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MODULE OPTION BOOKLET

▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ BA (Hons) English and Creative Writing LEVEL 5 ▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓

Academic Year 2012‐2013

Contents

NOTES ON THE BOOKLET ...... 2

MODULES: SEMESTER 1 ...... 3

MODULES: SEMESTER 2…………...... 9

UNIVERSITY WIDE LANGUAGE PROGRAMME ...... 15

Notes on the Booklet

All undergraduate students currently in Level 4 and Level 5 must now choose their module options for next year. This booklet gives you a brief description of the modules which are given in level, semester and then alphabetical order. The list of modules available to your particular programme of study is given on the particular programme option form. Please make sure that you use the correct form. Hand in your completed option form to the HULSS School office by the time stipulated. Some modules will be ‘capped’ at a maximum number of students, and unless otherwise stipulated, these will operate on a ‘first come, first served’ basis. There are also strict deadlines to which the School must adhere, so please decide quickly.

All forms must be returned by 2.00 pm, 27 APRIL 2012

Modules in this booklet are provisional, and may be subject to change. Students will be notified if this happens and will be given their next module choice.

Information regarding the modules on offer for this level in 2012‐13 is contained in the following pages. If you require any further details, please contact the module convenor specified.

Please consider your options carefully as once you have submitted your form you will be unable to change them.

As you are not necessarily guaranteed your preferred modules, please indicate your preferences for each semester in rank order (number them 1, 2, 3, etc.). Modules which under‐recruit will not run, and some modules will operate with restricted numbers. If you are not able to take your preferred modules due to ‘caps’, you will default to the next available module on your list.

All students take six modules per year; three per semester.

Students select three creative writing modules and three literature module over the two semesters. Students must select one core English literature module during the course of Level 5 and 6. They can also select other core English literature modules as options.

SEMESTER ONE

CREATIVE WRITING MODULES

WRITING FOR PERFORMANCE (30654) Jennifer Tuckett Level 5, Semester 1 CAPPED at 40 This module offers the opportunity to explore writing for the BBC, particularly in terms of radio writing this year. You will work with your professional scriptwriting tutor and your peers to produce a radio play, ready to be submitted for potential professional production to the BBC. Radio is a form that is very open to new writers ‐ around 50% of all radio plays produced by the BBC are by writers new to radio and many writers begin working with the BBC in radio prior to moving on to film and television. This module builds on last year’s Write by the Quays project via which 6 University of Salford students saw their work produced by the BBC.

Texts discussed on this module include:

Examples of radio plays can be found on the BBC Writersroom website – www.bbc.co.uk/writersroom

Assessment: The module will be assessed by a scene outline (30%); creative piece of work (70%)

PLAYWRITING (33067) Jennifer Tuckett Level 5, Semester 1 CAPPED at 20 This module offers a unique opportunity to work with one of the UK's leading theatres, the Birmingham Repertory Theatre, via their new playwriting programme Repwrites. You will have a chance to work with a professional playwright as your tutor and explore how to write a brilliant full length play, working with your peers, the theatre industry, and your tutor on this project, which will potentially lead to a professional production. Playwriting is an industry that is very open to new writers and has begun the careers of many of today's leading writers in theatre, television, film, radio and fiction ‐ students on this module have gone on to work with some of the UK's leading theatres, including the Royal Exchange Theatre in Manchester, the Octagon Theatre in Bolton and the BBC.

Assessment: The module will be assessed by a scene outline (20%); creative piece of work (80%)

WRITING FICTION: CONTEMPORARY PRACTICE (25151) Ursula Hurley Level 5, Semester 1 CAPPED at 20 This module aims to equip you with an overview of the state of contemporary fiction, exploring the opportunities and choices available to emerging writers. We will survey a broad range of contemporary practice, from literary fiction to experimental fiction and genre fiction, including ‘chick lit’, historical fiction, crime/thrillers, science fiction, and supernatural/fantasy fiction. Via this survey we will continue to develop your ‘writer’s tool‐kit’, adding to the skill and sophistication with which you employ techniques such as point of view, narrative drive, setting, character and dialogue. You will also receive tuition in how the publishing industry works, and the skills that a professional writer needs to acquire. Work submitted for assessment may vary in form. You may choose to develop a series of shorter pieces,

3 or to submit an extract from a longer piece. The possibilities of multi‐media presentation will be explored, so submissions may not necessarily be paper based.

