SCHOOL OF ENGLISH

MLitt in Modern and Contemporary Literature & Culture Sample 2012/13 HANDBOOK
Please take time to read this module handbook carefully: your course directors will assume that you have done so, and that you are aware of the information and advice it contains. EN5501 EN5502 EN5511 EN5512 EN5100 EN5099 5000 level Contextualising the Modern Reading the Modern Theorising the Contemporary Literature in Culture: The Contemporary Literary Research: Skills and Resources (see separate handbook) Dissertation for MLitt Programme Optional Module (see separate handbooks)

Copies of this handbook and also School of English Postgraduate Information and Guide to Style in Essays, Theses and Dissertations are available electronically at http://www.st-andrews.ac.uk/english/postgraduate/Formsandhandbooks/

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MLitt in Modern and Contemporary Literature & Culture

The Course
The MLitt in Modern and Contemporary Literature & Culture builds on students previous study of twentieth and twenty-first literature and culture. Covering a range of topics and texts from the period, the programme aims to enhance students textual knowledge and promote thinking about the interconnections between modern and contemporary literature and its historical, cultural and theoretical contexts. The programme for the degree consists of the following courses: EN5501 EN5502 EN5511 EN5512 Contextualising the Modern Reading the Modern Theorising the Contemporary Literature in Culture: The Contemporary

During the first semester students will study the two modern modules. The first of these Contextualising the Modern - aims to introduce and develop understanding of the influences and debates that shaped literary modernism. Topics studied will include primitivism in art, the influence of avant-garde music and early cinema, the crisis of character, gender and modernism, and modernity and mass culture. In the second module Reading the Modern the focus will be on a range of modernist texts, including works by British authors such as James Joyce, D.H. Lawrence and Virginia Woolf, American authors such as Gertrude Stein and Ernest Hemingway, and French authors such as Marcel Proust. During the second semester students will move on to the contemporary period, taking two modules, one which focuses on theory and one on literature. On Theorising the Contemporary, each week students will read selected texts that will introduce them to key literary and cultural theories within the contemporary period, for example: The Postmodern; Structuralism; Poststructuralism; Queer Perspectives; Contemporary Poetics; Contemporary Visual Art; Gilles Deleuze and Film Theory; and Posthumanism. On Literature in Culture: The Contemporary, students will study selected literary texts in the context of historically concomitant cultural phenomena, such as science, television, painting, globalisation, sound and image, photography, new technology, cinema and time. In addition to taking these compulsory modules, students also take an optional module (see below), take the core postgraduate studies module EN5100 Literary Research: Skills and Resources and write a 15,000-word dissertation. The diversity and range of the material covered on the taught modules is designed to prepare students for the dissertation on an agreed topic.

Optionality
Students undertaking the MLitt in Modern and Contemporary Literature & Culture will also have 20 credits free to spend in one of three ways, thus allowing the flexibility to tailor their studies to their own interests: a) a Special Topic in English Studies b) any English 5000-level core module 2

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c) an approved postgraduate module outwith English The default is for MLitt Directors to advise students into EN5402 Special Topic in English 2 unless a student knows already that s/he wants to spend the optional 20 credits on a module running in Semester I or on a specific alternative module running in Semester II. There is two weeks leeway to change at the beginning of each semester, as with the undergraduate system. This allows sufficient time for interested students to draw up a Special Topic in collaboration with a potential future PhD supervisor, even if that Special Topic is to run in Semester I.

Participating Teachers on the MLitt in Modern and Contemporary Literature & Culture
Dr Ian Blyth (email: ib6) has research interests in Virginia Woolf and her contemporaries; textual editing; Hlne Cixous; Ali Smith; modern and contemporary poetry; science and nature writing. Professor John Burnside (Room 002, Kennedy Hall email: jb44) has published over a dozen collections of poetry, and has won the Geoffrey Faber Prize and the Whitbread Poetry Prize for his work. His most recent collection, Black Cat Bone (2011), won the Forward Prize. He has published eight novels and two memoirs, the first of which, A Lie About My Father, received the Saltire Book of the Year Prize and the Sundial/SAC non-fiction book of the year award. John's work has involved him in many interests, from American literature to regionalism, ecocriticism and nature writing to the literature of indigenous peoples. He is also interested in literature and photography and poetry in translation. Professor Robert Crawford (Room 41, Castle House email: rc4) has published six collections of poetry in English, along with work in Scots, and a Selected Poems (Cape, 2005). Four of his collections have been Poetry Book Society Recommendations. His most recent collection of poems is Full Volume (Cape, 2008), shortlisted for the T S Eliot Prize. His prose books include The Modern Poet (OUP, 2001) and Scotlands Books (Penguin, 2007). With Mick Imlah he edited The Penguin Book of Scottish Verse (Penguin Classics, 2006). His biography of Burns, The Bard, was published by Cape and Princeton University Press in 2009, and was the winner of the Saltire Society Scottish Book of the Year. He is a Fellow of the Royal Society of Edinburgh. Dr Alex Davis (Room 004, Kennedy Hall email: ald3) is a specialist in the literature and culture of the English Renaissance. His research has focused on Renaissance romance and popular culture, and on the question of how writers and scholars have framed the period's relationship to the Middle Ages. He is the author of Chivalry and Romance in the English Renaissance (2003) and Renaissance Historical Fiction (2011). Dr Sarah Dillon (Room 201. Kennedy Hall email: sjd16) is the author of The Palimpsest: Literature, Criticism, Theory (2007) and editor of David Mitchell: Critical Essays (2011). She is Series Editor of Continuum Theoretical 3

