised of a
detailed project brief outlining the design and selected writing samples (60%), 1 x 2,000-
word critical essay.
Reading:
You will examine a range of new media projects in order to inspire and contextualise your
own creative practice in constructing a narrative that will employ elements of new media
samples of these include (but will not be limited to):
Dear Esther: http://dear-esther.com/
Inanimate Alice : http://www.inanimatealice.com/
Flight Paths: http://www.flightpaths.net/
Letters to An Unknown Solider: http://www.1418now.org.uk/letter/?skipenter
Moquette: http://textadventures.co.uk/games/view/zbzfpcnknu_vdjog-cbihw/moquette
Remembering Bogle Chandler: http://www.rebeccayoung.org/boglechandler/
Tales From the Towpath: http://talesfromthetowpath.net/
Critical:
You will be expected, in your reflective work, to locate your creative work in a critical
context. Critical readings will be provided on moodle throughout the course and may
include:
Aarseth, Espen, Cybertext: Perspectives on Ergodic Literature (Baltimore: Johns Hopkins
University Press, 1998)
36
Amerika, Mark, remixthebook (Minneapolis and London: University of Minnesota Press,
2011)
Calvino, Italo, Cybernetics and Ghosts, The Literature Machine (London: Picador, 1989),
pp.1-28
Hall, Hall, Force of Binding: On Liquid, Living Books (Version 2.0: Mark Amerika
Mix)http://issuu.com/remixthebook/docs/gary_hall_remixthebook_contributionvfinal.
13 pp.
Hayles, N. Katherine, Writing Machine (Cambridge MA and London: MIT Press, 2002),
p.25
Hayles, N. Katherine, Virtual Bodies and Flickering Signifiers,
http://www.english.ucla.edu/faculty/hayles/Flick.html,
de Landa, Manuel, War in the Age of Intelligent Machines (New York: Zone Books/ Swerve
Editions, 1991).
de Landa, Manuel, 'Virtual Environments and the Emergence of Synthetic Reason, Flame
Wars: The Discourse of Cyberculture (Durham and London: Duke University Press, 1994),
pp.263-286
Landow, George, Hypertext 3.0: Critical theory and new media in an era of
Globalization (Baltimore: Johns Hopkins University Press, 2006)
Tabbi, Jospeh, New Media: Its utility and Liability for Literature and for Life, remix
of remixthebook, http://issuu.com/remixthebook/docs/new_media_use_abuse, section
II.
For further information, see Dr Jenn Ashworth (County Main B102)
37
CREW 308 Advanced Short Story: Form and Practice (Half Module)
QUOTA
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 ephiphany and other ways of ending;
voice;
the experimental short story;
flash and sudden fiction;
space, time and compression;
genre (the ghost story);
short stories in the literary world - the web, festivals, journals and competitions.
Assessment: 3,500-word portfolio of creative materials (usually three or four short stories);
1,500-word reflective essay; detailed bibliography indicating research undertaken
Reading:
Specimen short stories will be provided to you via Moodle prior to the start of the course.
The following anthologies will be helpful:
The Penguin Book of Modern Indian Short Stories ed. Wimmal Dissanayake
The Granta Book of the Irish Short Story ed. Anne Enright
The Granta Book of the American Short Story ed. Richard Ford
The Granta Book of the African Short Story ed. Helen Habila
Best British Short Stories 2013 ed. Nicholas Royle
Secondary reading:
Creative Writing, a workbook with readings, ed. Linda Anderson, Routledge
The Rhetoric of Fiction, Wayne Booth, Penguin
The Creative Writing Coursebook, ed. Julia Bell & Paul Magrs, Macmillan
Writing Short Stories, Ailsa Cox, Routledge
Short Circuit, ed. Vanessa Gebbie, Salt Publishing
Creative Writing Guidebook, ed. Graeme Harper, Continuum
Modern Criticism and Theory, a reader, ed. David Lodge, Longman
The New Short Story Theories, ed. Charles E. May, Ohio University Press
The Lonely Voice: A Study of the Short Story, Frank O Connor, Melville House Publishing
Reading Like A Writer: A guide for People Who Love Books and Those Who Want to Write
Them, Francine Prose, Union Books
How Fiction Works, James Wood, Vintage
For further information, see Dr Zoe Lambert (County Main B91)
38
CREW 309: Poetry and Experiment (Half Module)
QUOTA
This course aims to challenge the received structures of language in the students' own
poetry through a close reading of poets who opened up new frontiers of 20th/21st century
literature through their experimental approaches to language. Every seminar will be split in
two halves; the first hour will be devoted to a close reading of experimental work by a
published poet, from Alice Oswald to Ezra Pound, looking at how they stretch or break the
lyric formula; the second hour will a workshop based on critiquing the students' own poetic
experiments. In week two, students will receive a basic introduction to Wittgenstein's
theory of language games, with each subsequent poet examined in the light of how they try
to break the rules of the game. The students' own experiments are encouraged as either
continuations of the radical departures first implemented by the poets in question, or the
students' own attempts to break from comfortable notions of confessional or lyric poetry.
Assessment: 4,000 words equivalent of poetry; 1,000 word critical / reflective /

