Department of 2019-20 - English Literature and Creative Writing Part I Module Booklet - Lancaster University
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Department of
English Literature and Creative Writing
Part I Module Booklet
2019-20Contents 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
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:
yearoneelcw@lancaster.ac.uk or contact one of the Part I Team:
Part I Coordinator - Rebecca Shaw (r.shaw1@lancaster.ac.uk) 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.
1Part 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’.
2T.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.
3Browse 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: lancaster@blackwell.co.uk
4We 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) d.stobbart1@lancaster.ac.uk and Aaron Aquilina (ENGL101)
a.aquilina@lancaster.ac.uk. Don’t forget our Part One Mentors – available via the
Facebook group.
5ENGL100: English Literature
Course Outline
Course Convenors: Professor Simon Bainbridge Michaelmas Term
(s.j.bainbridge@lancaster.ac.uk), Dr Jo Carruthers Lent/Summer Term
(j.carruthers@lancaster.ac.uk) and Dawn Stobbart (d.stobbart1@lancaster.ac.uk)
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.
6Issues
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).
7A. 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
8Lecture 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
Race, Gender and Class: An Introduction
7 Aphra Behn, Oronooko (AGF)
(AGF)
8 Jane Austen, Mansfield Park (MG) The Emergence of the Novel (MG)
Romantic Poetry: Spots in Time
9 Women Romantic Poets (SJJB)
(KAH)
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)
Structuralism and Ferdinand de
13 Stevenson, Jekyll and Hyde (KLE)
Saussure (AHB)
Barthes, ‘The Death of the Author’
14 Conrad, Heart of Darkness (LCM)
(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)
Preparing for the Tests: What Makes a
19 Kay, Trumpet (LCM)
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.
9Assessment
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
10sentence 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?
112. 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.
12Essay 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.
13The 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.
14PROJECTS
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).
15ENGL101: World Literature
Course Outline
Course Convenors: Professor Simon Bainbridge Michaelmas Term
(s.j.bainbridge@lancaster.ac.uk), Dr Jo Carruthers Lent/Summer Term
(j.carruthers@lancaster.ac.uk) and Aaron Aquilina (a.aquilina@lancaster.ac.uk)
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.
164. 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.
17Lecture 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
The Bible and contemporary fiction (AWT)
Flood (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
Orientalism (LCM)
Nights (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
Gaelic Poetry (PM)
a Stone (ZL)
12 World Vampires I: 'The Dead Travel Fast' World Vampires II: Global and Globalised
(CLS) Vampires (CLS)
13 Dante, Inferno (SR) Benjamin, 'Task of the Translator' (JAC)
14 Graphic Memoir: Alison Bechdel, Fun
Reading Graphic Novels (BP)
Home (HH)
15 Haruki Murakami (TP) What is My Project? (JAC)
16 Reading Week Reading Week
17 Salman Rushdie, Midnight’s Children
Magical Realism (AWT)
(LCM)
18 Salman Rushdie, Midnight’s Children
Empire (PD)
(AWT)
19 Kanafani, Men in the Sun (LCM) Boundaries, Borders, Enclosures (PD)
20 Tom Sperlinger, Romeo and Juliet in
Arendt (TS)
Palestine (TS)
Summer Term:
Wk Lecture A Lecture B
11 Revisiting Theory (LOB) Revisiting Theory (MK)
12 Monstrous in Film: Doors, Portals and Pan’s Labyrinth: The Abject and the Feast
Borders (BB) (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.
18Assessment
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.
• 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 read carefully the section on plagiarism in the University core
information (online).
• You are reminded that material copied from the internet without
acknowledgement is plagiarism.
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.
19PRACTICE 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.
20ESSAY 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.
21The 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.
22CREW103: Creative Writing
Course Outline
Course Convenor: Dr Veronica Turiano (v.turiano@lancaster.ac.uk)
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.
23On 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).
24Lamott, 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.
25Lecture Schedule
CREW103 Creative Writing
Michaelmas Term:
Wk Lecture A Lecture B
1 Narratology: The Elements of Storytelling
Introduction to Creative Writing (VT)
(VT)
2 Creative Character (JA) Character (MG)
3 Voice: Signature, Logo and Style in
Dialogue (GG)
Fiction (GG)
4 Craft and Graft: An Introduction to the
100 days of Writing (JA)
Writing Process (JA)
5 Time’s Arrow - How We Experience Time
‘The Short & Long of it’ (ZL)
(GRM)
6 Reading Week Reading Week
7 Raid – Making and Shaping Poems from
Poetic Form (AES)
Impulse to First Drafts (GRM)
8 Poetry and the Action Hero (LOB) Addressing the Reader (LOB)
9 The Elbows of the Air - Figurative
Messages in Bottles’ (GRM)
Language of Poetry (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
Camera Angles and Prose (JA)
(TSH)
13 Writing for the Theatre (TSH) Write Like Shakespeare? (LOB)
14 Press Play: Video Game and New Media
Introduction to Graphic Novels (BP)
Narratives (VT)
15 Writing for Radio (TSH) Sound and Soundscapes (JAC)
16 Reading Week Reading Week
17 The Friday Gospels - Research into Writing and Politics: Short Stories and The
Writing (JA) War Tour (ZL)
18 North Country (TSH) Edgelands (PF)
19 Something in the Way: Ekphrasis (PF) The Mattressphere (PF)
20 Writing Gothic: Terror, Horror and Excess
Writing in and about Strange Places (BB)
(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.
26You can also read