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Criticism and of Gylphi Contemporary Writers: Critical Essays; and serves on the editorial board of C21: Journal of Twenty-First Century Writing. She is currently completing a monograph entitled Dancing with Derrida which traces the figure of dance as it informs this philosophers thinking, specifically about the question of Woman, and is co-investigator of a RSE funded project entitled What Scientists Read: How Literature Influences Scientific Thought and Practice. Dr Michael Downes (Music email: mjd14) conducts the St Andrews Chamber Orchestra and St Andrews Opera, and also the town-gown St Andrews Chorus. Michael studied English and Music at Kings College, Cambridge and the University of Sussex; before coming to St Andrews he was Director of Music at Fitzwilliam College, Cambridge. His first book, about contemporary composer Jonathan Harvey, was published in 2009 by Ashgate. Dr Linda Goddard (Art History email: ljg21) works on relations between word and image, particularly in nineteenth- and twentiethcentury France. Her forthcoming book, Aesthetic Rivalries: word and image in France, 1880-1926 (Peter Lang, 2011) explores how the hierarchy between literature and visual art was both maintained and challenged during this period. Interactions between the arts are also central to her new book project, on the writings of Paul Gauguin, and to a collection of essays that she is editing on artists writings (to be published in Word & Image), developed from a conference that she organized on this theme at The Courtauld Institute of Art in 2009. Her interests in word-image relations include the visual and literary cultures of travel and colonialism; inter-European cultural exchange; the connections between visual art and autobiography and the writing of arts histories. She is also currently co-editing with Natalie Adamson a special issue of Forum for Modern Language Studies on Artists Statements: origins, intentions, exegesis. Dr Michael Herbert (Room 21, Castle House email: mfh1) has interests in twentieth-century literature, especially D H Lawrence, several of whose works he has edited for Cambridge, Oxford, and Penguin; he has also written on Hardy, Woolf and Eliot, and has special interests in the connections of music and of madness to literature. Dr Tom Jones (Room 206, Kennedy Hall email: tej1) works mostly on the connections between poetry and philosophy in the eighteenth century, with interests in theories of poetic language and the history of poetry more generally. He has published on Pope, Berkeley, and Anne Finch. Dr David Martin-Jones (Film Studies email: dm70) is the author of Deleuze, Cinema and National Identity (2006), Deleuze Reframed (2008, with Damian Sutton), Scotland: Global Cinema (2009) and Deleuze and World Cinemas (2011), as well as co-editor of a number of edited collections and special issues. He is interested in world cinemas and his research centres on issues of national and transnational identity in cinema, with a particular emphasis on popular genres. His primary focus is the application of the philosophy of Gilles Deleuze to film studies, which he has used to explore identity construction in contexts as diverse as Latin American art films and genre movies, Asian cinemas like Bollywood, and Hollywood action movies.

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Dr Christopher MacLachlan (Room 101, Kennedy Hall email: cjmm) is interested in eighteenth-century English and Scottish literature, Scottish literature generally, and British fantasy. Dr Philip Parry (Room 005, Kennedy Hall email: php) is interested in modern British and American drama, including adaptations of Shakespeare and Shakespeare in modern performance. Professor Don Paterson (Room 203, Kennedy Hall email: dp31) has published five collections of poetry, two books of aphorism, a number of edited anthologies, and a commentary on Shakespeares Sonnets. He is currently working on a new collection of poetry, a lengthy technical manual on ars poetica, and a prose book about music. Don has also written drama for the radio and for the stage, and he has been Poetry Editor for Picador since 1997. His work has received the Forward and Whitbread Poetry Prizes, the Geoffrey Faber Memorial Award, and the T S Eliot Prize, twice. Don is a Fellow of the Royal Society of Literature and a Fellow of English Association; he was awarded the OBE in 2008, and the Queen's Gold Medal for Poetry in 2010. Professor Gill Plain (Room 32, Castle House email: gp3) has research interests in twentieth-century popular culture, war-writing, crime fiction, cinema and theories of gender and sexuality. She is the author of Womens Fiction of the Second World War (1996), Twentieth-Century Crime Fiction: Gender, Sexuality and the Body (2001) and John Mills and British Cinema: Masculinity, Identity and Nation (2006). She is the editor, with Prof. Susan Sellers, of A History of Feminist Literary Criticism (CUP, 2007). Mr Jacob Polley (Room 304, Kennedy Hall email: jbp3) has written two books of poems, The Brink, which was a PBS Choice and shortlisted for the TS Eliot Prize, and Little Gods, which was a PBS Recommendation. He cowrote the short film, Flickerman and the Ivory-skinned Woman, and his novel, Talk of the Town written in a phonetic version of Cumbrian dialect won the 2010 Somerset Maugham Award. As well as working on a second novel and a third book of poems, Jacob is continuing to make work with the theatre designer, Imogen Clot, with whom hes collaborated for several years, and to broadcast and publish poems, essays and the occasional short story. He is also brewing a non-fiction book about reading, memory and revelation. Dr Alistair Rider (Art History email: ajr1) researches experimental art practices in the United States from the 1950s to the end of the 1970s. His recent focus has been on Minimalism, and his monograph Carl Andre: Things in their Elements was published by Phaidon Press in June 2011. He has also written about artists-led opposition to the American War in Vietnam, and he continues to research topics relating to Land Art, both in North America, and in Western Europe. Professor Susan Sellers (email: scs2) has written several books including Myth and Fairy Tale in Contemporary Women's Writing and Hlne Cixous: Authorship, Autobiography and Love. In 2008 she published Vanessa and Virginia, a fictional account of the sibling rivalry between Virginia Woolf and the painter Vanessa Bell. She is co-editor of the Cambridge 5