contextualising essay
Ciaran Carson, The Ballad of HMS Belfast. London: Picador, 1999.
E E Cummings, Selected Poems. London: Faber & Faber, 1977.
Miroslav Holub, Poems Before and After. London: Bloodaxe Books Ltd, 2006.
Medbh McGuckian, Selected Poems. Dublin: The Gallery Press, 1997.
Hollie McNish, Papers. London: Greenwich Exchange Ltd, 2012.
Les Murray, Translations from the Natural World. Oxford: Carcanet Poetry, 2012.
Alice Oswald. Dart. London: Faber & Faber, 2002.
Ezra Pound, Selected Poems and Translations of Ezra Pound 1908-1969. London: Faber &
Faber, 2011
Supplementary Texts:
Linda Anderson, Creative Writing, a workbook with readings. Oxford: Routledge, 2003.
Roland Barthes, La mort de lauteur. Le Bruissement de la langue. Paris: Editions in Seuil,
1984. pp. 61-7.
Samuel Taylor Coleridge, The Major Works. Oxford: Oxford UP, 1985.
Jacques Derrida, Writing and Difference. Chicago: University of Chicago Press, 1978.
Seamus Heaney, Finders Keepers: Selected Prose, 1971-2001. London, Faber and Faber Ltd.,
2002.
W N Herbert and Matthew Hollis, editors. Strong Words: Modern Poets on Modern Poetry.
Bloodaxe Books: Wiltshire, 2004.
Gerard Manley Hopkins, A Critical Edition of the Major Works. Edited by Catherine Phillips.
Oxford: Oxford UP, 1986.
Ted Hughes, Poetry in the Making. Faber and Faber: London, 1967
Roman Ingarden. The Cognition of the Literary Work of Art. Evanston Ill.: Northwestern
University Press, 1973.
Wallace Stevens, Harmonium. Faber and Faber: London, 2001.
Ludwig Wittgenstein, Philosophical Investigations. 3rd ed. Trans. by G E M Anscombe. New
York: The Macmilliam Co., 1958.
39
Special Option Half Modules
ENGL 365: Science Fiction (Half Module)

QUOTA Term 1
This course will trace the development of science fiction (SF) in literature and film, providing
an insight into the conventions of the genre and, in particular, how the key themes of the
science fiction genre have been successfully adapted for the screen. Texts have been chosen
from a range of historical periods to enable a consideration of the cultural and historical
contexts in which key science fiction texts were produced, and how this effects their
development. The course will analyse in detail the formal and generic characteristics of the
science fiction novel, and will provide an introduction to the visual aspects of the science
fiction film. The course will integrate themes such as war and trauma (Starship Troopers,
The Forever War, Akira), encounters with the alien or other (War of the Worlds, Monsters),
the imagination of dystopia (The Dispossessed, Children of Men, Moxyland) and questions of
human subjectivity, transcendence, love and loss. The module will also constitute an
ongoing investigation of the relationship between science fiction film and literary SF texts,
considering both how the genre is represented through the cinematic form and what
happens in terms of narrative structure, plot and characterisation when presented in an
audiovisual format.
Assessment: 1 x 1,500 word essay (40%). This will be an analysis of a film sequence or
literary text corresponding to the weeks text students to choose / be allocated particular
weeks to write on (to be posted up on Moodle site in time for class discussions); 1 x essay
(3,000 words) (60%).
Set Texts:
H.G. Wells, The War of the Worlds (1898)
Robert Heinlein, Starship Troopers (1959)
Joe Haldeman, The Forever War (1974)
Ursula K. LeGuin, The Dispossessed (1974)
Lauren Beukes, Moxyland (2012)
Set Films:
Akira (1988)
Children of Men (2006)
Monsters (2010)
(other films considered during seminars will include George Pal, The War of the Worlds;
Steven Spielberg, The War of the Worlds). For further reading, see the course Moodle site.
Vacation Reading: Please read as much as possible from the above list in preparation for the
course. At the very least, you should read the first three titles on this list before the course
starts.
For further information, see Dr Brian Baker (County Main B107)
40
ENGL 367: The Byron-Shelley Circle (Half Module)
QUOTA Term 1
This course examines the work of three of the great writers of the Romantic period, the
poets Lord Byron and Percy Shelley, and the novelist Mary Shelley. Famously, these three
writers lived and worked together during the summer of 1816, an episode that produced
two of the dominant myths of modern literature Frankenstein (in Mary Shelleys novel)
and the Vampire (in a story based on Byron by another member of the group, John Polidori)
both of which we will examine. Throughout their careers these writers were engaged in a
creative and critical conversation with each other that addressed major themes including:
conceptions of the heroic; the possibilities of political change; literary, scientific and
biological creation; the East; transgressive love; gender roles and the Gothic. The course will
provide an opportunity to study in detail these writers works and to consider them within
their historical, cultural and intellectual contexts.
Assessment: 1 x 1,500-word close reading exercise (20%); 1 x 4,000-word essay (80%).
Set Texts:
Byron:
Byron: The Major Works, ed. Jerome J. McGann (Oxford U.P., 2008)
Percy Shelley:
Shelleys Poetry and Prose, ed. Donald H. Reiman and Neil Fraistat (Norton, 2002)
Mary Shelley:
Frankenstein, ed. Maurice Hindle (Penguin, 1992)
The Last Man, ed. Morton D. Paley (Oxford Worlds Classics, 1994)
Vacation Reading: You might get started on Bryons The Giaour, the selected poems by
Shelley we do in Week 3 (Mont Blanc, Hymn to Intellectual Beauty, Ozymandias, Ode to
a Skylark, The Mask of Anarchy, Sonnet: England in 1819) and Mary Shelleys
Frankenstein and The Last Man. Useful critical starting points would be: Marilyn Butler,
Romantics, Rebels and Reactionaries (1979); Jerome McGann, Fiery Dust: Bryons Poetic
Development (1968); Timothy Webb, Shelley: A Voice Not Understood (1977) and Anne
Mellor, Mary Shelley: Her Life, Her Fiction, Her Monsters (1988).
For further information, see Prof Simon Bainbridge (County Main B204)
41
ENGL 371: Victorian Gothic (Half Module)
QUOTA Term 1
In the Victorian period, the decaying castles, corrupt priests and ancestral curses that were
so prominent in the first phase of the Gothic novel gave way to an increased emphasis on
spectral and monstrous others: ghosts, werewolves, vampires, mummies and other
creatures of the night. The course will explore these phenomena in their historical, cultural
and literary contexts, with particular focus on emerging discourses of gender, sexuality,
colonialism and class. The course will pay special attention to visual aspects of the Gothic,
examining book illustration, painting and photography from the period and their
relationship with Gothic texts. Students will be asked to consider the relationship between
newly emergent forms of modernity (from medical discourses to the typewriter) and the
preoccupation with history and the past that is a generic feature of the Gothic. Texts will
comprise a selection of novels and short fiction, with additional images and extracts from
contextual works provided on Moodle and in class.
Assessment: 1 x mid-term task 1,000 word response to choice of set exercises (20%); 1 x
4,000-word essay (80%).
Set Texts (in the order in which they will be studied):