Students are encouraged to present their own selection of texts for workshop discussion, but the following texts are indicative of what we will cover: Writing Craft Burroway, Janet and Stuckey‐French, Elizabeth. Writing Fiction: A Guide to Narrative Craft (7th Edition) (Pearson Longman: London, 2006). Graham, Robert (ed.). How to Write Fiction (and Think About It )(Palgrave Macmillan: Basingstoke, 2007). Smith, Hazel .The Writing Experiment : strategies for innovative creative writing, 2005 (Allen & Unwin). Contemporary novels Atwood, Margaret. The Year of the Flood, 2009 (Bloomsbury: London) Auster, Paul. Invisible, 2010 (Faber & Faber: London) Winterson, Jeanette. The PowerBook, 2001 (London: Vintage)

Assessment: The module will be assessed by a 1000 word Reflection on Drafting Process (inc annotated bibliography) (25%) and a 2500 word piece of short fiction, a series of shorter fictions, or a novel extract (inc 3 pieces of evidence documenting engagement with contemporary practice e.g. drafts, journal excerpt, visiting writer review, field trip report) (75%). Submissions will depend upon the interests of the individual student, and are subject to negotiation with the module tutor.

ENGLISH MODULES

THE ROMANTIC PERIOD ((18677) Dr Deaglán O'Donghaile Level 5, Semester 1 The Romantic period (c. 1780‐1820) was a time of revolution when radical writers began to argue for the natural rights of mankind. Following the American and French Revolutions, there were debates in print over the rights of man, woman, slaves, religious dissenters, Catholics, and animals. It was a time when poets experimented with new literary forms and styles, the novel began to emerge as a recognisable genre, and plays were popular. The ‘spirit of the age’ newly discovered nature, the sublime, childhood, nationhood, empire, the self, and the gothic. This module will consider these themes within their historical and cultural context, paying close attention to the language of the texts themselves.

Primary Reading List: Duncan Wu, ed. Romanticism: An Anthology, 3rd edn. (Blackwell, 2006) William Godwin, Caleb Williams (1794), ed. Gary Handwerk & Arnold Markley (Broadview Press, 2000) Joanna Baillie, De Monfort (1798), ed. Peter Duthie (Broadview Press, 2000) Jane Austen, Sense and Sensibility (1811), ed. Ros Ballaster (Penguin, 2005) Charles Maturin, Melmoth the Wanderer, ed. Douglas Grant (OUP, 2008) James Hogg, Private Memoirs and Confessions of a Justified Sinner, ed. Karl Miller (Penguin, 2006)

It is advisable that you read the novels on this module in advance of the module. The poetry is found in Romanticism: An Anthology. You may also find Sharon Ruston’s student guidebook useful: Romanticism: Introductions to British Literature and Culture (Continuum, 2007).

Assessment: One 2000 word close reading essay, (40% of final mark), and a two‐hour examination (60% of final mark).

BRITISH WRITERS AND POPULAR CULTURE from the 1930s to 1980s (27552) Dr Ben Harker Level 5, Semester 1 This module will explore some of the ways in which British writers and intellectuals have represented and engaged with popular culture over a fifty‐year period. We will be analysing the histories and meanings of terms such as ‘culture’, ‘popular culture’, ‘mass culture’, ‘highbrow’ and ‘literary’. These terms will be used to frame analysis of a wide range of texts including novels, essays, poems, television programmes, films and plays. Throughout the course we will be keeping a close eye on the period’s shifting historical and political contexts; questions around class, gender, sexuality and national identity will be at the forefront of our enquiries.

Set texts (likely to include most of the following): Novels: Aldous Huxley, Brave New World (1932; London: Vintage, 2003) Graham Greene, Brighton Rock (1938; London: Vintage, 2004) Virginia Woolf, Between the Acts (1941: London: Penguin, 2000) Colin MacInnes, Absolute Beginners (1959; London: Allison and Busby, 2001). Also available in The London Novels (London: Allison and Busby, 2005)

Poems: Adrian Henri, Roger McGough and Brian Patten, The Mersey Sound (1967; London: Penguin, 2007)

Films: John Boulting dir., Brighton Rock (1947) A selection of ‘Free Cinema’ documentaries.

Television: Philip Saville dir., Boys from the Blackstuff (1982)

Assessment: One 1,500 word essay mid‐semester (30%) and one 3,000 word essay at the end of the semester (70%).

CHAUCER AND SOCIETY IN THE LATE FOURTEENTH CENTURY (10347) Professor Susan Powell Level 5, Semester 1 Students will develop an awareness of the nature and complexity of fourteenth‐century English society through the major work of the major writer of that period: The Canterbury Tales by Geoffrey Chaucer. We will investigate the principal genres of medieval English literature as exemplified in The Canterbury Tales and study the relationship between society and literature in the second half of the fourteenth century.