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University Press edition of Woolf's writing, volume co-editor of Woolfs novel The Waves and editor of The Cambridge Companion to Virginia Woolf. Dr Emma Sutton (Room 303, Kennedy Hall email: ess2) has research interests in musical-literary relations in the late nineteenth and early twentieth centuries, particularly the contentious relationship between music and politics in this period. Her work has explored the role of sexuality, gender, nationality and class in literary and visual representations of music by Aubrey Beardsley, Virginia Woolf, Oscar Wilde, Henry James, Mark Twain, Vernon Lee and others. Emma is currently editing Woolf's first novel for Cambridge University Press and writing a monograph on Woolf and music. Dr Leshu Torchin (Film Studies email: lt40) is interested in how screen media (film, video, the Internet, and other moving image/audio visual technologies) bear witness to human rights abuses and genocide in order to foster global citizenship and to mobilise audiences. Her forthcoming monograph, Creating the Witness: Genocide in the Age of Film, Video, and the Internet (University of Minnesota Press, Visible Evidence Series) conducts a transhistorical study of media witnessing across several key sites of genocide, from an examination of film-based campaign by Near East Relief in response to the Armenian Genocide to the consideration of YouTube as a site of activism in response to the crisis in Darfur. Dr Joshua Yumibe (Film Studies email: jy20) specializes in the aesthetic and technological history of the cinema. He is currently completing a manuscript, Moving Color: On the History of Color in Mass Culture, Modernism, and Silent Cinema (Rutgers UP), which examines early colour silent cinema in relation to the cultural and aesthetic horizon of modernism and modernity. In considering the origins of colour cinema within this context, he traces an aesthetic practice that weaves from mass cultural applications of colour in commodity production to modernist theories and abstract experiments with colour and into the cinema: e.g. from Goethe's study of afterimages to mass advertising to Rimbaud and Kandinsky to Annabelle Dances and Ballet Mcanique. Since 2003, he has also been coordinating the preservation of the Davide Turconi Frame Collection in conjunction with the George Eastman House, the Cineteca del Friuli, and the Giornate del Cinema Muto. Along with these projects, other areas of interest include avant-garde and experimental cinemas, 19th and early 20th century visual culture, Frankfurt school theory, and archival theories and practices.

Content and Structure

EN5501 Contextualising the Modern 20 credits, Semester 1 This module is co-ordinated by Professor Susan Sellers. Modernism, in its narrowest sense, refers to the radical literary experiments that occurred in English poetry and prose in the aftermath of the First World War by writers such as T.S. Eliot, James Joyce and Virginia Woolf. This module will explore those 6

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experiments in the context of the wider movements in culture and society that informed literary modernism in the first decades of the twentieth century. The module will be taught in nine 1! - 2 hour discussion seminars. For learning outcomes see below. EN5502 Reading the Modern 20 credits, Semester 1 This module is co-ordinated by Professor Susan Sellers. Responding to what Pericles Lewis has termed the crisis of representation in the opening decades of the twentieth century, this module explores attempts by writers to find new literary subjects and forms. In tandem with module EN5501, which considers the impact of political, social, scientific, technological and cultural revolution on literary traditions and techniques, this module explores the pursuit of a number of influential British, American and French modernists to develop modes of representation compatible with a newly urban, industrialised, mass-oriented age. This module will focus on some of the most important texts of literary modernism. The module will be taught in nine 1! - 2 hour discussion seminars. The module complements EN5501 as explained above. Graduate students in the two modules will be expected to demonstrate, in class discussions and assessed essays, that they have acquired: 1. a detailed knowledge of the prescribed texts and an ability to place them in a variety of historical, social, political, critical and theoretical contexts 2. an ability to carry out independent research at an advanced level into the primary texts using a variety of resources (including academic libraries and online materials) 3. a familiarity with recent critical material and debates on the set writers, and on modernist writing and culture more generally, including related theories and debates 4. an ability to work with a range of theoretical and methodological approaches to the period. 5. the ability to benefit from constructive criticism from both peers and experts 6. an ability to use a variety of different methods of information retrieval in a variety of different media, and to use the information judiciously 7. the confidence to work within different learning environments, including traditional face-to-face learning, as well as self-directed learning in research libraries and online 8. the ability to deploy interpretative and analytical strategies in areas and topics not previously studied 9. confidence in working to deadlines, managing time effectively and prioritizing work

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10. proficiency in carrying out more sustained pieces of literary research and composition 11. the skills in independent research necessary for the completion of EN5099 dissertation EN5511 Theorising the Contemporary 20 credits, Semester 2 This module is co-ordinated by Dr Sarah Dillon. The second half of the twentieth century and the beginning of the twenty-first century have witnessed an explosion of theories about literature and culture, discourses that attempt to understand the complexities of a historical period characterised by political, economic and social upheaval and rapid advancements in science and technology that have had radical effects on the way in which we live our lives. Many theories focus on trying to understand the role that language plays in negotiating this contemporary world, and in imagining a global future threatened not just by economic but also by environmental instability. Drawing on diverse staff specialisms both within and outwith the School of English, through a combination of close reading and group discussion, this module provides the opportunity for students to study some of these theories in detail. The focus is on developing theoretical literacy, enhancing critical thinking and attempting to understand our complex contemporary world and its future. The module will be taught in nine 1! - 2 hour discussion seminars. For learning outcomes see below.