Emily Bronte, Wuthering Heights (1847)
Michael Cox and R. A. Gilbert (eds.): The Oxford Book of Victorian Ghost Stories
Alexis Easley and Shannon Scott (eds.): Terrifying Transformations: An Anthology of
Victorian Werewolf Fiction
J. Sheridan Le Fanu, Carmilla (1872)
Robert Louis Stevenson, Olalla (1885)
H. Rider Haggard, She (1887)
Oscar Wilde, The Picture of Dorian Gray (1890)
Vernon Lee, Hauntings (1890)
Bram Stoker, Dracula (1897)
Vacation Reading: You are strongly recommended to begin reading the long novels
Wuthering Heights, She and Dracula before the course begins. You will also find it helpful to
have read Gothic by Fred Botting (Routledge Critical Idiom) and/or The Routledge
Companion to Gothic ed. Catherine Spooner and Emma McEvoy. Please note that web links
will be provided for Carmilla and Olalla.
For further information, see Dr Catherine Spooner (County Main B104)
42
ENGL 373: Early Modern Outlaws on Land and Sea: Robin Hood and Pirates (Half Module)
QUOTA Term 1
From Johnny Depps Captain Jack Sparrow (2003-) to Russell Crowes Robin Hood (2010),
notions of outlawry haunt twenty-first century popular culture and recent academic debate
(see Phillips (ed.) 2005 and Jowitt, 2010). A fascination with renegade figures is also found in
the early modern period. Developing first and second-year work on critical and theoretical
approaches to literature, the course examines representations of Robin Hood (weeks 2-5)
and pirates (weeks 7-10) in a range of generically distinct sixteenth- and seventeenth-
century texts.
Assessment: 1 x 2,000 word essay (40%): final examination (60%)
Course Structure:
Week 1: Introduction: Fashioning Early Modern Outlaws
*Film showing: The Adventures of Robin Hood (1938)
Week 2: Figuring Robin Hood in Play-Games and Ballads
Including Anon: The Gest of Robin Hood (c.1550)
Week 3: Gender, Class and Mundays Marian
Anthony Munday: The Downfall and The Death of Robert, Earl of Huntington (c. 1598);
Michael Drayton: Robin Hoods Story (1622)
Week 4: Ardens Outlaws
William Shakespeare: As You Like It (c.1599)
Week 5: Landscape and Outlawry
Ben Jonson: The Sad Shepherd (c.1630)
Week 6: Independent Study Week
Week 7: Francis Drake: Privateer or Pirate?
Including Henry Robarts: A most friendly farewell [] (1585) and George Peele: A farewell
[] (1589)
*Film Showing: The Sea Hawk (1940)
Week 8: Pirates on Land and Sea
William Shakespeare: Pericles (1607)
Week 9: The Sexual Politics of Piracy
John Fletcher and Philip Massinger: The Double Marriage (c.1621)
Week 10: Punishment and Praise
Scaffold speeches and ballads including Anon: Clinton, Purser and Arnold, to their
countreyman wheresoever (1583) and Anon: A True Relation of the Life and Death of Sir
Andrew Barton (1630)
Week 11: Revision
Set Texts:
You will be asked to purchase scholarly editions of Shakespeares As You Like It and Pericles.
Other primary materials will be offered as scanned texts via Moodle and links to scholarly
electronic archives.
43
Vacation Reading:
I recommend that you read Shakespeares As You Like It and Pericles before the course
begins.
For further information, see Dr Liz Oakley-Brown (County Main, B209)
44
ENGL 374: Reforming the Body in Elizabethan England (Half Module)
QUOTA Term 2
In the specific historical and cultural context of Elizabethan England, representations of the
body play a significant role. Most obviously, in the wake of the cultural and social shifts
brought about by the Reformation, images of the Protestant Queen promote orthodox
ideologies. At the same time, Catholic icons of Christ are suppressed. Indeed, in this
particular period of change, the politics of religion, nationhood, sex, gender, emotion,
selfhood and otherness are all played out on and through the human form. Developing
ENGL201s study of embodiment, this course closely examines a range of texts published
between 1558 and 1603 narrative poetry, plays, psalms, sonnets, letters and prose and
critically explores the ways in which bodies determine identity in Elizabethan England.
Assessment: 1 x 2,000 word essay (40%): final examination (60%)
Course Structure:
Week 1: Elizabethan Embodiment
Week 2: The Queens Body
Elizabeth I: Selected Letters (1560-1603)
Film Showing: Elizabeth (1998)
Week 3: England's Protestant Bodies
John Foxe: The Book of Martyrs (1563)
Week 4: Figuring Otherness
Christopher Marlowe: The Massacre at Paris (1593)
Film showing: La Reine Margot (1994)
Week 5: Erasing Bodies
Philip and Mary Sidney: Psalms (c.1586)
Week 6: Independent Study Week
Week 7: Womens Bodies
Isabella Whitney: A Sweet Nosegay (1573)
Week 8: Emotional Bodies
Edmund Spenser: Amoretti (1594)
Week 9: Erotic Bodies
William Shakespeare: Venus and Adonis (1593)
Film Showing: Galatea (2014)
Week 10: Desiring Bodies
John Lyly: Galatea (1592)
Week 11: Revision
Set Texts:
You will be asked to purchase: Danielle Clarke (ed.), Renaissance Women Poets (Penguin,
2000), John N King (ed.), Foxes Book of Martyrs: Select Narratives (Oxford Worlds Classics,
2009), Leah Scragg (ed.), Galatea (Manchester UP, 2013) and any scholarly edition of the
following texts: Shakespeare, Venus and Adonis; Marlowe, The Massacre at Paris. Other
primary texts will be offered as scanned texts via Moodle and links to scholarly electronic
archives.
45
Vacation Reading:
I recommend that you read Foxes The Book of Martyrs and Marlowes The Massacre at
Paris before the course begins. Patrick Collinsons The Reformation (Phoenix, 2005) will
help with the Elizabethan context.
For further information, see Dr Liz Oakley-Brown (County Main, B209)
46
ENGL 376: Schools Volunteering Module (Half Module)
QUOTA Term 2
This module will run as a partnership between the Department of English and Creative
Writing and LUSU Involve. It will give students planning to go into teaching a chance to
experience teaching and classroom practice first-hand, at either primary or secondary level,
in a local school during the Lent Term. The 10 week part-time placement will involve
classroom observation and teacher assistance, and, in most cases, an opportunity to teach
the class or work with a designated group of pupils. It will also allow students to develop
skills around a special project or activity carried out in the school related to the teaching of
English. There will be interviews, presentations, and a rigorous training requirement with
LUVU Involve, including police vetting, and the actual placement in the school, arranged by
Involve staff, will then follow in the second term of your third year.
Please note that everyone who registers for this course will be asked to attend a short
interview (to check the appropriateness of this half-unit for them) and they will also be
asked to conduct a short teaching session. These will take place after second-year
examinations have ended and before the end of term. Please note too that at least one of
these sessions is likely to be scheduled in the last week of term. All students registered on
the course need to be available for both the interview and the teaching session. There are
limited places on the course, and in the case of over-subscription, these sessions will be
used to allocate places.
Assessment: 4,000-word project on teaching English in schools. A weekly log for the
duration of the placement is also a requirement but is not formally assessed.
For further information, see Prof Hilary Hinds (County Main B207)
47
ENGL 379: Early Modern Performance and Ceremony (Half Module)
QUOTA Term 1
This half unit looks at examples of early modern drama in performance with a focus on
ceremonies, another mode of performance. We perform ceremonies every day and on
special occasions as a means of structuring our lives: from greetings and partings right the
way through to life-changing moments such as birth, betrothal, marriage, death.
Ceremonies are important ways of building communities and national identities too. What
happens when ceremonies are represented on stage? The module explores this question by
studying plays by Marlowe, Dekker, Beaumont, Middleton, Ford, Fletcher and Shakespeare
(as co-authors) and a Lord Mayors Show as performance texts. Using discussion and
analysis of filmed productions and short practical drama exercises, we will consider how
ceremonies in drama help to shape human experiences of desire and violence? How do they
work differently in tragedy and comedy? What happens when they are inverted or
parodied? No previous experience of (or expertise in) acting is necessary but you will be
required to think in terms of performance because the module will culminate in a series of
short presentations and performances by the group.
Assessment: Presentation* with written record (1,000 words, 45%) and essay (2,500 words,
55%).
*Presentation: In small groups (normally two or three), you will stage an extract from one
of the plays studied on the course as a mini performance. It is important to remember that
you are being assessed primarily as interpreters/investigators of the text rather than for
your acting ability. The presentation will normally last no longer than 10 minutes, and it will
be followed by an additional 5-10 minutes of discussion, including questions from the tutor