Set Texts:

Geoffrey Chaucer, The Canterbury Tales: Nine Tales and the General Prologue, ed. V. A. Kolve and Glending Olson (Norton Critical Edition) : Read: General Prologue, Miller's, Reeve's and Cook's Tales, Knight's Tale, Friar's, Summoner's and Pardoner's Tales, Prioress's and Nun's Priest's Tales, Clerk's Tale, Wife of Bath's Prologue and Tale, Merchant's and Franklin's Tales Suggested preparatory reading Steve Ellis, Chaucer: An Oxford Guide (Oxford, 2006) (very useful on society and culture) Seth Lerer, ed., The Yale Companion to Chaucer (Yale, 2008)

Assessment: A presentation (30% of final mark) and a 3000 word essay (70% of final mark).

CONTEMPORARY APPROACHES TO WRITING AND PERFORMANCE (31996) Dr Kate Adams Level 5, Semester 1 Contemporary Approaches to Writing and Performance begins with the question ‘What is the place of the writer/creative practitioner in society?’ The module then addresses a series of five questions which open up approaches to writing and performing in contemporary society:

Primary texts (indicative) Blast Theory (2002) Desert Rain: a Virtual Reality Game/Installation [DVD] Blast Theory Curious (2004) On the Scent/Essences of London [DVD] Arts Admin. D’Arbeloff, Natalie (1989) Augustine’s True Confession. London: NdA Press Hejinian, Lyn (2002) My Life København and Los Angeles: Grenn Integer. Saunders, George (2005) “Four Institutional Monologues” in Eggers, D. ed, The Best of McSweeney’s Volume 1. London: Penguin

Assessment: a combination of presentation in pairs (25%), and critical/creative project, including critical case study, creative exploration and reflection. (75%)

FEMALE GOTHIC (10338) Frances Piper Level 5, Semester 1 The module will focus on a selection of Gothic novels and short stories by women. Students will be introduced to the themes and conventions of Gothic writing and to the specialised vocabulary of, and theoretical approaches to, the Female Gothic. We will explore the significance of various recurrent tropes and features such as: the uncanny, the abject, the absent/dead mother, convents, excess, the heroine, etc. Particular attention will be given to the historical and cultural context of the texts and students will be encouraged to consider how and why the Female Gothic evolved in the course of the nineteenth and twentieth centuries.

Primary Texts: Ann Radcliffe, The Italian (1796) Jane Austen, Northanger Abbey (1818) Charlotte Brontë, Villette (1853) Charlotte Perkins Gilman, ‘The Yellow Wallpaper’ (1892) Daphne du Maurier, Rebecca (1938) Angela Carter, The Bloody Chamber (1979) Hideo Nakata (dir.), Dark Water (2002)

Assessment: The module will be assessed by a 1,500 word diagnostic essay (30%) and a 3,000 word essay (70%)

ISSUES IN ADAPTATION 1: LITERATURE ON STAGE AND SCREEN (28364) Frances Piper Level 5, Semester 1 In Issues in Adaptation 1, students study a range of literary texts (usually FOUR OR FIVE novels) and their stage or screen counterpart(s). The distinctiveness of each cultural form will be considered in relation to the themes and issues that the texts themselves reflect upon. The comparative roles of author, screenwriter and director as well as issues such as genre and conditions of production will inform these discussions. Similarly, there will be opportunities to explore the role of technical arts such as scenography, music, and sound production.

The two‐hour seminars will consist of a mix of viewing, presentations and discussion rather than formal lectures. The first assessment is an individual presentation in which you will present a critical and aesthetic strategy for the adaptation of a short section of a selected literary text for either screen or stage.

Students will be expected to attend five screenings during the course of the module.

Indicative reading: The Great Gatsby (1925) by F. Scott Fitzgerald Rebecca (1938) by Daphne du Maurier Lolita (1955) by Vladimir Nabokov Tinker, Tailor, Soldier, Spy (1974) John le Carre The Girl with the Dragon Tattoo (2008) by Steig Larsson

Assessment: Individual seminar presentation (30%); Examination (70%): answer TWO questions, one seen, one unseen.