EN5512 Literature in Culture: The Contemporary 20 credits, Semester 2 This module, co-ordinated by Dr Sarah Dillon. Driven by a rereading of texts of the Renaissance, New Historicism and Cultural Materialism taught us that art, including literary texts, is one product of culture among many. Such an approach does not dissolve the category of the literary, rather, it requires an examination of the precise nature of the historical relation between art and culture, and between different forms of artistic production, such as literature, film, television, photography, fine art and more. Combining New Historicisms attention to the texts borders to the way in which it interconnects with other aspects of the culture of its production with detailed close reading of the texts themselves, their form, structure and content, this module provides students with an opportunity to study key contemporary texts in their historical and cultural context. How are certain experiences, beliefs and ideas in contemporary culture formed? How are they transferred from one medium of cultural production to another? How are they consumed by the reader or viewer of works of art? To answer such questions requires an interdisciplinary approach to the study of literary texts which investigates, as this module does, their relationship to historically concomitant cultural production. 8

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The module will be taught in nine 1! - 2 hour discussion seminars. The module complements EN5511, setting its study of theories of the contemporary in the context of contemporary literatures relationship to its historical and cultural environment. Graduate students in the two modules will be expected to demonstrate, in class discussions and assessed essays, that they have acquired: 1. a detailed knowledge of the prescribed texts and an ability to place them in a variety of historical, social, political, critical and theoretical contexts 2. an ability to carry out independent research at an advanced level into the primary texts using a variety of resources (including academic libraries and online materials) 3. a familiarity with recent critical material and debates on the set writers and on contemporary literary and cultural theories. 4. an ability to work with a range of theoretical and methodological approaches to the contemporary period. 5. the ability to benefit from constructive criticism from both peers and experts 6. an ability to use a variety of different methods of information retrieval in a variety of different media, and to use the information judiciously 7. the confidence to work within different learning environments, including traditional face-to-face learning, as well as self-directed learning in research libraries and online 8. the ability to deploy interpretative and analytical strategies in areas and topics not previously studied 9. confidence in working to deadlines, managing time effectively and prioritizing work 10. proficiency in carrying out more sustained pieces of literary research and composition 11. the skills in independent research necessary for the completion of EN5099 dissertation

EN5099 Dissertation for MLitt Programme 60 credits, summer Students proceed to the dissertation on the basis of a satisfactory performance in the taught component of the course. Progression is automatic if a student gains an average of 13.5 or above across modules constituting 120 credits. The dissertation may be on any topic of the students own choice, to be agreed with the supervisor. Students are required to submit the title of their dissertation by the end of April, so it is important that serious consideration is given to the topic from the beginning of the course. Work for the assessed exercise for EN5100 may be used as a preparation for 9

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the dissertation. While students will have the summer months in which to write the dissertation, the supervisor may not be continuously available in the university during that period. Students should therefore have fully worked out the dissertation topic with the supervisor by April at the latest. For administrative convenience the Course Director is assigned as supervisor to all students at the admission stage. Students will normally be reallocated to appropriate supervisors for EN5100 and for the dissertation. The dissertation should not exceed 15,000 words and must be submitted by noon on TBC. Dissertation Work Guidelines 1. Many students will have used the EN5100 piece submitted in January as a preliminary investigation of a possible dissertation topic. Once the second semester gets underway, students should explore possible dissertation topics with their MLitt programme organiser who will help them to identify a topic and a supervisor. Progression to the dissertation is automatic for all students with an average of 13.5-20.0 at the end of the second semester. 2. Students should work in consultation with their supervisors so that they are in a position to define the title of the dissertation by the end of April. 3. Students will have one set-up meeting with the supervisor to discuss the shape of the dissertation once the title has been identified. Normally there will be two other meetings to discuss the progress of the dissertation, but there is no obligation on the part of the student to take both opportunities to meet their supervisor - some may only want one more meeting. In cases where the student /supervisor is parttime and/or based away from St Andrews, email or telephone discussion may replace face-to-face meetings. 4. Students may submit a sample of no more than 2,000 words and ask for feedback on this at one of the scheduled meetings. This sample should be submitted to the supervisor no later than TBC to allow adequate time for feedback before the deadline for submission. In some cases, supervisors who plan to be away will suggest an earlier deadline. 5. Students should be aware that the dissertation is a module in its own right: it is separate from the taught section of the MLitt and for some students it will represent a bridge into PhD research. The dissertation is an opportunity to embark on creative, original, independent research. The supervisor will offer guidance as outlined above, but it is not appropriate to send supervisors weekly emails throughout the summer and students are reminded that they should organise their work so that enquiries and requests for feedback are channelled into the scheduled meetings. Dissertation Submission Guidelines 1. The dissertation must be written in English.

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Two hard copies of the dissertation must be submitted and an electronic version via Turnitin; one hard copy will be returned to the candidate after the process of examination has been completed. The dissertation must not exceed 15,000 words, including footnotes, but excluding bibliography, appendices, and edited original texts or documents. The wordcount must be included in the signed declaration (see 6 c) below. The dissertation should be typed in double spacing on A4 white paper using a minimum of 12 font, with a left-hand margin no narrower than 30 mm for single-sided hard copy submissions. Where double-sided copies are submitted, each margin should be a minimum of 40 mm. The dissertation should be presented for examination in soft binding; an appropriate binding (eg unibind or comb) can be produced cheaply and quickly by Print & Design. The dissertation should contain the following preliminaries: (a) A title-page stating the title of the dissertation, the name of the candidate, the name of the degree, and the date of submission. (b) An abstract, not more than 300 words in length, of the dissertation. (c) The following declaration: I certify that I have read the Universitys statement on Academic Fraud; that the following essay/project/submission of [insert wordcount] is my own work; and that significant academic debts and borrowings have been properly acknowledged and referenced. Date: Signature of candidate: (d) Acknowledgements. (e) A list of contents. (f) A list of abbreviations. (g) Text of the thesis. (h) Appendices (if any). (i) Bibliography.

