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Department of English Literature and Creative Writing

Part I Module Booklet

2019-20

Contents Introduction ................................................................................................................................................... 1

Part I Reading lists ...................................................................................................................................... 2

ENGL100 English Literature Reading List ....................................................................................... 2

ENGL101 World Literature Reading List ......................................................................................... 3

General Information about the Reading Lists ................................................................................. 3

ENGL100: English Literature ................................................................................................................. 6

Course Outline ............................................................................................................................................ 6

Lecture Schedule ........................................................................................................................................ 9

Assessment................................................................................................................................................. 10

ENGL101: World Literature ................................................................................................................. 16

Course Outline .......................................................................................................................................... 16

Lecture Schedule ...................................................................................................................................... 18

Assessment................................................................................................................................................. 19

CREW103: Creative Writing ................................................................................................................. 23

Course Outline .......................................................................................................................................... 23

Lecture Schedule ...................................................................................................................................... 26

Assessment................................................................................................................................................. 27

Enrolment Information .......................................................................................................................... 28

Part I Online Pre-Enrolment ................................................................................................................ 28

Part I Main Enrolment Session ........................................................................................................... 29

Part I Enrolment Information - Major Students .......................................................................... 29

Part I Enrolment Information – Other Administrating Departments ................................. 30

Enrolment Questions.............................................................................................................................. 31

Appendix A .................................................................................................................................................... 32

Staff Initials ................................................................................................................................................ 32

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Introduction Welcome to the Department of English Literature and Creative Writing!

In this booklet you can find information about our Part I modules, such as assessment details and lecture topics.

What do we offer?

We have three Part I modules: ENGL100 English Literature, ENGL101 World Literature and CREW103 Creative Writing.

What modules can I take?

Students majoring in both English Literature and Creative Writing must take ENGL100 English Literature as a compulsory module. Students studying Creative Writing must also take CREW103 Creative Writing as a compulsory module. ENGL101 World Literature is an optional module but we strongly recommend that students majoring in English Literature take this module.

We welcome students from other faculties and departments to take our modules as minor subjects. In order to take ENGL100 English Literature and/or ENGL101 World Literature, students must have the prerequisite qualification of Grade B in A-Level English Literature or English Language and Literature. To take CREW103 Creative Writing, students must have Grade B in A-Level English Literature, English Language and Literature, or English Language.

Course Structures

Each module is worth 40 credits, a study unit of 1, and is yearlong. More information on course structure, lecture times, and assessment can be found in this booklet.

Have questions or would like more information?

Department staff and students will be available during Department Welcome Week events and at the Minor Subject Fair. Alternatively, you can contact us via email: [email protected] or contact one of the Part I Team:

Part I Coordinator - Rebecca Shaw ([email protected]) Room B114, County Main.

Part I Director - Professor Simon Bainbridge (Michaelmas), Dr Jo Carruthers (Lent/Summer).

POMs - Look out for our Part One Mentors at events or join the Facebook Group to contact them.

Taking one of our modules? Why not join the Part I ELCW Facebook group? Search ‘First Year ELCW @Lancaster 2019/20’ and request to join.

mailto:[email protected]




https://www.facebook.com/groups/1326374080848319/

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Part I Reading lists

ENGL100 English Literature Reading List

The main textbook that will be used is The Norton Anthology English Literature Tenth Edition. This anthology includes six volumes in two packages, covering English Literature from the middle ages to the present. We have tried to include as much reading as possible from this anthology. Michaelmas Term (October to December)

• Keywords at Lancaster – Available on Moodle • William Shakespeare, Twelfth Night – included in the Norton Anthology • A selection of poetry including sonnets and blazons* • Geoffrey Chaucer, Wife of Bath – included in the Norton Anthology • John Milton, Paradise Lost (Books 1-9) – included in the Norton Anthology

Lent Term (January to March)

• Aphra Behn, Oronooko – included in the Norton Anthology • Jane Austen, Mansfield Park • Elizabeth Gaskell, Mary Barton • A selection of poetry including Romantic poetry*, Walt Whitman, Emily

Dickinson, dramatic monologues* and Modernist poetry*. • Robert Louis Stevenson, Jekyll and Hyde – included in the Norton Anthology • Joseph Conrad, Heart of Darkness – included in the Norton Anthology

Summer Term (April to June)

• A selection of poetry including Paul Muldoon • Film: Dir. Ridley Scott, Blade Runner • Jackie Kay, Trumpet

*Poetry from Norton Anthology: (other poetry covered will be provided on Moodle)

William Shakespeare, Sonnets 12, 18, 130, 138; Sir Philip Sidney, first sonnet of Astrophil and Stella sequence and Sonnets 31, 47, 49 & 71; John Donne, ‘Batter my heart, three-personed God’; Ben Jonson, ‘A Sonnet to the Noble Lady, the Lady Mary Wroth’; Mary Wroth, ‘In this strange labyrinth how shall I turn’; Thomas Wyatt, ‘Whoso list to Hunt’; ‘My Gallery’.

William Wordsworth, ‘The Two-Part Prelude’; Charlotte Smith, ‘Written in the Churchyard at Middleton in Sussex’, ‘On being cautioned against walking on the headland’; Anna Laetitia Barbauld, ‘The Rights of Woman’, ‘The Mouse’s Petition’; Felicia Hemans, ‘Casabianca’, ‘Indian Woman's Death-Song’.

Robert Browning, ‘The Bishop Orders His Tomb at Saint Praxed’s Church’; ‘Porphyria’s Lover’, ‘My Last Duchess’, ‘Fra Lippo Lippi’; Alfred Lord Tennyson, ‘Ulysses’.

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T.S Eliot, ‘The Love Song of J. Alfred Prufrock’, ‘Sweeney Among the Nightingales’, ‘The Hollow Men’, ‘The Journey of the Magi’, ‘Little Gidding’ (from ‘The Four Quartets’).

ENGL101 World Literature Reading List Michaelmas Term (October to December)

• Book of Genesis, Chapters 1-10 – Available on Moodle • David Maine, The Flood • Ovid, Metamorphoses – Available on Moodle • Franz Kafka, Metamorphosis – Available on Moodle • Thomas Moore, Utopia – included in the Norton Anthology • Thousand and One Nights – Available on Moodle • Jorge Luis Borges, Labyrinths • Rabelais & Bakhtin extracts – Available on Moodle • Contemporary African writing extracts – Available on Moodle

Lent Term (January to March)

• Bell & Irving, A Bird is not a Stone Anthology – Available on Moodle • World Vampire extracts – Available on Moodle • Dante, Inferno– Available on Moodle • Alison Bechdel, Fun Home: A Family Tragicomic • Haruki Murakami, Hard-Boiled Wonderland and the End of the World • Salman Rushdie, Midnight’s Children • Ghassan Kanfani, Men in the Sun– Available on Moodle • Tom Sperlinger, Romeo and Juliet in Palestine

Summer Term (April to June)

• Literary Criticism extracts – Available on Moodle • Film: Dir. Guillermo del Toro, Pan’s Labyrinth • Barbara Creed, The Monstrous Feminine – Available on Moodle • Film: Dir. Feng Xiaogang, The Banquet • William Shakespeare, Hamlet – Available on Moodle • Marjane Satrapi, Persepolis

General Information about the Reading Lists What does the essential reading list include?