UTOPIAS AND DYSTOPIAS (28773) Dr. Carson Bergstrom Level 5, Semester 1 Tutors: Carson Bergstrom, Karl Dayson, John Callaghan, Deaglán Ó Donghaile, and Ben Harker Idealised human societies‐‐utopias‐‐have played an important role in the development of literature, sociology, and politics. These Brave New Worlds have envisaged societies where economic and gender divisions are eliminated, and/or where science and rationalism rule. But authors have also been interested in what happens when these societies go wrong, when dystopian nightmares dominate. The authors covered in the module include Thomas More, William Morris, H. G. Wells, Jack London, Anthony Burgess, and George Orwell.

Indicative Reading: Burdekin, Katharine. Swastika Night. 1937; New York: Feminist Press, 1995. Burgess, Anthony. A Clockwork Orange. London: Penguin, 2000. Burgess, Anthony. The Wanting Seed. London: W. W. Norton & Co., 2001. Dick, Philip K. Do Androids Dream Of Electric Sheep?: The Novel Which Became 'Blade Runner'. London: Gollancz, 2004.

Fourier, Charles. The Theory of Four Movements. Cambridge: CUP, 1996. London, Jack. The Iron Heel. New York: Penguin, 2006. Marx, Karl. Capital. London: Penguin, 1990. More, Thomas. Utopia. In Thomas More: Utopia; Francis Bacon: New Atlantis; Henry Neville: The Isle of Pines. Ed. Susan Bruce. Oxford: Oxford UP, 1999. Morris, William. News from Nowhere. London: Penguin, 1984. Neville, Henry. The Isle of Pines. In Thomas More: Utopia; Francis Bacon: New Atlantis; Henry Neville: The Isle of Pines. Ed. Susan Bruce. Oxford: Oxford UP, 1999. Orwell, George. Nineteen Eighty‐Four. 1949; London: Penguin, 1989. Owen, Robert. New View of Society and Other Writings. Ed. Gregory Claeys. London: Penguin, 1991. Wells, H. G. A Modern Utopia. Ed. Gregory Claeys and Patrick Parrinder. London: Penguin, 2005.

Assessment: 2,500‐word essay (50%) and a two‐hour exam (50%).

WOMEN’S WRITING BETWEEN THE WARS (30652) Dr Kristin Ewins Level 5, Semester 1 This module explores the crucial role of women within the literary marketplace in the years between the First and Second World Wars, both as writers and as readers. We will study a number of well‐read and much‐loved novels primarily aimed at a broadly middlebrow readership—that is, tailored to appeal to mainstream values, tastes and sensibilities, and written in accessible language—for instance, novels by Stella Gibbons, Dorothy L. Sayers and Daphne du Maurier. We will examine the cultural role of emerging new readerships and the connections of reading fiction with other forms of cultural consumption, for instance, of films and popular magazines. Three key themes will run through our investigations of the material studied for this module: humour, class and sex, which extend to critical study of domesticity; gender and sexuality; education; women’s careers; the politics of readership; and the cultural phenomenon of the bestseller.

Indicative texts: Agatha Christie, The Murder of Roger Ackroyd (1926). E. M. Delafield, The Diary of a Provincial Lady (1930). Stella Gibbons, Cold Comfort Farm (1932). Rosamond Lehmann, Dusty Answer (1927). Dorothy L. Sayers, The Unpleasantness at the Bellona Club (1928). Daphne du Maurier, Rebecca (1938).

Indicative film: Alfred Hitchcock (dir.), Rebecca (1940).

Assessment The module will be assessed by a 1,500‐word essay (30%) and a 3,000‐word essay (70%).

SEMESTER TWO

CREATIVE WRITING MODULES

CREATIVE NON‐FICTION (32300) Ursula Hurley Level 5, Semester 2 Capped at 40 This module explores different forms and sub‐genres of creative non‐fiction, a genre which Lee Gutkind describes as ‘the most important and popular genre in the literary world today.’ We will cover a wide range of creative non‐fiction forms, including memoir, biography, literary journalism, autobiographical poetry, travel writing, music writing and nature writing. Practical techniques including voice, structure, dialogue and imagery will be taught via guided writing exercises; reading and discussion of the technique and interpretation of selected texts; and peer and tutor feedback on work produced in workshop.