3.

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5. 6.

7.

All dissertations are marked by 2 internal markers and moderated by the External Examiner. Mark sheets with agreed comments will be returned with a copy of the dissertation after the marks are confirmed and available on the student portal (usually mid October). Dissertations should be submitted by noon on Friday 30 August 2013. Dissertations sent by post should reach the School PG Office by this date. Only dissertations submitted in both hard copy and electronically via Turnitin will be accepted.

8.

Written Work and Assessment

All four core modules EN5501, EN5502, EN5511, EN5512 will be assessed by one 4-5,000 word essay. Due dates TBC. 11

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All assessed work will be marked by two internal examiners or by one internal examiner and the external examiner. Samples of the work of every student will be scrutinised by the external examiner.

Essay Submissions
Essays must be submitted to the PG Secretary AND in electronic form via Turnitin by 12 noon on the due date. The Guide to Style in Essays, Theses and Dissertations (available on the web at http://www.st-andrews.ac.uk/english/postgraduate/Formsandhandbooks/) include guidelines on the preparation and submission of essays together with an essay style sheet. Essays must conform to the conventions set out in the style sheet. You are advised to read the section about plagiarism especially carefully. Essays must be clearly marked with your name, module and essay numbers, the word count and essay title, and the pages must be securely fastened together. Essays should be within the required word limit requested, including footnotes, but excluding bibliography and appendices. You should take note of the statements in the Handbook of the Schools policies on plagiarism, late submission and appeals. Please include at the head of each essay a signed statement: I certify that I have read the Universitys statement on Academic Fraud; that the following essay/project/submission is my own work; and that significant academic debts and borrowings have been properly acknowledged and referenced. (The Universitys Academic Fraud policy may be accessed electronically via the Student Portal.) As a courtesy to markers and as part of good working practice, MLitt students are required to submit written work which meets and conforms to the Schools prescribed presentation standards, word limits and deadlines. Style guidelines are issued at the start of the year; word limits are not negotiable and extensions beyond the set submission date will normally only be granted in exceptional circumstances with supporting evidence (e.g. medical certification). Please note that the Postgraduate Secretary keeps a library of essays and dissertations awarded distinction-level marks. Students may find it helpful to consult this archive for examples of good practice. Turnitin (via MMS) All essays must also be submitted to MMS for checking by the Turnitin plagiarism prevention service. Failure to submit will be subject to the same penalties outlined above. Failure to submit your essay to MMS will result in a mark of 1 (one) for your essay. To access MMS, go to the university homepage, then click on Current Students and then MMS. For instructions on submitting work to MMS, please see the MMS guides (linked from the MMS front page, under the Login button). Please note that once you have submitted your coursework to MMS, you should be emailed an MMS receipt within around 15 minutes (KEEP THIS to prove you uploaded the file), you will then 12

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receive a separate Turnitin receipt once MMS has submitted your coursework to Turnitin (this typically will take around 30 minutes to an hour). Extensions to Essay Deadlines Students who for good reason are obliged to submit an assessed piece of work after the due date must obtain a form signed by their tutors, specifying the new submission date. This form must be attached to the essay and submitted with it to the Postgraduate Office. It is the responsibility of students to safeguard these forms. Essays submitted without forms, or after the agreed date, will be treated as late essays. Extensions will normally be granted only in cases of ill health (medical certification should be provided) or in exceptional personal circumstances, and not (for example) because of pressure of work or of extra-curricular commitments. Save in extreme circumstances and with the agreement of the Director of Postgraduate Studies, extensions will not be granted retrospectively. Please note that a record is kept on file of any extension request received. Late Submission of Essays Unauthorised late submissions will be penalized by the deduction of 0.5 marks for each working day late, in accordance with current School policies as set out in the School of English handbook.

Level Indicators
All taught-course academic postgraduate work is marked according to the Facultys 20-point marking scale. The following level indicators have been developed by the MLitt Directors with help, which we gratefully acknowledge, from the School of Classics: 16.5-20 Distinction level. Work that demonstrates: authoritative engagement with the primary sources and secondary literature; a good awareness of the current state of thinking on the subject; critical analysis and intellectual rigour; ability to argue cogently and independently; originality and the potential for higher research. Work at this level will normally display exemplary presentation. 13.5-16.49 MLitt Pass level. Work that demonstrates: satisfactory to good knowledge of the primary sources and secondary literature; awareness of the current state of thinking on the subject; critical analysis and intellectual rigour; evidence of some ability to argue independently. Work at this level will normally display an acceptable to good standard of presentation. 7.0-13.49 Diploma level. Work that demonstrates: basic knowledge of the primary sources and secondary literature, some awareness of the current state of thinking on the subject; some critical analysis and some independent argument, but in general the work is less analytic than for a Masters degree and /or more dependent on secondary 13