You will cover a range of reading over the first year, from novels to poetry, articles to films, academic essays to graphic novels. This list provided includes all the essential reading you will do for the whole course. When you arrive at Lancaster, you will be given access to more detailed information on our virtual learning environment, Moodle. Part of your studies will include learning how to manage reading time as part of your studies.

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Browse the list and, if you wish to familiarise yourself with some of the texts, please do make a start, but do not feel any pressure to read everything on the list in depth.

How much do I have to read and by when?

As noted above you do not need to have read all the books in this list before you begin your studies. This list is just to give you an idea of the texts you will be studying and ideas for preparatory reading. When you arrive at Lancaster you will be expected to spend a lot of time reading. A single course consists of one third of your studies for the year (you will take 3 first-year courses altogether). You will therefore be expected to spend a third of your time on each module – and much of it reading (about 8 hours reading each week for each course!).

You will find that what is expected of you, in terms of the amount of reading and how quickly you will be asked to process it, will be different from studying at A-level. There will be more reading than you are used to, but instead of knowing each text in detail, as per A-Level, here in your first year you just aiming to get a sense of a text, period, or literary movement. If you find a particular text or author especially interesting, you can then read the text more carefully. Critical and contextual writings will be provided in addition for any texts you choose to write essays on.

Where to buy books?

In partnership with Blackwell’s bookshop (our local campus bookshop and cheaper than Amazon) we have put together book bundles for students to pre-order or purchase when on campus. These book bundles include the Norton Anthology Tenth Edition and other major texts, which are part of the reading list, but not included in the Anthology.

ENGL100 English Literature Bundle: £82 (Reserve ENGL100 Online)

The Norton Anthology English Literature 10th Ed Jane Austen, Mansfield Park Elizabeth Gaskell, Mary Barton Jackie Kay, Trumpet

ENGL101 World Literature Bundle: £52 (Reserve ENGL101 Online)

David Maine, The Flood Jorge Luis Borges, Labyrinths Alison Bechdel, Fun Home: A Family Tragicomic Haruki Murakami, Hard-Boiled Wonderland and the End of the World Salman Rushdie, Midnight’s Children Tom Sperlinger, Romeo and Juliet in Palestine Marjane Satrapi, Persepolis Blackwell’s Contact Info: Tel: 01524 32581; Email: [email protected]

https://blackwells.co.uk/bookshop/home

http://tinyurl.com/LUENGL100

http://tinyurl.com/LUENGL101


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We mainly provide links to copies of online texts (through Project Gutenberg, Googlebooks, or for the kindle) for reading material on Moodle. You are welcome to search for these if you wish to do some preparatory reading. If you wish to buy your own copies of texts, scholarly editions will be more helpful for the extra information and material they contain (especially the Norton editions; Oxford are also good). You are welcome to use any editions that you already have in order to save buying new texts.

The Library “When in doubt, go to the library.” Hermione Granger

From book borrowing, online journal articles, referencing help, quiet study space, and subject support, the library has a wealth of resources to help you throughout your time at Lancaster. All the books and films in the reading list will be available at the library. You will be getting an introductory session to the library on the first few weeks of term.

Questions If you have any questions about the reading list please contact the Course Conveners, Dr Dawn Stobbart (ENGL100) [email protected] and Aaron Aquilina (ENGL101) [email protected]. Don’t forget our Part One Mentors – available via the Facebook group.

http://www.lancaster.ac.uk/library/






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ENGL100: English Literature

Course Outline

Course Convenors: Professor Simon Bainbridge Michaelmas Term ([email protected]), Dr Jo Carruthers Lent/Summer Term ([email protected]) and Dawn Stobbart ([email protected])

In ‘ENGL100: English Literature’, you will encounter a broad range of literature—from the Middle Ages to the 21st century, from Geoffrey Chaucer to Jackie Kay. Enjoy a taster of famous and infamous texts through the Renaissance, Victorian, Romantic, Modern, and contemporary periods and the diverse and varied approaches to reading literature. You will be introduced to key debates in literary studies and given a foundation in the skills, tools, and knowledge for new and exciting ways of reading. The course will also include a four-week project-based element in which you will engage with a specialist subject, led by a subject expert, linking English literary research to real world scenarios.

During weeks 1-20 the module is taught through two lectures and one seminar per week. English literature benefits from regular periods of discussion, which facilitates the exchange of thoughts, ideas, and opinions. These opportunities for regular discussion take place in small weekly seminars and in Autonomous Learning Groups (ALGs). ALGs are small student-led groups that meet on a weekly basis to discuss topics provided by the course convenor.

Your guide throughout the module will be your seminar tutor. If you have any questions about the seminar content, set texts, and so on, they are there to help you. Tutors are contactable via email and available for face-to-face appointments. At the beginning of the year they will advertise their open office hours. Seminar tutors will arrange a compulsory one-to-one meeting with you each term.

Projects will be taking place in weeks 21-24. Lectures and seminars will be replaced by one two-hour workshop per week. These small workshop groups will be led by academic members of staff who specialise in the area of the project topic.

Course Aims and Objectives On successful completion of the course, you will be able to demonstrate the following range of knowledge and skills as outlined under these three main headings:

Literary Traditions and Genres

1. An increased understanding of the significance of form and tradition in reading literature (including forms of poetry such as sonnet, blazon, dramatic monologue), dramatic texts, and prose forms.

2. An increased awareness of literary periods (e.g. medieval, Romantic, Victorian), their key characteristics, and their significance for reading individual literary works.




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Issues

1. An increased awareness of established methods of interpretation (for example, structuralist, Marxist, feminist).

2. A critical approach to literary value, the canon, and the roles of text, author, and reader in the production of meaning.

3. An increased awareness of literary arguments about the relationship between literature and history, literature and reality, and literature and identity.

Skills

1. To read large quantities of text perceptively and draw connections between them.

2. To construct an essay argument.

3. To access and evaluate secondary literature resources within the library and internet.

4. To construct a bibliography and present work according to scholarly conventions (in line with the English Literature Style Sheet).

5. How to engage with secondary resources in essay and exam writing.

6. Increased independence in learning, both in individual and in team work.

Study Resources Highly recommended

Oxford English Dictionary [available through Onesearch]

Chris Baldick, The Concise Oxford Dictionary of Literary Terms.

Jeff Gill and Will Medd, Get Sorted: How to make the most of your student experience [online resource through Onesearch]

John Peck and Martin Coyle, The Student's Guide to Writing: Grammar, Punctuation and Spelling

Lynne Truss, Eats, Shoots & Leaves

Recommended general introductions

M.H. Abrams and Stephen Greenblatt, eds. The Norton Anthology of English Literature, 7th edition, Vols.1 and 2 (2000).

See also Norton Topics Online on the web at www.wwnorton.com/nael.

Michael Alexander, A History of English Literature (2000).

John Barrell, Poetry, Language and Politics (1988).

Malcolm Bradbury, The Novel Today: Contemporary Writers on Modern Fiction (1977).

Cleanth Brooks, The Well-Wrought Urn: Studies in the Structure of Poetry (1947).