Indicative primary texts Capote, Truman. In Cold Blood: A True Account of a Multiple Murder and its Consequences. 1965. (Hamish Hamilton); Deakin, Roger. Waterlog A Swimmer’s Journey Through Britain. 2000 (London: Vintage); Drummond, Bill. 45. 2000. (Little, Brown); Eggers, Dave. A Heartbreaking Work of Staggering Genius. 2000. (London: Picador); Orlean, Susan. The Orchid Thief. 2000 (London: Vintage); Pepys, Samuel. The Diaries of Samuel Pepys ‐ A Selection. New ed. 2003 (London: Penguin Classics); Theroux, Paul. The Great Railway Bazaar. 1975 (Harmondsworth: Penguin); Tomalin, Claire. Samuel Pepys: The Unequalled Self. 2002 (London: Penguin)

Assessment: 1000 word Reflection on drafting process (inc. annotated bibliography) (25%), and a 2500 word piece of creative non‐fiction (inc. 3 pieces of evidence documenting engagement with contemporary practice e.g. drafts, journal excerpt, visiting writer review, research notes, field trip report) (75%).

WRITING NOVELS FOR YOUNG PEOPLE (28615) Dr Gill James Level 5, Semester 2 CAPPED AT 40 This module looks at the particular features of the Young Adult Novel, as dictated by the nature of the young adult, looking at the theories of Jean Piaget, Nicola Morgan and Laura Berk, and by looking at some contemporary and classic Young Adult Novels. Students will extend their skills in story‐writing, character‐building, prose‐fiction writing and will also learn how to approach writing a novel. They will learn how to write an effective synopsis and how to present their work to industry standard. Indicative reading: Young Adult Novels Bray, Libby. A Great and Terrible Beauty. (London: Simon and Schuster, 2006) McGann, Oisín. The Gods and Their Machines. (Dublin: O’Brien, 2004) Melrose, Andrew. Write for Children. (London: Routledge Falmer, 2002). Pullman, Philip. Northern Lights (London: Scholastic, 1995) Waite, Judy. Game Girls. (London: Andersen Press 2007)

About Writing for Young Adults Berk, Laura. Child Devlopment. New York: (Allyn and Bacon, 2006) Cullinan, Bernice E., Bonnie Kunzel, and Deborah A. Wooten. The Continuum Encyclopaedia of Young Adult Literature. (London: Continuum, 2005) Lodge, David. Consciousness and the Novel. London: Penguin 2002. Morgan, Nicola. Blame My Brain. (London: Walker 2002) Assessment: A 500 word synopsis of the novel plus self‐assessment, and drafts (worth 30% of the final mark), and a 2500 extract of the novel plus revised 500 word synopsis of novel and a contextualizing note, not more than 200 words, a 1000 word Writer’s Reflection plus self‐assessment and drafts (worth 70% of the final mark)

WRITING POETRY IN THE TWENTY‐FIRST CENTURY (28465) Dr Scott Thurston Level 5, Semester 2 CAPPED at 40 This exciting module revisits some of the traditional forms you’ll have already encountered on the programme and also develops your awareness of modern approaches to the art and craft of writing poetry. The first part of the module involves creative exploration of the Japanese tanka (a relative of the haiku), the sonnet and the sestina and invites you to invent your own original poetic form. In the second part of the module you will encounter a range of innovative approaches to poetry: using sound, collage, found text and visual elements in your writing. The format will be largely workshop‐based with writing exercises, sharing work with your tutor and peers, and informative presentations on aspects of form and theme in poetry from various eras. We will also introduce you to small press publishing and advise you on how to approach getting your poetry into print.

Set Text: Caddel, R, and Quartermain, P, eds, Other: British and Irish Poetry since 1970. 1999. (New England: Wesleyan University Press) ISBN 0‐8195‐2259‐9

Indicative reading: On writing: Herbert, W. N. and Hollis, M. Strong Words (Newcastle: Bloodaxe, 2000) Morgan, E. Nothing not giving messages (Edinburgh: Polygon, 1990) Smith, H. The Writing Experiment: Strategies for Innovative Creative Writing (Crows Nest, Australia: Allen & Unwin, 2005) Anthologies: Heaney, S. and Hughes, T. The Rattle Bag (London: Faber and Faber, 1982) Paterson, D. and Simic, C. New British Poetry (Minnesota: Graywolf Press, 2004) Tuma, K. Anthology of Twentieth‐Century British and Irish Poetry (OUP, 2001)

Assessment: 3 poems based on different workshop exercises plus self‐assessment, annotated bibliography (worth 30% of the final mark), 5 poems exploring one technique studied in workshops plus self‐assessment, annotated bibliography (worth 70% of the final mark).