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sources. Work at this level will normally display acceptable presentation, but with some significant lapses. 0.00-6.99 Fail. Work that fails to demonstrate adequate knowledge of the primary sources and secondary literature, or adequate awareness of the current state of thinking on the subject, or that fails to develop any proper argument, or is overlyderivative. Work at this level will be characterised by unacceptably poor presentation. Progression from the taught modules to the MLitt or MPhil dissertation is automatic when a student gains an average of at least 13.5 across modules constituting 120 credits. Appeals against non-progression must be lodged with the Dean of Arts within 5 working days of the results being published on the student portal. A student who successfully passes the taught elements of an MLitt or MPhil degree but fails to obtain a grade of 13.5 in the dissertation element will qualify for a Graduate Diploma. All marks are regarded as soft marks until confirmed by the external examiner when they are set as hard marks. Appeals against marks should be raised with the MLitt Organiser in the first instance, then the Director of Postgraduates, then the Head of School who will consult with the external examiner. The same process applies to marks (the 1-20 number given to an individual piece of work) and grades (the 1-20 average given as a module result). If the situation remains unresolved, students may make a case to the Dean of Arts. The Appeals and Complaints Code of Practice is given at the end of this document. Students are advised that the grades of students who contest a grade may go down as well as up.

Academic Alert
Student progress will be monitored by the Course Director in consultation with the other module organisers. At least two members of staff will be involved in the assessment of each students work for each module and the external examiner will see a sample of the work from every student. Students whose course work does not reach the minimum grade for pass at MLitt level will be advised not to proceed with the dissertation, but may, if their work has reached the appropriate standard, be offered a compensatory Diploma in Modern and Contemporary Literature & Culture. The Universitys Academic Alert policy may be applied by the School where students breach conditions governing attendance of seminars and punctual submission of coursework. It is the responsibility of individual students to read the policy and to understand its implications for progression and credit gain.

Language Support
The In-sessional English Language Support Service offers free language support to matriculated students who are non-native speakers of English. Support is offered in a number of forms, ranging from one-to-one tutorials to weekly workshops on writing, conversational speaking and grammar. Further information is available on the Support Service website: http://www.st-andrews.ac.uk/elt/support 14

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If you would like further information, please contact Janie Brooks, In-sessional English Language Support Co-ordinator at ajb31@st-andrews.ac.uk.

Students with Special Requirements

Students with particular requirements or disabilities should discuss these with the Schools Disabilities Officer, Room 12, Castle House, ext 2418. Semester 1: Ms Meaghan Delahunt, email md50@st-andrews.ac.uk Semester 2: Ms Lesley Glaister, email lgg@st-andrews.ac.uk Please also check the Student Services website at: http://www.st-andrews.ac.uk/students/advice/Disabilities/

Ethical issues in student research

If your project/thesis is likely to involve interviews or substantial discussion with writers or critics, please discuss this with your module coordinator/supervisor, as it will be necessary for you to complete an ethical application form and provide your interview subjects with consent forms as required. Ethical approval must be obtained well in advance, so please ensure that you arrange this in a timely fashion as it may take between 6-8 weeks to obtain approval. Further guidance is available on our webpage at: http://www.st-andrews.ac.uk/english/Informationforstudents/Ethicalissues/ and blank forms are available for download on the University UTREC website at: http://www.st-andrews.ac.uk/utrec/ Please note that any Masters dissertation or PhD thesis with ethical approval from UTREC is required to have the letter or email of approval bound into an appendix before submission.

Evaluation
At the end of each semester you will be asked to comment on your experience of individual modules. Please take these exercises seriously: the structure of the course has been influenced by students comments received in previous years, and what you say will inform the way the module is taught and organised in future years.

Queries
General postgraduate queries should be addressed in the first instance to the postgraduate secretary, Sandra McDevitt. Queries relating specifically to individual MLitt modules should be addressed to the designated module co-ordinator. Dr Sarah Dillon and Professor Susan Sellers 15

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School of English Timetables and Module Information

2012/13

EN5501: CONTEXTUALISING THE MODERN

Class Hours: Semester One, TBC Venue: Staff Offices Module Organiser: Professor Susan Sellers (scs2) Other teachers on the module: Dr Ian Blyth (ib6), Professor Robert Crawford (rc4), Dr Sarah Dillon (sjd16), Dr Michael Downes (mjd14, Music), Dr Linda Goddard (lg21, Art History), Professor Gill Plain (gp3), Dr Joshua Yumibe (jy20, Film Studies) Teaching and Assessment:The module will be taught in nine 1! - 2 hour discussion seminars. The module will be assessed by one 4-5,000 word essay, to be submitted TBC. Content and Syllabus: WEEK 1: Literature and Tradition: T. S. Eliot Professor Robert Crawford Ezra Pound expressed the aspirations of modernism in adapting from a traditional Chinese inscription his rallying cry to Make it New. In his essay 'Tradition and the Individual Talent', T. S. Eliot also explored the role tradition plays in the creation of new works of art and the impact such art has on our view of tradition. This seminar will draw on Eliots essay to explore his articulation of the personal and the impersonal in his poetry and selected prose. Poems discussed will include 'The Love-Song of J. Alfred Prufrock', The Waste Land, 'Ash-Wednesday', 'Marina' and Four Quartets. Primary Reading: T. S. Eliot, Complete Poems and Plays (London: Faber, 1969) T. S. Eliot, Selected Prose, ed. Frank Kermode (London: Faber and Faber, 1975) Suggested Further Reading: The Letters of T. S. Eliot, Vol. 1, Second Edition, ed. Valerie Eliot and Hugh Haughton (London: Faber and Faber, 2009) Peter Ackroyd, T. S. Eliot, A Biography (London: Hamish Hamilton, 1984) Giovanni Cianci and Jason Harding, ed., T. S. Eliot and the Concept of Tradition (Cambridge: Cambridge University Press, 2007) Robert Crawford, T. S. Eliot's Daughter', in Proceedings of the British Academy, 167 (2010), 479-97. Valerie Eliot, ed., The Waste Land: A Facsimile and Transcript of the Original Drafts 17