Cleanth Brooks and Robert Penn Warren, Understanding Poetry (3rd edn 1960).

Thomas Carper and Derek Attridge, Meter and Meaning: An Introduction to Rhythm in Poetry (2003).

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A. E. Dyson and Julian Lovelock, Masterful Images: English Poetry from the Metaphysicals to the Romantics (1976).

Barbara Everett, Poets in their Time: Essays on English Poetry from Donne to Larkin (1991).

Paul Fussell, Poetic Metre and Poetic Form (rev edn. 1979).

John Garrett, British Poetry Since the Sixteenth Century (1986).

John Haffenden, Novelists in Interview (1985).

Alison Lee, Realism and Power: Postmodern British Fiction (1990).

David Lodge, The Language of Fiction: Essays in Criticism and Verbal Analysis of the English Novel (1966).

David Lodge, The Modes of Modern Writing: Metaphor, Metonymy and the Typology of Modern Literature (1977).

David Lodge, After Bakhtin (1990)

Rob Pope, The English Studies Book (1998).

Stephen Prickett (ed.), The Romantics (1981).

Christopher Ricks, The Force of Poetry (1984).

Alan Sinfield (ed.), Society and Literature, 1945-1970 (1986).

Patricia Waugh, Harvest of the Sixties: English Literature and its Background, 1960-1990 (1995).

Patricia Waugh, Metafiction: The Theory and Practice of Self-Conscious Fiction (1984).

Peter Widdowson, The Palgrave Guide to English Literature

Recommended texts for theoretical issues

Catherine Belsey, Critical Practice (London: Routledge, 2002).

Andrew Bennett and Nicholas Royle, An Introduction to Literature, Criticism and Theory 4th edn

Terry Eagleton, Literary Theory: An Introduction

Further Reading: Film

Peter Bennett et al, Film Studies: The Essential Resource

Andrew Dix, Beginning Film Studies

John Hill, Film Studies: Critical Approaches

Jill Nelmes, An Introduction to Film Studies

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Lecture Schedule ENGL100 English Literature

Michaelmas Term:

Wk Lecture A Lecture B 1 Reading Literature (CE) Reading Criticism (MK) 2 Shakespeare, Twelfth Night (LOB) Reading Film: Twelfth Night (KLE) 3 Renaissance Sonnets (AGF) ‘Blood, Blazons and Bodies’ (LOB) 4 Chaucer, Wife of Bath (CE) Essay Writing: Expectations (AWT/JW) 5 Milton, Paradise Lost (HH) Revolutions (HH) 6 Reading Week Reading Week

7 Aphra Behn, Oronooko (AGF) Race, Gender and Class: An Introduction (AGF)

8 Jane Austen, Mansfield Park (MG) The Emergence of the Novel (MG)

9 Romantic Poetry: Spots in Time (KAH) Women Romantic Poets (SJJB)

10 American Romanticism (AWT) Essay Feedback (AWT/JW) Lent Term:

Wk Lecture A Lecture B 11 Gaskell, Mary Barton (KLE) The Realist Novel (JAC) 12 Victorian Dramatic Monologues (MK) Foucault, ‘What is an Author?’ (MG)

13 Structuralism and Ferdinand de Saussure (AHB) Stevenson, Jekyll and Hyde (KLE)

14 Conrad, Heart of Darkness (LCM) Barthes, ‘The Death of the Author’ (LOB)

15 Modernist Poetry: T.S Eliot (TP) Woolf, A Room of One’s Own (LOB) 16 Reading Week Reading Week 17 Introduction to Postmodernism (BB) Blade Runner (BB) 18 Paul Muldoon’s poetry (PF) Poetry and Place (JAC)

19 Kay, Trumpet (LCM) Preparing for the Tests: What Makes a Good Answer, Anyway? (JAC)

20 In-Class test In-class test

Lecture details correct at time of printing. There may be adjustments during term.

Please see Appendix A for a list of staff.

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Assessment

You will complete two essays, a 1,500-word essay and a 2,500-word essay, plus a non-assessed single A4 page essay plan; one group presentation in groups of 3-4 people; two in-class tests in week 20; and a project in weeks 21-24 (with related critical reflective essay).

Coursework makes up 100% of the module, with 60% of your mark split between your essays, presentation, and project, with the in-class tests being the other 40%.

Please familiarise yourself with the Departmental regulations concerning deadlines and extensions set out in the Part I Handbook. The format of the in-class test will be discussed at the beginning of the Spring Term.

• You must not repeat substantially in the in-class test topics or material which you have already offered for coursework assessment (this excludes the non-assessed practice essay).

• Hand essays in to the Part I essay box in the mixing bay in the Department. An electronic copy must also be submitted in the coursework folder in Moodle.

• All essays should follow the English Literature Style Sheet and should adhere to MHRA referencing guidelines. Essays should include a bibliography. Footnotes should be used to include full publication details for texts quoted or referred to.

• You must attach a cover sheet and presentation checklist (available from the mixing bay) to your work and sign the declaration that this is all your own work.

• You are advised to carefully read the section on plagiarism in the University core information (online).

• You are reminded that material copied from the internet without acknowledgement is plagiarism.

Your tutor will expect to see evidence of secondary research, and you must include a bibliography at the end of your essay. Give time to editing: marks will be deducted for errors of presentation as well as for mistakes in spelling, grammar and syntax, punctuation, etc. Your essays should offer a clear line of argument that recognises complexity and demonstrates sensitivity to literary detail.

ESSAY PLAN. Single side of A4, due Friday 12.00pm (noon), Week 3 (25th October 2019) to be submitted to the essay box and via Moodle.

This assessment is formative – i.e. it will be read and commented on by your tutor, but it will not receive a mark. You are to create an essay plan for Essay 1 of no more than one side of A4. Your tutor will then meet with you one-to-one in their consultation hour to give you verbal feedback and to help you as you work towards your first essay.

The essay plan should help you structure and focus your essay and give an outline of your argument, paragraph by paragraph. The essay plan should open with a single

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sentence outlining your main argument (e.g. ‘This essay will explore the ways in which the word ‘seem’ in Twelfth Night and Wife of Bath highlights the importance of perceptual uncertainty in both texts.’)

You may plan your essay in whatever format works best for you (a list or mind map, for example), but the plan you submit should be produced either as a list or bullet points with a sentence or phrase for each paragraph you will write. A good rule of thumb is that one paragraph should draw out a single point. It is often a good idea for the opening sentence of a paragraph to introduce the content and argument contained in that paragraph.

You may wish to draft elements of your essay in order to create your plan: you may want to start with close readings of specific scenes or extracts in order to work out your thinking. It can work well to create a ‘draft’ document, in which you write out thoughts, responses to the texts, notes on secondary criticism, and an ’essay’ document into which you transfer relevant paragraphs from the draft document, or else rewrite notes from the draft document into academic and readable form, thinking carefully about your reader’s comprehension.

The plan you produce will enable your tutor to give you good advice on your strengths, weaknesses, the scope and ambition as well as the content of your argument and plan, in order to enable you to produce a better first essay.