and seminar group. The presentation will be accompanied by an individually-written record
from each student. This will take the form of an extended prompt-book, giving details of the
interpretation of the extract and its links to other parts of the play.
Set Texts:
Francis Beaumont, The Knight of the Burning Pestle
Thomas Dekker, The Shoemakers Holiday, any good single edition, e.g. ed. R. Smallwood and
S. Wells, Revels Plays (1999) or ed. Jonathan Gil Harris, New Mermaids (London: A &C Black,
2008)
John Fletcher and William Shakespeare, The Two Noble Kinsmen, ed. Lois Potter, Arden 3
(Bloomsbury, 2004)
John Ford, Loves Sacrifice (Revels Plays)
Christopher Marlowe, Doctor Faustus there are 2 versions. Any good edition of the A text
e.g. ed. Roma Gill and Ros King, New Mermaids (London: A &C Black, 2008)
Anthony Munday, Lord Mayors Show: The Triumphs of Re-United Britannia (1605) (text
provided on MOODLE)
Thomas Middleton, A Chaste Maid in Cheapside, ed. Alan Brissenden, New Mermaids
(London, A &C Black, 2002)
Lady Mary Wroth, Loves Victory (1614-17), text provided from Undergraduate Office
48
Vacation Reading: To be ready for the beginning of term read Christopher Marlowe, Doctor
Faustus and Thomas Dekker, The Shoemakers Holiday and, if possible, try to see the Royal
Shakespeare Companys production of Fords Loves Sacrifice in the Swan Theatre (tickets
5.00 for under 25s)
For further information, see Prof Alison Findlay (County Main B94)
49
ENGL 380: Between The Acts (Half Module)
QUOTA Term 1
The course will begin with writing that looks back to the First World War and end with
writing that anticipates the Second World War. In between the students will explore and
interrogate the inter-war moment through close attention to a number of other texts. The
course will focus on many of the great themes of the period such as exile, unemployment,
Englishness, eugenics, militarisation, and political commitment, as well as many of the great
cultural motifs of the period such as borders, radios, planes, cars, trains, cameras and
telephones. Close attention will also be paid to many of the great intellectual debates of the
period such as the nature of history, the role of the State in everyday life, and the place of
literary experimentation in time of war. The course will not, though, be limited to what
these texts are about but will also attend to what these texts do. In other words, we shall
explore how inter-war writing both reflects the period and indeed participates in the period.
The students will, then, be expected to understand the ways in which the texts under
consideration exist not only between the acts but are themselves acts acts not only of
mourning and warning but also agitation, provocation, resistance, despair, and even
(therefore) hope.
Assessment: 1 x 5,000-word essay (100%)
Submission Deadline: 12pm (midday), Monday Week 1 / Term 2
Learning Outcomes:
It is intended that by the end of the course the students will have acquired:
a detailed knowledge of inter-war writing
a keen appreciation of how the history of the period bears upon literary texts
a well-developed facility for close reading of inter-war writing
Set Texts:
Arnold Bennett, The Pretty Lady (1918)*
D.H. Lawrence, England, My England (1921)*
Katherine Mansfield, The Garden Party(1922)*
Siegfried Sassoon, Memoirs of an Infantry Officer (1930)
W.H.Auden, Collected Shorter Poems [will announce and provide poems nearer time]
George Orwell, Road to Wigan Pier (1937)*
Edward Upward, Journey to the Border (1938) [available as separate book or in collection
called The
Railway Accident and Other Stories]
Louis MacNeice, Autumn Journal (1938)
Henry Green, Party Going (1939)
Virginia Woolf, Between the Acts (1941)*
All texts available via Amazon (but please order early). Asterisked texts are available online.
50
Excellent introductions to the period:
D. Fussell, The Great War and Modern Memory
Graves and Hodges, The Long Weekend
R. Hattersley, Borrowed Time: Britain Between the Wars
R. Overy, The Morbid Age: Britain Between the Wars
M. Pugh, We Danced all Night
D.J. Taylor, Bright Young People
Plus
Endless terrific youtube documentaries on both the writers and the period
For further information, see Prof John Schad (B99, County Main)
51
ENGL 385: Literature and the Visual Arts (Half Module)
QUOTA Term 2
Is it possible to read a painting? Can an artist interpret a poem in paint? This course
addresses the complex relationship between literature and the visual arts, tracing key
debates in aesthetic theory from Romanticism to the twenty-first century. Literature and
the Visual Arts will begin with an introduction to key critical terms and an examination of
the painting-inspired poetry of, for example, John Keats and W. H. Auden. Subsequent
seminars will explore the work of figures such as William Blake, John Ruskin and the Pre-
Raphaelites who blur the distinction between literature and art; the revival of the Pop Art
tradition and postmodern narrative practices; and, finally, the fusion of word and image in
graphic novels. The course will draw on the unique resources of the Universitys Ruskin
Library and rare book archive.
Assessment: 1 x 1,500-word essay (40%) 1 x 3,500 word essay (60%)
Set Texts:
Benjamin, Walter, The Work of Art in the Age of Mechanical Reproduction, trans. by J. A.
Underwood (London: Penguin, 2008)
Blake, William, The Marriage of Heaven and Hell [Facsimile edition], ed. Sir Geoffrey Keynes
(Oxford: OUP, 1975)
Birch, Dinah, (ed.) John Ruskin: Selected Writings (Oxford: Oxford University Press, 2009)
Satrapi, Marjane, Persepolis (London: Vintage, 2008) [The complete edition containing
Persepolis I & II]
Spiegelman, Art, The Complete MAUS (London: Penguin, 2003)
Other seminar material will be made available as hand-outs and via Moodle
For further information, see Dr Andrew Tate (County Main B100)
52
ENGL 388: Literature and the Bible (Half Module)
QUOTA Term 2
In this unit we will look at a selection of biblical texts alongside literary works that
appropriate, rewrite and subvert them. We will be thinking about the Bible as literature; the
reciprocal relationship between the Bible and literature; and what the Bible does to a
literary text. By the end of the course you should be more familiar and knowledgeable about
the Bible, its genres, ideas and narratives, and be able to appreciate its literary qualities. You
will develop skills of exploring the relation between a literary text and the biblical text it
invokes: in what ways does knowledge of biblical texts provoke more profound readings of
literature? Do rewritings refine or subvert the Bible? Throughout the course we will also
have in focus issues related to reading, interpretation and adaptation that will be relevant to
your wider studies.
Assessment: 1 x 1,500-word close reading exercise (20%) and a 4,000-word essay (80%).
Set Texts:
Biblical works:
Song of Songs; Genesis 1-4; Job; 1 and 2 Samuel; Matthew 26-27;
Literary works:
Milton, Paradise Lost, book 4
Mark Twain, The Diary of Adam and Eve (preferred edition: Hesperus, 2002)
Byron, Cain, A Mystery [will be available on moodle]
Thomas Hardy, Far from the Madding Crowd (preferred: Norton Critical edition, 1986)
Joseph Roth, Job: The Story of a Simple Man (preferred translation by Dorothy Thompson)
A selection of poetry on the Passion including: John Donne, 'Good Friday, 1613, Riding
Westward'; Gerard Manley Hopkins, 'The Windhover'; Christina Rossetti, 'Good Friday'; Emily
Dickinson, '"Remember me" implored the Thief'; Sylvia Plath, 'Mary's Song'; Geoffrey Hill,
'Canticle for Good Friday'
Angela Carter, The Passion of New Eve
Vacation reading: I strongly recommend reading the biblical texts listed (in the King James
Version, also known as the Authorized Version) and more widely in the Bible. I also suggest
reading as many of the longer literary works as possible (Byron, Hardy, Roth and Carter).
For further information, see Dr Jo Carruthers (County Main B205)
53
ENGL 389: Women Writers (Half Module)
QUOTA Term 2
In A Room of Ones Own Virginia Woolf famously asks what would have happened had
Shakespeare had a wonderfully gifted sister?, and goes on to explore the obstacles to
literary success that she might have encountered. This course follows Woolfs lead by
seeking to redress the historical marginalisation of women writers in the English literary
canon through an exploration of how women have come to writing at different historical
moments, what they have chosen to write, and how. A selection of texts from the 17 th
century through to the 21st, encompassing autobiographical forms, the novel, poetry and
drama, are used to examine relationships between gender, sexuality, race/ethnicity and
literary production, and to explore continuities, connections and disparities between
representations of female experience. The course is historical in terms of both the range of
primary texts it addresses, and also the history of feminist theoretical and critical
approaches it provides.
Assessment: 1 x essay-planning exercise (unassessed); 1 x 5000-word essay (100%).
Set texts will include:

Jane Austen, Persuasion (London: 1818)
Pat Barker, Regeneration (Harmondsworth: Penguin, 1990)
Vera Brittan, Chronicle of Youth: Great War Diary 1913-1917 ed. Alan Bishop (London:
Phoenix, 2000) [Moodle]
Margaret Cavendish, Duchess of Newcastle, The Convent of Pleasure (1668) [Moodle]
Jackie Kay, The Adoption Papers (Newcastle upon Tyne: Bloodaxe, 1991)
Toni Morrison, Beloved (London: Chatto and Windus,1987)
Dorothy Osborne, Letters (1652-3) [Moodle]
Marge Piercy, Woman on the Edge of Time (London: The Women's Press, 1979)
Sarah Waters, The Night Watch (London: Virago, 2006)
Virginia Woolf, A Room of One's Own (London: Hogarth Press, 1929)
Dorothy Wordsworth, Grasmere Journals (1800-3) [Moodle]
Vacation reading:
You are strongly recommended to get ahead with reading any of the longer texts (i.e. the
novels) listed above.
For further information, see Prof Hilary Hinds (B207, County Main)
54
ENGL 390: Monstrous Bodies: Romantic-Period Poetry and Prose (Half Module)
QUOTA Term 1
Using a range of texts and genres from 1790s to the 1820s this course will consider the
importance of the physical human body, in health and sickness. Examining the historical
context in which these texts were written, we will look at such topics as illness, death,
doctors, medical treatments, recreational drug use, pregnancy, disability, physical strength,
sexuality, sensuality, health, race, gender, physiognomy and phrenology. How did Romantic
poets and prose writers imagine the body? What did they think of the distinction between
the mind and body or between the body and soul? How was the body understood
medically? How are people made monsters in the period and for what political purpose?
The course will explore how bodies are not to be thought of as neutral or ahistorical but
instead as historically-contingent sites of discourse.
Topics and texts studied will typically include:

Labouring-class, mad, and female bodies: poems from the Lyrical Ballads
Gendered bodies: Mary Wollstonecraft and Hannah More
Black bodies: selected poems from William Blake, Ann Yearsley, Phyllis Wheatley
Sensuous bodies: John Keats
Vampires: John Polidori
Monsters: Mary Shelley, Frankenstein
Drugs: Thomas de Quincey, Confessions of an English Opium-Eater
Disability: Lord Byron
Assessment: 1 x 1000 word close reading exercise (20%); 1 x 4000 word essay (80%)
Set Texts:
The Norton Anthology of English Literature 9th Edition: Vol D. The Romantic Period. Eds.
Lynch 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 World Classics (Oxford:
OUP, 1993)
Thomas de Quincey, Confessions of an English Opium-Eater, ed. Barry Milligan
(Harmondsworth: Penguin, 2003).
Vacation Reading: Id advise you to read the prose works over the summer. Please do make
sure to read the 1818 text of Frankenstein
For further information, see Prof Sharon Ruston (County Main, B92)
55
ENGL 393: Victorian Autobiography (Half Module)
QUOTA Term 2
In this course, we examine autobiographies of eminent as well as lesser-known Victorian

men and women. Rather than going text by text, we read all the childhoods of our primary
texts, then their coming of age sections, then the sections treating life work, and finally the
endings. In the process, we consider inter-generational struggles (parents loom large in
many middle-class autobiographies; sons and daughters often edit them), crises of belief,
discoveries of vocation, mental and physical illness and disability, travel, bereavement,
social and political activism, and private lives. In addition to our primary texts, students will
also read theories and histories of autobiography.
Assessments
1 x individual presentation (20% of the overall mark; given in Weeks 7-9)
1 x 4000-word essay (80% of the overall mark; due in summer term)
Set Texts
Mary Somerville, Personal Recollections (1873) (free PDF available online at archive.org)
John Stuart Mill, Autobiography (1873) (numerous free online editions available)
Charles Darwin, The Autobiography of Charles Darwin (1876) (numerous free online editions
available online)
Annie Besant, An Autobiography (1893) (free PDF available online at archive.org)
Margaret Oliphant, An Autobiography (1899) (free PDF available online at archive.org)
(Please note: Margaret Oliphants The Days of My Life: An Autobiography is a novel by her,
not the autobiography we will be studying.)
Edmund Gosse, Father and Son (1907) (free audio book available at archive.org)
Additional autobiographical writings (e.g. by working-class authors) will be posted on
MOODLE.
Vacation Reading
Read as many of our set texts as you can.
For further information, see Prof Kamilla Elliott (County Main, B211)
56
ENGL 395: Representing Palestine (Half Module)
QUOTA Term 2
This course will appeal to students interested in (post)colonial and world literatures, place
and space, memory studies and the contemporary Middle East. No prior knowledge of the
Palestinian context is required. A rich body of creative work representing Palestinian
histories, experiences and aspirations is only now coming to the attention of Western
audiences, even though the question of Palestine has long been the subject of impassioned
public debate. The course is concerned primarily with Palestinian creativity and its
commitments to self-determination and resistance. We also study progressive Israeli and
Jewish perspectives on Palestinian history, beginning, for example, with an Israeli writers
haunting representation of the Palestinian nakbah (catastrophe) of 1948. The course
engages novels, novellas, short stories, memoirs, poetry and films produced from migrant,
refugee, exilic, insider and some outsider locations and perspectives. Overarching
questions include: Who, what and where is Palestinian? Who speaks for Palestine and in
what ways? What is the point of creative representation in this context? Some of the texts
to be studied were written in English; others are studied in translation. The course includes
selected film screenings.
Assessment:
Mid-term writing exercise: 1500 words (40%)
Long essay: 4000 words (60%).
Set Texts (in order of study):
*It is recommended that you read the first two listed before the course starts, for context.
*S. Yizhar, Khirbet Khizeh, translated by Nicholas de Lange and David Shulman (Granta,
2008).
*Susan Abulhawa, Mornings in Jenin (Bloomsbury, 2011).
*Ghassan Kanafani, Men in the Sun and Other Palestinian Stories, translated by Hilary
Kilpatrick (Lynne Rienner, 1998).
*Mourid Barghouti, I Saw Ramallah, translated by Ahdaf Soueif (Bloomsbury, 2004).
*Mischa Hiller, Sabra Zoo (Telegram Books, 2011).
*Selma Dabbagh, Out of It (Bloomsbury, 2011).
*Jo Glanville (ed.), Qissat: Short Stories by Palestinian Women (Telegram Books, 2006).
*Mahmoud Darwish. Unfortunately, it was Paradise, translated by Munir Akash et al
(University of California Press, 2013) [selection provided on moodle].
*Suheir Hammad. Born Palestinian, Born Black, and The Gaza Suite (UpSet Press, 2010)
[selection provided on moodle].
*Henry Bell, Henry and Sarah Irving (eds), A Bird is Not a Stone: An Anthology of
Contemporary Palestinian Poetry and Scottish Translations (Freight Books, 2014) [selection
provided on moodle].
*Raja Shehadeh, Palestinian Walks: Notes on a Vanishing Landscape (Profile Books, 2008).
Film Screenings:
*Paradise Now, dir. Hany AbuAssad (2005).
57
*Waltz With Bashir, dir. Ari Folman (2008).
*The Time that Remains, dir. Elia Suleiman (2009).
*5 Broken Cameras, dir. Ernard Burnat and Guy David (2012).
For further information, see Dr Lindsey Moore (County Main, B103)
58
DELC 338: Witchcraft, Heresy and Inquisition: The Prosecution of Otherness in Europe
(14th-17th c) (Half Module)
QUOTA Term 1
For further details please contact Dr O Perea-Rodriguez in DELC
or visit
http://www.lusi.lancaster.ac.uk/CoursesHandbook/ModuleDetails/ModuleDetail?yearId=00
0115&courseId=018889
59
DELC 339: Translation as a Cultural Practice (Half Module)
QUOTA Term 2
What makes a good translation and how do translations do good? This module helps you
understand the practice of translation as it has evolved historically from the 18th century to
the present across European and American societies. The materials we study include