ENGLISH MODULES

VICTORIAN LITERATURE (18658) Dr Janice Allan

Level 5, Semester 2 This module aims to enhance your ability to analyse various forms of nineteenth‐century writing within a range of relevant historical and theoretical contexts. In particular, it seeks to familiarise you with a range of writing including novels, poetry, and non‐fiction, spanning the period as a whole, from the opening of the Victorian era to the late nineteenth‐century fin de siècle. The module asks you to consider the relationship of such writings to the social and cultural history of the period, and covers a range of issues including class, culture, empire, urban experience, women’s writing, decadence and identity. It encourages an appreciation of the diversity of nineteenth‐century literary, social, intellectual, and political activities and invites a reassessment of received ideas about the Victorians.

Primary Reading List: Please note that your assessment demands that you know a number of these texts in detail. Some of these texts are very long, so please start reading well in advance of the start of the module.

Charlotte Brontë, Jane Eyre (Penguin) Frederick Engels, The Condition of the Working Class in England (Norton) Mary Elizabeth Braddon, Lady Audley’s Secret (Broadview Press) Elizabeth Barrett Browning, Aurora Leigh (Norton) Charles Dickens, Bleak House (Penguin) Elizabeth Gaskell, Mary Barton (Penguin) Alfred Tennyson, In Memoriam (Norton) H.G. Wells, The War of the Worlds (Penguin) Oscar Wilde, The Picture of Dorian Gray (Penguin)

Assessment: one 2000 word close reading essay (40%); one two hour final exam (60%).

CINEMA AND PSYCHOANALYSIS (26832) Dr. Peter Buse Level 5, Semester 2 This module introduces students to psychoanalysis by way of cinema and to cinema by way of psychoanalysis. It will ask whether key Freudian methods (such as dream interpretation), concepts (phantasy, fetishism, wish‐fulfilment) and narratives (the Oedipus and castration complexes) can illuminate a series of Hollywood and non‐Hollywood films. In addition, the module examines how post‐ Freudian psychoanalysis, especially in its Lacanian and feminist manifestations, has been put to work in film theory since the 1970s. Particular emphasis will be placed on cinema as a visual medium and the ways in which film theory takes this into account in its appropriations of psychoanalytical terms such as the mirror‐stage, the gaze, voyeurism, and scopophilia. Key writers we might draw on include Laura Mulvey, Christian Metz, Slavoj Zizek, Mary Ann Doane and Carol Clover.

Lectures will be used to explicate a range of psychoanalytical theories and methods and to provide background on film genre and film analysis. In seminars we will read key texts by Freud, Lacan and film theorists and analyse the set films in light of these readings. An additional two hours will be taken up by weekly screenings. Please note that you must make a commitment to attend screenings and be willing to watch films again using library viewing facilities.

We will study eight films on the module. They are likely to be chosen from the following, but please note films may change depending on availability: Ratatouille (Brad Bird, 2007)

The Devil Wears Prada (David Frankel, 2006) Me, You and Everyone We Know (Miranda July, 2005). Ghost Town (David Koepp, 2008) Red Road (Andrea Arnold, 2006) Looking for Eric (Ken Loach, 2009) Morocco (Josef Von Sternberg, 1930) Notorious (Alfred Hitchcock, 1946) Suspicion (Alfred Hitchcock, 1941) Viridiana (Luis Bunuel, 1961) Voyage to Italy (Roberto Rossellini, 1953) The Wrestler (Darren Aronofsky, 2008)

Assessment: This module will be assessed by a 1500‐word diagnostic essay (30%) and a 2‐hour examination (70%)

MONSTROUS BODIES (29618) Professor Sharon Ruston Level 5, Semester 2 Using a range of texts and genres from the 1790s to the 1890s, this module will consider the importance of the physical human body, in health and sickness. Examining the historical context in which these texts were written, we will look at such topics as illness, death, doctors, medical treatments, drug use, pregnancy, disability, physical strength, sexuality, sensuality, race, and gender.

Primary Texts to include: Poems and prose writings by Wordsworth and Coleridge, Mary Wollstonecraft, Hannah More, William Blake, Ann Yearsley, Phyllis Wheatley, John Keats in Duncan Wu, ed. Romanticism: An Anthology, 3rd edn. (Blackwell, 2006). Mary Shelley, Frankenstein, ed. Kathleen Scherf and D. L. Macdonald, 2nd edn. (Broadview Press, 1999) (please ensure you read the 1818 edition) Thomas de Quincey, Confessions of an English Opium‐Eater, ed. Barry Milligan (Penguin, 2003) Gustav Flaubert, Madame Bovary, transl. Margaret Mauldon (Oxford World Classics, 2008) Robert Louis Stevenson, Strange Case of Dr Jekyll and Mr Hyde and Other Tales, ed. Roger Luckhurst (Oxford World Classics, 2008) Oscar Wilde, The Picture of Dorian Gray, ed. Joseph Bristow (Oxford World Classics, 2006)

Assessment: The module will be assessed by a 2,500 word essay (50%) and a two‐hour exam (50%).