Try to reference at least 2 academically authoritative secondary works (articles, book chapters, or books) in your plan in addition to the primary texts. These may provide you with contextual information or a critical response that you can engage with in your answer. Your secondary bibliography can include extracts set as essential reading on Moodle.

ESSAY 1 (1,500 words), due Friday 12.00pm (noon), Week 6 (15th November 2019). Assessment Weighting: 10%.

All assessed essays must be submitted to the essay box and online to Moodle (see the handbook). All essays should include footnotes and a bibliography that follows the conventions of the Departmental style sheet perfectly. For Essay 1, you must engage with at least 4 academically authoritative secondary works (articles, book chapters, or books) in addition to two primary texts. Your secondary bibliography can include extracts set as essential reading on Moodle.

Essays must provide close readings, demonstrating sensitivity to literary detail.

Essay Topics:

1. How is an understanding of the term Renaissance or Reformation helpful in interpreting any two texts?

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2. Identify a ‘key word’ in two primary texts and identify the ways in which the multivalency of this word produces significance in your chosen texts. The word should be one which, in Raymond Williams’s terms, you find used in ‘interesting or difficult ways’.1 This may be a word that is multivalent because its meaning is unclear, ambivalent, or which changes through the text. You may focus on how the word is shaped by its contexts in the text, how it is manipulated, or how various meanings interact (and why these are important to understanding the text). Or you may wish to analyse the word in its historical, material context and how this wider understanding of the term informs interpretation of the literary text.

3. How do your primary texts depict the limitations or possibilities of human agency?

4. The depiction of gender is always dependent upon other identifications such as class, race or status. Do you agree? Answer in relation to either masculinity or femininity and refer to two of the set texts in your answer.

5. ‘You see, my lord, what working words he hath’ (Marlowe, Tamburlaine). In what ways do words work in two set texts?

6. Explore ONE of the following concepts or themes in relation to TWO texts: rebellion; the sacred; social status.

7. ‘Conscience is but a word that cowards use, | Devised at first to keep the strong in awe’ (Shakespeare, Richard III). Discuss the depiction of either cowardice or ambition in relation to two texts.

8. What is the significance of biblical or classical appropriation in your chosen texts?

9. What is the relation between humour and morality in two texts from the course?

ESSAY 2 (2,500 words), due Friday 12.00pm (noon) week 15 (14th February 2020). Assessment Weighting: 10%.

All essays should include footnotes and a bibliography that follows the conventions of the Departmental style sheet perfectly. Essays must provide close readings, demonstrating sensitivity to literary detail. You should answer in relation to two authors. You may write on any texts from the Michaelmas term’s syllabus (check with your seminar tutor if you are not sure which texts you can write on) provided you have not already written an essay on them either for ENGL100 or any other Part One course. Your essay must be presented in conformity with the conventions set out in the English Literature Style Sheet. Your essay should include reference to at least 6 secondary sources (articles, book chapters, or books).

1 Raymond Williams, Keywords: A Vocabulary of Culture and Society (Taylor and Francis, 2002), p. 12.

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Essay Topics:

1. How are political themes aestheticised in two texts from the course?

2. How is the relationship between the self, nature, and imagination expressed in either early Modern poetry or Romantic poetry (British and/or American)?

3. How do form and content relate to each other in different poetic forms? Does the relation influence how we read particular poems? Answer in relation to one or two poetic forms, e.g. the sonnet, blazon, free verse, etc., using the poetry of at least TWO authors.

4. To what extent is the understanding of a literary text dependent upon an understanding of the context in which it was written?

5. In what ways, and for what purposes, do literary texts draw attention to their own status as literature?

6. ‘Every work of art adheres to some system of morality. But if it is really a work of art, it must contain the essential criticism on the morality to which it adheres.’ Discuss this proposition in relation to TWO set texts.

7. How does the representation of place communicate either alienation or belonging in two texts from the course?

8. Discuss the inadequacy of language and/or writing in the texts of your choice.

PRESENTATIONS: Michaelmas Term. Assessment Weighting: 10%.

Towards the end of the Michaelmas Term, each student will be required to deliver an oral presentation, in groups of three or four. These presentations will be conducted in your weekly seminars and should act as a stimulus to further discussion with the group. The presentations will run in weeks 8, 9, and 10, and you will each be expected to hand in the notes you use to give your presentation and a bibliography at the end of your presentation. Your presentation should offer an argument in response to a question that you identify as a group. Please check your chosen question with your seminar tutor at least 1 week before your presentation (and preferably before).

Each presentation will focus on the texts being studied in the relevant week:

Week 8: Jane Austen, Mansfield Park

Week 9: Romantic poetry (the work of at least one poet)

Week 10: Whitman and/or Dickinson

You may discuss your ideas for the presentation with your seminar tutor in their one-to-one session.

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The presentation will be marked under the following headings: • Content: evidence of close reading, choice of textual examples, and use of

secondary sources • Structure of argument • Presentation skills

Students who fail to deliver their presentation on the agreed date will be penalised, unless they are able to document good reasons for their inability to present. Do not assume that you will be able to present the work at a later date. This can only be granted in cases where there are clearly documented and satisfactory reasons for absence/failure to complete work. Any rearranged presentations must abide by university rules regarding extensions.

In exceptional circumstances, the group mark may be replaced with individually awarded marks.

NB. Please see Moodle for further advice on preparing the oral presentation.

IN-CLASS TESTS Assessment Weighting: 40% Overall, each test worth 20% each.

The assessment for ENGL100 is completed with two forty-five-minute in-class tests at the end of the Lent Term. The tests cover the range of texts and issues studied on the course and the papers will be released the week before (details of timings will be given on Moodle nearer the time). You will not be allowed to take any notes or texts into the exam room. The tests will be conducted under strict exam conditions and absence from the test will result in a fail mark, unless you can produce evidence of extenuating circumstances.

In-Class Text 1 (Monday, 16th March, 2020, ENGL100 Lecture A Slot) will require you to provide an analysis of one extract chosen from a selection provided.

In-Class Text 2 (Tuesday, 17th March 2020, ENGL100 Lecture B Slot) will require you to write an essay in answer to one question from a selection provided.

Unless otherwise stated in the question, candidates will be expected to write on 2 authors (writers/poets/directors, etc.) for the in-class essay test.

You should not repeat material in the in-class test that has already been submitted as part of assessed coursework assessment (i.e. you may repeat material used for the practice essay if it did not get repeated in essay 2). Further information will be provided nearer the time.

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PROJECTS

Assessment Weighting: 30% Overall, project output worth 15% and reflective essay worth 15%.

You will move from the lecture/seminar teaching of the first two terms to workshops in the third term. You will attend weekly 2-hour workshops on your chosen subject (selected from a suite of options, such as Literary Lancashire, Emily Dickinson, Literature and Medicine). Led by a subject expert, you will work on a project brief in order to produce a specific output, such as a pamphlet, study guide, academic website, or academic edition. The project aims to link specialist research-led teaching to real-world scenarios and practice-based approaches. You will receive more information about the projects, format, and timetable, including the list of possible subjects, in the second term

You will produce a project output in small groups (to be presented during the workshop in week 24) and write an individual 2,000-word critical reflective essay (due Friday 12pm (noon), week 26, 29th May 2020).