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(London: Faber and Faber, 1971) Helen Gardner, The Composition of Four Quartets (London: Faber and Faber, 1979) Cassandra Laity and Nancy K. Gish, ed., Gender, Desire, and Sexuality in T. S. Eliot (Cambridge: Cambridge University Press, 2004) A D Moody, Thomas Stearns Eliot, Poet, Second Edition (Cambridge: Cambridge University Press, 1994) A. D. Moody, 'The Experience and the Meaning: Ash-Wednesday' and 'Being in Fear of Women' in Moody's collection, Tracing T. S. Eliot's Spirit (Cambridge: Cambridge University Press, 1996) Christopher Ricks, T. S. Eliot and Prejudice (London: Faber and Faber, 1988) WEEK 2: Primitivism and Modern Art Dr Linda Goddard (Art History) In the context of European modernisms obsession with the primitive, artists projected mythical values onto non-Western cultures in their search for difference and authenticity. Our discussion will focus on three paintings, Paul Gauguins Manao tupapau (1893), Henri Matisses Blue Nude (1907), and Pablo Picassos Demoiselles dAvignon (1907), which have played a central role in debates about about race, gender and the mythologization of the artist. We will begin by looking at Noa Noa, Gauguins fictionalized account of his life in Tahiti, and move on to consider how scholars have offered differing interpretations of each artists relationship to colonialism. Primary reading Paul Gauguin, Noa Noa (1893-7), ed. Nicholas Wadley, trans. Jonathan Griffin (Noa Noa: Gauguins Tahiti, Phaidon, 1985) Griselda Pollock, Avant-Garde Gambits 1888-1893: gender and the color of art history (London: Thames & Hudson, 1992) Christopher Green, Picasso: Architecture and Vertigo (New Haven & London: Yale University Press, 2000), chapter two, 43-74 Alastair Wright, Matisse and the Subject of Modernism (Princeton University Press, 2004), chapter five, 163-91 Suggested further reading Mark Antliff and Patricia Leighten, Primitive, in Critical Terms for Art History, ed. Robert S. Nelson and Richard Shiff (Chicago & London: Chicago University Press,1996), chapter thirteen, 170-83 Abigail Solomon-Godeau, Going Native: Paul Gauguin and the Invention of Primitivist Modernism, Art in America, July 1989, reprinted in The Expanding Discourse: Feminism and Art History, ed. Norma Broude and Mary D. Garrard (New York: Icon, 1992), 313-29 18

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Stephen Eisenman, Gauguins Skirt (London: Thames & Hudson, 1997) Christopher Green, ed., Picassos Les Demoiselles dAvignon (Cambridge University Press, 2001) Patricia Leighten, White Peril and lart ngre: Picasso, primitivism and anticolonialism, The Art Bulletin 72, no.4 (December 1990), 609-30 Hal Foster, The Primitive Unconscious of Modern Art, October 34 (Autumn 1985), 45-70 WEEK 3: Igor Stravinsky's Diaghilev Ballets and Musical Modernism Dr Michael Downes (Music) The ballets commissioned by Sergei Diaghilev from Igor Stravinsky in the 1910s and early 1920s constitute one of the most significant achievements of early modernism. Not only are their musical styles highly original and hugely influential on later composers, the works considered as theatrical wholes pose questions about the relationship between the arts which prompt us to think about modernism more widely. Indeed, the very fact that ballet is used as a vehicle for new artistic ideas is remarkable (as Stravinsky himself noted, 'I would have been quite incredulous had anyone suggested that a modern movement in the arts was to be born through it'.) This seminar will examine Stravinsky's musical and aesthetic thinking in these works. It will consider the relationship of Stravinsky's work to various predecessors (particularly Wagner, Debussy and the Russian nationalists), and will discuss the remarkable stylistic variety contained within this group of works. Was the so-called 'neoclassicism' of Pulcinella (1920) an aesthetic retreat from the violent dissonance of The Rite of Spring (1913), or can both be regarded as different manifestations of a coherent aesthetic position? By considering such questions, it is hoped to shed light not just on Stravinsky's achievement, but on a wider tradition of musical modernism of which Stravinsky can be regarded as the iconic example. Suggested listening: Stravinsky: Petruchka, The Rite of Spring, Pulcinella, Les Noces Suggested reading: Theodor W. Adorno, Philosophy of Modern Music (various editions) Jonathan Cross, The Stravinsky Legacy (Cambridge University Press, 1998) Alex Ross, The Rest is Noise (Fourth Estate, 2008) Igor Stravinsky, Memories and Commentaries and Expositions and Developments (University of California Press) Stephen Walsh, Stravinsky, Vol. 1: A Creative Spring (Pimlico, 2002) WEEK 4: The Crisis of Character Professor Susan Sellers 19