PAGE TO STAGE (TBC) Szilvi Naray‐Davey/Frances Piper Level 5, Semester 2 This module is two‐pronged in its approach. Firstly it raises issues of how to approach dramatic texts in translation, and secondly it will focus upon the relationship between actor, director and dramaturg as the central means of moving a theatre text from page to stage. All students will have the opportunity to explore all three 'roles' (though they are not required to explore the actor's role). Students will be expected to select one role (director or actor or dramaturg) for their major assessment. Naturalistic performance systems and key aspects of the director's function will be explored via practical exploration of selected texts in translation. Text analysis, dramaturgical research methods and rehearsal preparation and scheduling are central features of the syllabus.

Methodological approaches will then be applied to the textual analysis and practical realisation of scenes from texts in translation, focusing particularly upon the ideological, cultural and aesthetic considerations implicit in moving translated work from page to stage. Students are expected to engage with these issues in context of their own praxis/research, and to demonstrate this in their Practitioners'/Dramaturg's Workbook (mise‐en‐scene /characterisation strategy). This will feed into the last block of work, where students research, rehearse and perform a series of scenes from a translated text, or present the same scene(s) from two or three different translations of the same text. By negotiation with the tutor, students will either act, direct or take on the role of dramaturg (theatre researcher) in this project. Key primary texts to be explored will vary from year to year but might include:

Anouilh, Jean. Antigone (2000) trans. Barbara Bray Hay, Jànos. Sunday Lunch (2010) trans. Szilvia Naray‐Davey Koltes, Bernard‐Marie. Roberto Zucco (1997) trans. Martin Crimp Reza Yasmina. Art (1992) trans. Christopher Hampton Sartre, Jean Paul. No Exit (1944) various translations Spiro, György. Chickenhead (1985) trans. Eugene Brogyányi Vian, Boris. The Empire Builders (1974) trans. Simon Watson Taylor.

Assessment: Practitioner's or Dramaturg's Strategy work book (actor OR director/dramaturg OR a combination of the two) 30% equivalent to 1500 words and a Practical project OR research & process portfolio 70%, 3000 words

REPTILES OF GENIUS: Satire and Satirists in the Eighteenth Century (23922) Dr. Carson Bergstrom Level 5, Semester 2 In this module, students will study the most characteristic mode of writing in the eighteenth century: satire. Most literary historians agree that the eighteenth century was a golden age in satiric production. The design and scope of this module will allow students to gain an appreciation of the complexities of satire as a mode of writing; they will learn to recognise what it is and what it tries to do. They will also consider who writes satire and why. Satire was practised in a wide variety of genres, ranging from drama through poetry to fictional and non‐fictional prose, and all of these will be studied on the module. Students will consider the relationship of satire’s use of genre and how this impacts on ideas about the universality of literary production. Visual satire and how to read it will also be considered. Students will be required to show knowledge of the political and social contexts of the texts which they will study. Such issues as the role of humour in political and social criticism and the social function of satire will be considered. As well as reading canonical figures such as Pope and Swift, students will engage writers who were marginalised in the period by reason of their social class and/or their gender. A key concern of the module will be the relationship between the author and reader.

Indicative texts and/or other learning materials/resources: Price, Martin, ed., The Restoration and the Eighteenth Century: An Oxford Anthology (1973) Lonsdale, Roger, ed., Eighteenth‐Century Women Poets: An Anthology (1989) Lonsdale, Roger, ed., The New Oxford Book of Eighteenth‐Century Verse (1987) Swift, Jonathan, Gulliver’s Travels Henry Fielding, Joseph Andrews

Martin Price’s Anthology contains a number of the texts used on the module. In order for students to conduct a focused course of summer reading, it may be helpful for them to know that lectures will cover the following set texts/authors from the Anthology: Alexander Pope, The Rape of the Lock; “To A Lady: On the Characters of Women.” Jonathan Swift, “On A Beautiful Young Nymph Going to Bed”; “Strephon and Chloe”; “The Lady’s Dressing Room.” William Congreve, The Way of the World. John Gay, The Beggar’s Opera.

The two anthologies by Roger Lonsdale will be used extensively, and students are encouraged to read widely in these texts.