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ENGL101: World Literature

Course Outline

Course Convenors: Professor Simon Bainbridge Michaelmas Term ([email protected]), Dr Jo Carruthers Lent/Summer Term ([email protected]) and Aaron Aquilina ([email protected])

ENGL101 World Literature deliberately looks outside the ‘canon’ of traditional English literature to consider world literatures written in English (from Africa, North America, Asia) and literatures in translation. You will explore a diverse range of texts and focus upon the theory and practice of translation. ENGL101 is a creative and innovative module which further develops an awareness and understanding of Literature, and proactively develops your study skills and autonomy as a student.

The course will ask you to become much more self-aware and self-reflective as a writer and critic. It will do this by asking you to write, not only for assessments, but regularly and self-critically, in order for you to begin to think through your own critical assumptions and practice, and carve out your own critical ground on which to stand. There is no examination in ENGL101. Instead, there are two coursework essays, which will enable you to experiment with critical form and practice if you wish, and a long project at the end, preceded by a short proposal which you will draw up and submit in consultation with your tutor. This long project will enable an in-depth study of texts and issues investigated in the course, and, if you take English at Part II, will begin to prepare you for the longer and more independent work undertaken in ENGL201 Theory and Practice of Criticism and ENGL301 Dissertation.

Course Aims and Objectives The course is designed to develop your knowledge and understanding of literature as a worldwide phenomenon and how it is changed and transformed as it works its way across different cultures, languages, and media. It will give you a thorough grounding in understanding world literatures in English and literatures in translation. On successful completion of the course, you will have developed an understanding of a wide range of issues relating to the cultural processes that are, and surround, translation, transmission and transcultural writing. Through your own experiences of reading, re-reading, writing, and rewriting you will have become more self-conscious as readers and as writers.

On successful completion of the course you will have:

1. a good knowledge of a wide selection of world literature in English

2. a keen understanding of the relationship between literature and place

3. a good understanding of how various different media are used to create fictional worlds.




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4. a well-developed facility for making connections between literary texts across time and space.

5. a well-developed facility for close reading of a wide range of literature.

6. developed a more self-conscious critical practice to enhance your preparation for Part II study.

7. a good knowledge of the relationship between writing and re-writing

8. a more developed understanding of the practices and processes of writing and critical activity.

9. developed oral and written communication skills in individual and group contexts

10. developed an understanding of the skills and tools of individual study and research, and work towards more independent modes of study and analysis.

Study Resources Further Reading (General)

Bennett, Andrew and Nicholas Royle, An Introduction to Literature, Criticism and Theory, 4th edition (Harlow: Longman, 2004)

Breckman, Warren, European Romanticism: A Brief History with Documents (Boston: St Martins, 2008)

Burton, Raffel, The Art of Translating Poetry

Carruthers, Jo, Mark Knight, and Andrew Tate, Literature and the Bible: A Reader (London: Routledge, 2013) (see especially section on ‘Translation’)

Cartmell, Deborah, A Companion to Literature, Film and Adaptation (Chichester: John Wiley & Sons, 2012)

Oakley-Brown, Liz, Shakespeare and the Translation of Identity in Early Modern England (London: Continuum, 2011)

Spooner, Catherine, Contemporary Gothic

Steiner, George, After Babel (Oxford: Oxford University Press, 1975)

Film Further Reading

Peter Bennett et al, Film Studies: The Essential Resource

Andrew Dix, Beginning Film Studies

John Hill, Film Studies: Critical Approaches

Jill Nelmes, An Introduction to Film Studies

For further reading see lists provided in lectures and/or on Moodle.

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Lecture Schedule ENGL101 World Literature

Michaelmas Term:

Wk Lecture A Lecture B 1 Introduction (LOB) The Bible: The Flood (MK) 2 The Bible and Novel: David Maine, The

Flood (AWT) The Bible and contemporary fiction (AWT)

3 Ovid, Metamorphoses (LOB) What is the Body (Who am I?) (LOB) 4 Kafka, Metamorphosis (SJS) Translation Theories (LOB) 5 More, Utopia (KAH) Heterotopia (LOB) 6 Reading Week Reading Week 7 Alf Layla wa Layla, Thousand and One

Nights (LCM) Orientalism (LCM)

8 Borges, Labyrinths (SJS) Labyrinths (SJS) 9 Rabelais and Early Modern Prose (AGF) Bakhtin and the Grotesque Body (CLS) 10 Contemporary African Writing (GRM) Review of the Course (LOB)

Lent Term:

Wk Lecture A Lecture B 11 Contemporary Translations: A Bird is Not

a Stone (ZL) Gaelic Poetry (PM)

12 World Vampires I: 'The Dead Travel Fast' (CLS)

World Vampires II: Global and Globalised Vampires (CLS)

13 Dante, Inferno (SR) Benjamin, 'Task of the Translator' (JAC) 14 Reading Graphic Novels (BP) Graphic Memoir: Alison Bechdel, Fun

Home (HH) 15 Haruki Murakami (TP) What is My Project? (JAC) 16 Reading Week Reading Week 17 Salman Rushdie, Midnight’s Children

(LCM) Magical Realism (AWT)

18 Salman Rushdie, Midnight’s Children (AWT) Empire (PD)

19 Kanafani, Men in the Sun (LCM) Boundaries, Borders, Enclosures (PD) 20 Tom Sperlinger, Romeo and Juliet in

Palestine (TS) Arendt (TS)

Summer Term:

Wk Lecture A Lecture B 11 Revisiting Theory (LOB) Revisiting Theory (MK) 12 Monstrous in Film: Doors, Portals and

Borders (BB) Pan’s Labyrinth: The Abject and the Feast (BB)

13 Literature/Film/Translation (KLE) Shakespeare and World Cinema (KLE) 14 From Writing to Image (AWT) Graphic Novel: Persepolis (AWT) 15 Editing your Project (EW) Project Workshop (JAC/BB)

Lecture details correct at time of printing. There may be adjustments during term. Please see Appendix A for a list of staff.

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Assessment

This course is assessed by three coursework essays (the first a non-assessed 500-word practice essay, the second 1,500 words long, and the third 2,000 words long, with the assessed essays worth 15% and 25% of the overall mark respectively); a 1000-word proposal for the long project, which will be developed in consultation with your tutor, worth 10% of the overall mark; and a 4000-word long project, which may consist of an essay or a portfolio of pieces, to be submitted in the Summer term, which makes up 50% of the course mark.

Please familiarise yourself with the Departmental regulations concerning deadlines and extensions set out in the Part I Handbook.




• You are advised to read carefully the section on plagiarism in the University core information (online).


We would like students on ENGL101 to develop themselves as self-conscious critics and writers. If you are studying CREW103 Creative Writing, you will become familiar with the practice of review, revision, and re-drafting that are all a part of the process of writing. As writers, we wish you to become more aware of your own style, how you write, and what strategies you use; how your research feeds in to the writing process, both in terms of ideas and in terms of form or writing style; and, if you are particularly inspired by the materials on the course, we will allow you to experiment formally with techniques of re-writing that are crucial to what ENGL101 explores. As thinkers, we wish you to become much more aware of when, how, and why critical works are produced; their times of writing and the circumstances that produce them; the politics and discourses of different ‘schools’ of theory and criticism, and the differences within those schools; and how critical works relate to how you think and approach literary study.