historical textual sources (philosophical essays on the craft of translation from French,
German and Hispanic authors of the 19th and 20th centuries), representative fictional texts
reflecting on translation processes, and contemporary documents from the EU directorate
on translation, PEN and the Translators' Association. We will also make considerable use of
contemporary online resources as exemplified by Anglophone advocates of intercultural
exchange such as Words Without Borders. Our aim is to look at translation as both a
functional process for getting text in one language accurately into another and a culturally-
inflected process that varies in its status and purpose from one context to another. We will
pay particular attention to the practical role that literary translators play within the
contemporary global publishing industry and consider the practicalities of following a career
in literary translation in the Anglophone world.
Key texts
Leila Aboulela, The Translator [2003], trans. Anne Donovan (Edinburgh: Polygon, 2008)
Ingeborg Bachmann, 'Word for Word' [1972], in Three Paths to the Lake, trans. Mary Fran
Gilbert (New York: Holmes & Meier, 1997)
Walter Benjamin, 'The Task of the Translator' [1923], in Illuminations, trans. Harry Zohn
(London: Cape, 1968), pp. 70-82
David Bellos, Is That a Fish in Your Ear? The Amazing Adventure of Translation (London:
Penguin, 2011)
Jorge Luis Borges, 'Some Versions of Homer', trans. Suzanne Jill Levine, PMLA, 107:5 (1992),
1134-1138
Italo Calvino, If on a Winter's Night a Traveller [1979/1981], trans. William Weaver (London:
Vintage, 1998)
Jean-Luc Godard, Film Socialisme (2010)
Germaine de Stael, 'The Spirit of Translation', [c.1814] trans. anon, Romanic Review, 97:3/4
(2006), 279-284
George Steiner, After Babel: Aspects of Language and Translation, 3rd edn (Oxford: OUP,
1998)
Further reading
Emily Apter, Against World Literature: On the Politics of Untranslatability (London: Verso,
2013)
Willis Barnstone, The Poetics of Translation: History, Theory, Practice (New Haven, Yale U P,
1993)
Susan Bassnett, Translation Studies, 3rd edn (London: Routledge, 2002)
Peter France, ed., The Oxford Guide to Literature in English Translation (Oxford: OUP, 2000)
Angelica Gooden, Madame de Stael: The Dangerous Exile (Oxford: OUP, 2008)
Efrain Kristal, Invisible Work: Borges and Translation (Nashville: Vanderbildt U P, 2002)
60
Andre Lefevere, Translation, Rewriting, and the Manipulation of Literary Fame (London:
Routledge, 1992)
Daniel Balderston & Marcy E. Schwartz, eds, Voice-Overs: Translation and Latin American
Literature (Albany, State U of New York P, 2002)
Assessment:
60% summer exam (2 hour paper, 2 essay questions); 40% coursework (30% coursework
essay, 10% class presentation)
For further information, see Dr R Braun (DELC)
61
DELC 342: Imagining Modern Europe: Post-Revolutionary Utopias and Ideologies in the
first half of the Nineteenth Century (Half Module)
QUOTA Term 1
The nature of the relationship between the individual and society, notions of progress and
economic justice are still widely debated topics in contemporary Europe in light of the
current economic and political crisis. How were contemporary notions of progress,
rationality and individualism formed after the French Revolution? What utopias helped to
shape democracies in the nineteenth century? How did philosophers and artists think of
balancing the freedom of the individual with the interest of the majority? What utopias and
dystopias lie behind notions of national identity and individuality? In this course, the
concepts of utopia, dystopia and ideology will be used as a forum for discussion on the
relationship between individual imagination and social discourse in the nineteenth century,
as well as the relationship between fiction and political discourse. We will look at the major
intellectual debates that informed contemporary European thought after the French
Revolution. Spanning from the period immediately following the French Revolution to the
middle of the nineteenth century, you will explore the development of major ideologies and
cultural movements such as Romanticism, Marxism, Socialism and Positivism, which are still
widely influential in contemporary arts and culture. The course will be divided into several
topics, such as: Universality and Progress, Utopias of National Identity and Foreignness in
Romanticism, Socialism and Utopian Thought, Democracy and Dystopian Thought and
Positivism in the nineteenth century.
Assessment: Coursework, logbook (15%), Essay 25%, Exam (60%)
For further information, see Dr D Grass (DELC)
62
DELC 364: Latin America and Spain on Film: Violence and Masculinities (Half Module)
QUOTA Term 1
The aim of this module is to provide students with a grasp of both the historical contexts for
violence and masculinities as they are depicted in Spanish and Latin American film as well as
an understanding of theoretical approaches which can help to enrich analyses of such
violence and evolving masculinities. The course seeks to pluralise violence so that it is
understood by students as physical, non-physical, criminal, psychological, structural
and invisible. Masculinities will always be considered in the plural. Another aim is to ensure
students have the terminology to discuss such contexts and approaches in relation to
specific films in a coherent and intellectually appropriate framework.
Students will first be required to view films in historical contexts which highlight key themes
in the selected films. Students will be encouraged to observe and analyse structural
violence, criminal violence, gender violence and political violence in these films and to
understand their relationship with such categories as hegemonic, protest and patriarchal
masculinities. Such violence(s) and masculinities will not only be contextualised historically
but also approached through theories on aesthetics, film reception, gender and ideology. In
this way students will be able to approach questions concerning the 'invisible' nature of
domestic violence, violence as a means (or not) of providing 'cheap shocks' and different
aesthetic approaches towards the depiction of state violence.
Assessment: 1 oral presentation (10%); essay (30%); exam (60%)
For further information, see Dr Amit Thakkar (DELC)
63