Assessment: a 2‐hour exam worth 70% of the total, and a diagnostic essay worth 30%.

University‐wide Language Programme (UWLP)

The University runs a scheme which allows all students in Level 5 and Level 6 to take a foreign language module in place of one of their usual options (excluding core modules). These are taught in the School of HuLSS, with no extra fee involved for students. A language module will carry the full twenty credits and the mark obtained will contribute (as is the case with all other modules) towards your Level mark and, finally, your degree classification. All languages are offered at complete beginner’s level (Stage 1); some are also offered at higher Stages, helping to develop knowledge from GCSE, AS or A2 Level standard. All will involve two hours of teaching per week. Days and times will be confirmed in the summer. Please note that language modules run subject to availability. NOTE: Each language module runs as a ‘long‐thin’ 20‐credit module across both semesters of the academic year, with assessment by examination at the end of Semester 2. This will cause a credit imbalance (50/70 or 70/50) but for students wishing to study a UWLP module, this imbalance has been allowed by the university. In order to accommodate this, you must drop one of your usual HuLSS modules in one semester. This means that in one semester you will be effectively taking 2.5 modules, and in the other 3.5 modules. If you wish to take a UWLP language option the process is simple: you should number your HuLSS modules, according to your preference, on your module option form in the usual way. Then, enter the name of the language module you wish to take (including the Stage) in the appropriate box on your form. You must also specify in which semester you wish to drop a HuLSS module in order to take the language option. Provided there are no timetabling clashes, you will take the language module in place of your least preferred HuLSS option module in that semester (this does not include core modules). In addition, you will need to enrol on the language module of your choice on the School of HuLSS database by going to www.languages.salford.ac.uk/uwlp where you will find the application form. Applications will be taken from April onwards.

Why should I choose a language module?

Businesses operate on a global scale Graduates from abroad – with whom you are in competition for jobs – already speak two languages, and sometimes more! People are increasingly multilingual these days – don’t get left behind!

To increase your job opportunities at home and abroad Many employers are more likely to want you if you can speak another language besides English. Even if you don’t need a foreign language at work, the fact you have studied one means you will have acquired a range of useful skills, such as communication, negotiation, self‐discipline, teamwork – all vital in the world of work.

To broaden your horizons Learning a language also gives you a flavour of the culture of the countries where it is spoken. This will help you to understand how other people operate. Even if you only have a smattering of the language, your efforts to speak it will be much appreciated – it is a step in the other person’s direction.

What language can I study? y French, German, Spanish, Italian, Mandarin Chinese or Japanese

Language modules are taught at four different levels (called Stages). You can pick up a language you have studied previously or start a new one entirely from scratch. Stage 1 – complete beginners or grade D or below at GCSE (or equivalent) Stage 2 – grade A* ‐ C at GCSE (or equivalent) or a pass at Stage 1 Stage 3 – grade C or below at AS level (or equivalent) or a pass at Stage 2 Stage 4 – grade A or B at AS Level (or equivalent) or grade D or below at A2 (or equivalent) or a pass at Stage 3 If you have grade A – C at A2 (or equivalent) or have already completed Stage 4 in a particular language, you are deemed to have enough knowledge of that language to cope quite well abroad, so please choose a different language. Please note that you cannot do the same Stage twice. For example, if you complete Stage 1 (b) in Level 5 and wish to carry on studying the same language, you must continue to Stage 2 (c) in Level 6.

How will I learn? y The module content is very practical, preparing you for using the language in your future career. The lower Stages will help you cope with everyday situations abroad or when dealing with visitors to this country; the higher Stages aim to develop your ability to use the language more widely in professional contexts y Class contact is 2 hours a week, plus a further hour each week of directed self study in the Language Resource Centre (in the Maxwell Building) y Assessment is by means of examination (reading/writing + oral) at the end of Semester 2

Which Stage should I join? That will depend on what experience you already have (if any) of learning the language. As a general rule, even if you last studied the language a long time ago, you should join the Stage that matches any qualifications you have.

Are all languages available at all Stages? Whether or not a language module is available will depend on how many students have signed up for it. If there are insufficient numbers for a particular module to run, you will be informed in Week 1 and offered an alternative module option.

I’m not sure which language I want to do or which Stage I should be in. Can someone advise me? For further advice, please contact the UWLP coordinator: Jill Aldred Room 837, 8th Floor, Maxwell Building Telephone: 0161 295 3143 (with 24 hour voicemail) Email: [email protected]