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PRACTICE ESSAY, (500 Words), due by Friday 12.00pm (noon), Week 5 (8th November 2019). This practice essay will be a short draft towards Essay 1; we recommend that you work towards that essay by producing a first draft of your overall argument and focus in on one (or at most two) short extract(s) that provides an ideal example to support your argument. The goal is to produce a convincing argument, defending your answer through reference to detailed evidence from the text. Present your work like a conventional essay with an introduction and conclusion (although these will necessarily be short).

You will be required to reference at least 2 academically authoritative secondary works (articles, book chapters, or books) in addition to the primary texts. These may provide you with contextual information or a critical response that you can engage with in your answer. Your secondary bibliography can include extracts set as essential reading on Moodle. The essay should include footnotes and a bibliography. All references must be placed in footnotes. In short, the essay should follow the layout and style of an essay, following the conventions of the Departmental style sheet perfectly.

ESSAY 1, (1,500 words), due by Friday 12.00pm (noon), Week 9 (6th December 2019). Assessment Weighting: 15%.

Choose one of the questions below. Your essay should include reference to at least 4 scholarly works (e.g. journal articles, book chapters, or books). 1. Analyse the representation and formal importance of transformation with regard

to two texts studied so far.

2. Choose one text that re-writes a biblical event. How does the text ‘write back’ to the biblical text? Or, how does the biblical text illuminate the rewriting? Or, what interpretive possibilities are opened up by placing the two texts alongside one another?

3. Analyse the relationship between the marvellous and the mundane in two texts studied so far.

4. Discuss the relationship between responsibility and masculinity in two texts studied so far.

5. ‘[A]s both geographical and cultural entities … such locales, regions, geographical sectors as “Orient” and “Occident” are man-made’ (Edward W. Said). Discuss how place is ‘man-made’ in relation to two texts studied so far.

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ESSAY 2, (2,00 words essay or critical/creative writing), due by Friday 12.00pm (noon) of Week 16 (21st February, 2020). Assessment Weighting: 25%.

Choose one of the questions below. Your bibliography should include at least 6 scholarly works (e.g. journal articles, book chapters, books).

1. How do two texts studied so far portray what it means to be ‘at home’ or alienated from home?

2. In two texts studied so far, analyse the representation of the ‘body’ in relation to mutation and/or the non-human.

3. Consider the difference in style and content of two translations, either of the same text or of two different texts.

4. Discuss how two texts studied so far on the course represent personal identity in relation to either a) place, b) national identity, or c) ‘normality’.

5. What is the purpose of the depiction of ideal, unreal, or ‘other’ worlds? Discuss in relation to two texts studied so far.

6. Consider the importance of allegory in the presentation of the journey in any two works studied so far.

Alternatively, for this assessment, you may, in consultation with your seminar tutor, produce a piece of critical/creative writing that re-writes a text studied so far in the course. Within the 2000-word limit, this should also comprise critical annotations or a commentary to frame your argument about how an act of translation, or literary re-writing, can work in practice. PROJECT PROPOSAL, due by Friday 12.00pm (noon), Week 20 (20th March 2020). Assessment Weighting: 10%.

This short piece of work is a means by which you will be able to formally prepare for your 4000-word long project, and gain formal feedback on it. It should be produced after discussion with your tutor about what you propose to study in your project. This should have to do with the core matters of the course: world literatures in English; the relation of literatures in English to European literary traditions; the literatures of Empire; translation and adaptation; formal experimentation; issues of cross-national and hybrid subjectivities and forms; and, in particular, the theory and practice of re-writing. The proposal should set out your argument, indicate the rationale for your choice of texts, and contain a bibliography. This means that you must start the research for your proposal after the submission of Essay 2, so that you have some sense of the key critical texts and authors that will inform your study. PROJECT, (4000-words), due by Friday 12.00pm (noon) of Week 27 (Friday 5th June, 2020). Assessment Weighting: 50%.

The project develops out of the parameters set out in the proposal, but as is the way with research projects, you will find that you may have to review these parameters or challenge your initial ideas.

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The project may take a range of forms. It might be a long essay, set out in scholarly fashion, which will allow an in-depth study of several texts and the core issues of the course, stated above. It might take a more experimental form, combining critical prose with inserted materials complete with commentary and annotations (note: this should be professionally presented and keep to the rigorous scholarly practice expected of all assessed work); it might be a critical/creative piece, with elements of creative work (poetry, fiction, non-fiction) as well as critical work, in a form of dialogue with each other. The project will allow you to explore the issues and materials that make up ENGL101 while developing your own critical and theoretical practices. We expect the project to be self-reflective and conscious of its own theoretical bases, and to provide evidence of your development as a writer and as a critic. Project Guidelines will be available on Moodle and you will get more information on the project within the lecture timetable.

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CREW103: Creative Writing

Course Outline

Course Convenor: Dr Veronica Turiano ([email protected])

This course aims to develop theoretical understanding and practical application of skills necessary to the craft of Creative Writing. Students will be encouraged to experiment with various forms and genres, to explore new approaches in drafting and editing their own work, and to engage in critical discourse in a writing workshop arena. Weekly lectures will introduce relevant terminology and offer insight from experienced writers, with seminars/workshops allowing students to practice technique, mature their voice and nurture their writer’s instinct. Term 1 will expose students to the tenets of crafting engaging prose and poetry, while Term 2 will cover key aspects of scriptwriting and introduce the inner workings of other genres. Term 3 will build a bridge to more advanced writing practice through deeper consideration of how creative texts are executed. Lectures and workshops will prompt the students to begin building their writing portfolio through a series of exercises, which they will revise, reshape, and refine through a process of textual analysis and reflection. Peer and tutor feedback will offer valuable awareness of the reader’s role in the writing process and help to guide the redrafting process through regular workshop submissions. Workshop participation is a required aspect of this course, and students will be required to submit work on a regular basis and to read and respond to the work of their peers. Course Aims and Objectives This course seeks to enable the development of students as skilled, confident writers through the discussion of core issues in Creative Writing combined with detailed critical engagement with their own and others’ work. Throughout the course, a series of lectures will offer insight into issues such as narrative construction, character development, and the use of poetic form. These lectures will work in unison with workshops in which new work is developed and refined through a number of different strategies. In addition, termly tutorials will provide students with one-to-one tutor feedback, and workshop tutors will routinely offer reading suggestions to amplify insight of creative texts and assist with inspiration, motivating students to experiment and expand their craft. This course will be delivered through two weekly lectures and one weekly seminar/workshop that will equip the successful student with a range of practical skills and theoretical knowledge essential to a writer's development, necessary for the study of Creative Writing at Part II, and transferable to other areas of academic study and the professional world beyond.