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DEPARTMENT OF ENGLISH

PART II ENROLMENT BOOKLET

FOR STUDENTS ENTERING YEARS 2 and 3 in 2015-16

GENERAL GUIDANCE FOR INTENDING ENGLISH MAJORS AND COMBINED MAJORS

The Ground Rules

There are two stages to enrolment:

1. Online Enrolment: Friday 17th April Tuesday 28th April 2015

If you are on:

BA (Hons) English Literature, Creative Writing and Practice

Students registered on the following degree schemes:

BA (Hons) English Literature

Combined Major and Minor Students:

Combined Schemes Administered by English and Creative Writing

English Literature and History

BA (Hons) English Literature; BA (Hons) English Literature with Creative Writing:

BA (Hons) English Literature, Creative Writing and Practice:

Combined Majors and English Minors

1. BA (Hons) English Literature

Must take ENGL 201

Must take ENGL 301.

ENGL 398/ENGL 399: Final Year Group C Courses

Title Option Unit Course Convenor

Title Option Unit Course Convenor

2. BA (Hons) English Literature with Creative Writing

Title Year Unit Course Convenor

Must take ENGL 201

4. Combined Major Schemes:

Two English courses (see below).

PART II - UNDERGRADUATE COURSES

SECOND YEAR 2015-16

FINAL YEAR 2016-17

SECOND YEAR 2015-16

FINAL YEAR 2016-17

BA (Hons) English Literature, Creative Writing and Practice:

Combined Majors and English Minors

1. BA (Hons) English Literature

Must take ENGL 301.

ENGL 398: Final Year Group C Courses

Title Option Unit Course Convenor

Title Option Unit Course Convenor

2. BA (Hons) English Literature with Creative Writing

Must take ENGL 301

3. BA (Hons) English Literature, Creative Writing and Practice

Title Year Unit Course Convenor

4. Combined Major Schemes:

Requirements for Combined Majors

FINAL YEAR 2015-16

FINAL YEAR 2015-16

Please note that reading lists are provisional.

ENGL 201: The Theory and Practice of Criticism (Compulsory)

Assessment: 1 x 1,500-word essay (20%), 1 x group oral presentation (30%), 1 x 4,000-word

Set texts include:

Set Texts include:

For further information, see Dr Jo Carruthers (County Main B205)

Book Length Texts Required for Term 1

Book Length Texts Required for Term 2

Critical and secondary readings will be posted on MOODLE.

Use these lists for vacation reading and viewing.

CREW 203: Intermediate Creative Writing Workshop

Assessment: 1 x 8,000-word portfolio of your own creative work or equivalent

Linda Anderson, Creative Writing Coursebook: A Handbook with Readings

For further information, see Dr Eoghan Walls (County Main B89)

Assessment: 1 x portfolio comprising up to 3 short stories, totaling no more than 4,000

For further information, see Dr Zoe Lambert (County Main B91)