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On successful completion of the course, you will have:

1. Awareness of the effects of language, tone, and register on a reader or audience

2. Awareness of the role of the reader and audience

3. Strategies for initiating new creative work

4. Reflective appreciation of individual practice

5. Appropriate terminology and key ideas in creative writing

6. Understanding of professional and scholarly standards of presentation

7. Knowledge of genre and form and the structural elements of creative writing

8. Recognised the importance of reading in development of writing practice

9. Awareness of the work of established writers on the subject of Creative Writing

Skills:

1. The ability to engage in the creative process of writing and rewriting

2. The ability to work independently and engage in group work

3. The ability to read and respond to work in progress

4. The use and understanding of form in a manner suited to individual practice and in critique of other writers' work

5. The ability to work to deadlines

6. The ability to sustain ongoing critical engagement with complex written material

7. The ability to present work in both oral and written forms

8. The ability to self-direct study

9. The ability to reflect on writing processes and practices as part of critical self-development

Study Resources: Further Reading (general):

Atwood, Margaret, Negotiating with the Dead: A Writer on Writing (London: Virago, 2003).

Bell, Julia and Paul Magrs (eds.), The Creative Writing Coursebook (Basingstoke and Oxford: Macmillan, 2001).

Bickham, J. M., Writing the Short Story (Cincinnati, Ohio: Writer’s Digest Books, 1999).

Forche, Carolyn and Philip Gerard (eds.), Writing Creative Nonfiction: instruction and insights from the teachers of the Associated Writing Programs (Cincinnati, Ohio: Story Press, 2001).

Green, George and Lizzy Kremer, Writing a Novel and Getting It Published for Dummies (Oxford: Wiley, 2007).

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Lamott, Anne, Bird by Bird: Some Instructions of Writing and Life (New York: Bantam, 1980).

McKee, Robert Story: Structure, Style and the Principles of Screenwriting (London: Methuen, 1999).

Oates, Stephen B, Biography As High Adventure: Life-Writers Speak on Their Art (Amherst: University of Massachusetts Press, 1986).

Sansom, Peter, Writing Poems, Bloodaxe Poetry Handbooks 2 (Newcastle-upon-Tyne: 1994).

Steel Jayne (ed.), Wordsmithery (London: Palgrave, 2006).

Yorke, J. Into the Woods: How Stories Work and Why We Tell Them (London: Penguin, 2013).

For further reading, see lists provided in lectures and/or on Moodle.

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Lecture Schedule CREW103 Creative Writing

Michaelmas Term:

Wk Lecture A Lecture B 1 Introduction to Creative Writing (VT) Narratology: The Elements of Storytelling

(VT) 2 Creative Character (JA) Character (MG) 3 Voice: Signature, Logo and Style in

Fiction (GG) Dialogue (GG)

4 Craft and Graft: An Introduction to the Writing Process (JA) 100 days of Writing (JA)

5 Time’s Arrow - How We Experience Time (GRM) ‘The Short & Long of it’ (ZL)

6 Reading Week Reading Week 7 Raid – Making and Shaping Poems from

Impulse to First Drafts (GRM) Poetic Form (AES)

8 Poetry and the Action Hero (LOB) Addressing the Reader (LOB) 9 The Elbows of the Air - Figurative

Language of Poetry (GRM) Messages in Bottles’ (GRM)

10 The Critical Reflection (VT) Term Review (VT)

Lent Term:

Wk Lecture A Lecture B 11 Paul Muldoon (PM) Twenty Short Lectures on Poetry (PF) 12 Writing for the Screen: Introduction

(TSH) Camera Angles and Prose (JA)

13 Writing for the Theatre (TSH) Write Like Shakespeare? (LOB) 14 Introduction to Graphic Novels (BP) Press Play: Video Game and New Media

Narratives (VT) 15 Writing for Radio (TSH) Sound and Soundscapes (JAC) 16 Reading Week Reading Week 17 The Friday Gospels - Research into

Writing (JA) Writing and Politics: Short Stories and The War Tour (ZL)

18 North Country (TSH) Edgelands (PF) 19 Something in the Way: Ekphrasis (PF) The Mattressphere (PF) 20 Writing in and about Strange Places (BB) Writing Gothic: Terror, Horror and Excess

(CLS)

Summer Term:

Wk Lecture A Lecture B 11 Paul Muldoon (PM) The Secret Life of a Poem (PF) 12 Writing History (GG) In Dialogue with Genre (TSH) 13 Writing Fluid Genre Characters (IGL) Exploding Genre (EW) 14 Language and Shock (EW) Writing for Screen – Short Films (TSH) 15 Writing biography (BP) No Lecture

Lecture details correct at time of printing. There may be adjustments during term. Please see Appendix A for a list of staff.

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Assessment This module is assessed by 100% coursework, made up of two assessed portfolios of written work. The first portfolio is due in at the start of Term 2 and comprises a 1,000-word portfolio (12%), a 500-word annotated bibliography (4%), and a 500-word proposal (4%) for the second assessed portfolio. The latter two are marked on a pass/fail basis. The second portfolio, due in the summer term, will include 4,000 words of creative work (72%) developed throughout the year, the majority of which will have been redrafted in response to peer and workshop feedback. The second portfolio will also contain a 1,000-word critical reflection (8%), in which students will textually investigate the work within their portfolio in terms of genre and execution and its development. The critical reflection should include an extensive bibliography of material that has informed the work within the portfolio. The two portfolios are designed to support the transition of students into the degree by giving them summative assessment and feedback through the year. The focus on a variety of 'skills' in Term 1 will enable the students to explore different writing techniques before embarking on an independent project in Term 2.

ASSESSMENT 1, (1000-words portfolio 12%, 500-word annotated bibliography 4% & 500-word proposal 4%). Assessment Weighting: 20%

Due by Friday 12.00pm (noon) of Week 11 (Friday 17th January, 2020).

ASSESSMENT 2, (4000-words portfolio 72%, 1000-word critical reflection 8%). Assessment Weighting: 80%

Due by Friday 12.00pm (noon) of Week 25 (Friday 22nd May, 2020).

Please familiarise yourself with the Departmental regulations concerning deadlines and extensions set out in the Part I Handbook.




• You are advised to read carefully the section on plagiarism in the University core information (online).


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Enrolment Information

Part I enrolment is a twofold process. There is online pre-enrolment which happens around 2 weeks before welcome week, this allows students to have a look at which minor/optional modules are available to take and to pre-enrol onto them before they arrive at the University. This process is done via the online student portal.

Then there is the main Part I enrolment session, which you must attend, this takes place on the Wednesday of welcome week. This is where students either confirm their pre-enrolments (if they took part in the online process) or sign up for their modules manually at departmental desks.

Note: If you wish to carry on a minor subject into Part II you will have to take the right Part I subject module. So for example, to take History modules in years 2 or 3 you will have needed to have taken HIST100 in year 1. If you are unsure about any details of module pre-requisites just ask the Part I coordinator.

Changes to Part I enrolment will only be accepted in the first three weeks of the course module.

This allows students to change minor/optional modules within the first three weeks of the study. Students may want to change their minor for a number of reasons: they may not enjoy the module they have chosen or would prefer another subject. Changes have to be agreed by the dropped department and the new module department. There is a Part I change of minor form which needs to be completed and this is available from your major department.

Part I Online Pre-Enrolment Though this process is not compulsory students may want to take part as it can make the process of formalising enrolment in welcome week a bit easier. Students can wait until the main enrolment session on Wednesday of welcome week to complete enrolment manually. There will be a ‘Minor Marketplace’ on Monday of welcome week and students may want to attend this before making up their minds about which modules they wish to take.

Students can view, through the online student portal pre-enrolment screen, the compulsory modules they are already enrolled onto and view a list of modules which they can pre-enrol onto as minor/optional modules. Students are automatically enrolled onto the compulsory modules for each scheme so there is no need to enrol onto these modules.

If you choose to take part in pre-enrolment the ‘Part I pre-enrolment’ screen will explain how many minor/optional modules you need to select. It will depend on how many credits your scheme allows you to take in a minor subject or if your scheme has any

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optional modules. You can then select the modules and they will register as pre-enrolments on our student record system.

Students are able to enter the pre-enrolment screen at any point and change their choices. The pre-enrolment process is usually closed on the Monday of welcome week so that the choices are locked in for the main enrolment session on the Wednesday.

Some minor modules will require pre-requisite qualifications, so for example we require students to have at least a B in A-level in English Literature and/or English Language to enrol for CREW103. These pre-requisites are detailed on the pre-enrolment screen and are checked on the main enrolment day. We have each student’s education qualifications printed on the enrolment forms so you do not need to bring any details of these.

Student’s pre-enrolment choices are detailed on hard copy enrolment forms which are used during the main session on Wednesday. These choices are double checked and then confirmed by the relevant department on this day. Pre-enrolments can be changed during the Wednesday session by going to the relevant departmental desk.

Part I Main Enrolment Session On Wednesday of welcome week all Part I students are required to attend the Part I Enrolment session either to choose or to confirm their enrolments. Students are required to come in allotted times according to their college.

Students must collect a hard copy of their Part I enrolment form from their majoring department’s desk. They must then approach the relevant department desks to either confirm a pre-enrolment or to sign up manually to a module. For example, if you want to enrol onto HIST100 you would go to the History department desk and they would then confirm your pre-enrolment or manually sign you up.

If you have pre-enrolled for a module you still need to visit the relevant desk to get this pre-enrolment confirmed. Pre-enrolment on a module also does not guarantee you a place on a module.

Your majoring department should explain the programme requirements when you collect the form and once you have the correct number of modules you then hand the completed form to the Student Registry desk located before you leave the enrolment hall.

Departments will inform you how to sign up to seminars when you visit the desk and confirm enrolment.

Part I Enrolment Information - Major Students The following information is only relevant to majoring students within the department of English Literature and Creative Writing.

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Students must take 120 credits at Part I. The majority of Part I modules are 40 credits, therefore students normally take three modules are Part I. There are exceptions where some Part I modules are worth 16 or 24 credits. This will be made clear to you at the enrolment stage.

The following information outlines the minor module requirements for students majoring with the department:

Part I Enrolment Information – Other Administrating Departments

The following programmes are not administrated by the department of English Literature and Creative Writing but are joint major programmes with the department:

Programme Administrating Dept

BA (Hons) Film and English Literature LICA

BA (Hons) Fine Art and English Literature LICA

BA (Hons) Theatre and English Literature LICA

BA (Hons) Film and Creative Writing LICA

Programme Compulsory Module

Additional Credit Requirements

BA (Hons) English Literature

ENGL100 English Literature

(40 credits)

80 credits of minor modules to be taken. This is equivalent to two 40 credit modules.

BA (Hons) English Literature and Creative Writing


(40 credits)

CREW103 Creative Writing (40 credits)

40 credits of minor modules to be taken. This is equivalent to one 40 credit module.

BA (Hons) English Literature, Creative Writing and Practice


(40 credits)

CREW103 Creative Writing (40 credits)

40 credits of minor modules to be taken. This is equivalent to one 40 credit module.

BA (Hons) English Literature with Joint Major


(40 credits)

Joint Major Module

(40 credits)

40 credits of modules to be taken. This can be in a minor subject but some joint depts require two compulsory modules. This will be explained at the enrolment stage.

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Programme Administrating Dept

BA (Hons) Fine Art and Creative Writing LICA

BA (Hons) Theatre and Creative Writing LICA

BA (Hons) French Studies and English Literature Languages and Cultures

BA (Hons) German Studies and English Literature Languages and Cultures

BA (Hons) Spanish Studies and English Literature Languages and Cultures

BA (Hons) English Literature and Linguistics Linguistics and English Language

BA (Hons) Linguistics and Creative Writing Linguistics and English Language

BA (Hons) English Language and Creative Writing Linguistics and English Language

Students on these programmes are required to take either ENGL100 English Literature or CREW103 Creative Writing depending on the subject of their joint major. The requirements for enrolment will be made clear during the enrolment process and will be organised by the administrating department.

Enrolment Questions If you have any questions regarding Part I enrolment please contact the Part I coordinator on [email protected]


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Appendix A Staff Initials

JA = Jenn Ashworth

BB = Brian Baker

SJJB= Simon Bainbridge

AHB= Arthur Bradley

JAC= Jo Carruthers

PD= Philip Dickinson

CE= Clare Egan

KLE= Kamilla Elliott

PF= Paul Farley

AGF= Alison Findlay

MG= Mike Greaney

GG= George Green

KAH= Keith Hanley

TSH= Tajinder Hayer

HH= Hilary Hinds

MK= Mark Knight

ZL= Zoe Lambert

LCM= Lindsey Moore

GRM= Graham Mort

LOB= Liz Oakley-Brown

TP= Tony Pinkney

SR= Sharon Ruston

SJS= John Schad

AES= Tony Sharpe

CLS= Catharine Spooner

AWT= Andy Tate

VT= Veronica Turiano

EW= Eoghan Walls

Visiting Speakers:

TS= Professor Tom Sperlinger, University of Bristol

JW= Joanne Wood, FASS Learning Developer

Visiting Professors:

TE= Professor Terry Eagleton

PM= Professor Paul Muldoon

BP= Professor Benoît Peeters

IMPORTANT INFORMATION

TERM DATES Michaelmas Term: 4 October 2019 to 13 December 2019 Lent Term: 10 January 2020 to 20 March 2020 Summer Term: 17 April 2020 to 26 June 2020

CONTACTS

• Part I Coordinator Rebecca Shaw Email: [email protected] Tel: 01524 592154 Room: B114 County Main

• Director of Part I

Professor Simon Bainbridge (Michaelmas) [email protected], B204 Dr Jo Carruthers (Lent/Summer) [email protected], B205

• Course Leader for CREW103: Dr Veronica Turiano, [email protected], B199

• Assistant Course Convenor ENGL100: Dr Dawn Stobbart, [email protected], B194

• Assistant Course Convenor ENGL101: Aaron Aquilina, [email protected],

Postal Address: Department of English Literature and Creative Writing County College Lancaster University LA1 4YD

Department Website: www.lancaster.ac.uk/english-literature-and-creative-writing/ Twitter: @lancaster_words Facebook: English Literature and Creative Writing at Lancaster

Facebook Group: First Year ELCW @Lancaster 2019/20













http://www.lancaster.ac.uk/english-literature-and-creative-writing/

http://www.lancaster.ac.uk/english-literature-and-creative-writing/