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When Virginia Woolf wrote in 1924 that on or about December, 1910, human character changed, she intended the observation to refer not only to the political and social shifts that were occurring in Britain at the end of the Edwardian era, she also meant it to act as a challenge to writers to change the way they presented characters in fiction. This seminar will build on Woolfs fascination with what she perceived as the strides made by art and music in responding to the general crisis of representation that marked the period, exploring her disgruntlement with the outmoded literary forms of her predecessors as well as her quest for radical new ways to represent human nature truthfully. Primary Reading: Virginia Woolf, Modern Fiction and Character in Fiction, in Selected Essays, ed. David Bradshaw (OUP, 2008), pp. 612, 3754 Virginia Woolf, To the Lighthouse (1927) Sigmund Freud, Dora: An Analysis of a Case of Hysteria (Touchstone, 1997) Suggested Further Reading: Pericles Lewis, Modernism and Religion, in The Cambridge Companion to Modernism, ed. Michael Levenson (CUP, 2011) especially the section On or about December, 1910, pp. 8694 Jane Goldman, From Mrs Dalloway to The Waves, in The Cambridge Companion to Virginia Woolf, 2nd edn, ed. Susan Sellers (CUP, 2010), pp. 4969 Michael H. Whitworth, Virginia Woolf, Modernism and Modernity, in The Cambridge Companion to Virginia Woolf, 2nd edn, ed. Susan Sellers (CUP, 2010), pp. 10723 David Bradshaw, The Socio-Political vision of the novels, in The Cambridge Companion to Virginia Woolf, 2nd edn, ed. Susan Sellers (CUP, 2010), pp. 12441 Nicole Ward Jouve, Virginia Woolf and psychoanalysis, in The Cambridge Companion to Virginia Woolf [1st edn], ed. Sue Roe and Susan Sellers (CUP, 2000), pp. 24572 WEEK 5: Modernity and mass culture Professor Gill Plain Modernism is frequently used as a catch-all term for literature in the first decades of the twentieth century. However, when it comes to the fiction of the 1930s and 1940s, the label becomes increasingly problematic. This seminar will focus on Alison Lights notion of conservative modernity to ask whether we should deploy a range of categories when considering authors as diverse as Virginia Woolf and Evelyn Waugh, or whether we should resist the tendency to categorize altogether. Primary reading: Alison Light, Forever England: Femininity, Literature and Conservatism Between the Wars (Routledge, 1991) 20

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Patrick Hamilton, Hangover Square (1941) Agatha Christie, The Body in the Library (1942) WEEK 6: Literary Modernism and Science Fiction Dr Sarah Dillon Building on last weeks discussion, this seminar will continue to explore the interrelationships between so-called high (e.g. Eliot, Woolf, Joyce) and low (e.g. Shaw, Wells, Galsworthy) modern writers. In order to examine these interconnections and to probe divisions such as high and low in this session we will look at two science fiction works by high modernist writers. Doing so will contribute to the productive softening of the distinction between high and low cultural forms that has occurred in literary and cultural criticism during the past two decades, and produce insights into our understandings of the history and character of modernism, the history and character of SF, the interesting and productive interrelations between them; and the relationship between modern literature, culture and politics. Primary Reading: Adam Roberts, The Early Twentieth Century: High Modernist Science Fiction, in The History of Science Fiction (Basingstoke: Palgrave Macmillan, 2005). E. M. Forster, The Machine Stops (1909) Elizabeth Bowen, Gone Away (1946) Suggested Further Reading: Elizabeth Bowen The Mulberry Tree: Writings of Elizabeth Bowen, ed. Hermione Lee (London: Vintage, 1999). Elizabeth Bowen, Things to Come: A Critical Appreciation, Sight and Sound 5:17 (Spring 1936), pp. 10-12, reprinted in William Johnson, ed., Focus on the Science Fiction Film (Englewood Cliffs, NJ: Prentice-Hall, 1972), pp. 43-5. Lis Christensen, Elizabeth Bowen: The Later Fiction (Copenhagen: Museum Tusculanum Press, 2001). Maria DiBattista and Lucy McDiarmid (eds), High and Low Moderns: Literature and Culture 1889-1939 (Oxford: Oxford University Press, 1996). David Glover, The Spectrality Effect in Early Modernism, in Gothic Modernisms, ed. Andrew Smith and Jeff Wallace (Basingstoke: Palgrave Macmillan, 2001), pp. 29-43. Kelly Hurley, The Modernist Abominations of William Hope Hodgson, in Gothic Modernisms, ed. Andrew Smith and Jeff Wallace (Basingstoke: Palgrave Macmillan, 2001), pp. 129-49. Fredric Jameson, The Political Unconscious: Narrative as Socially Symbolic Act (Ithaca, NY: Cornell University Press, 1981). James Naremore and Patrick Brantlinger, eds., Modernity and Mass Culture (Bloomington: Indiana University Press, 1991). 21

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Proust as SF writer, languagehat.com, November 24th 2007, available from: http://www.languagehat.com/archives/002950.php Kim Stanley Robinson, Science Fiction: The Stories of Now, New Scientist 2726 (16 September 2009), pp. 46-9. Available online: http://www.newscientist.com/article/mg20327263.200-science-fiction-the-stories-ofnow.html?full=true Lyman Tower Sargent, The Three Faces of Utopianism Revisited, Utopian Studies 5:1 (1994), 1-37. Darko Suvin, Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre (New Haven and London: Yale University Press, 1979). Adeline R. Tintner, The Pop World of Henry James: From Fairy Tales to Science Fiction (Ann Arbor, MI and London : U.M.I. Research Press, 1989). Phillip E. Wegner, Utopia in A Companion to Science Fiction, ed. David Seed (Oxford: Blackwell, 2005), pp. 79-94. WEEK 6: Modernity , Film and the Mass Production of the Senses Dr Joshua Yumibe The ways in which modernity shaped early twentieth century art and film has been a topic of debate in film historiography. We will look at Miriam Hansens work on vernacular modernism as a context for these discussions. We will then explore Walter Benjamins seminal work of art essay to unpack his arguments about the relation of mass production to transformations in sensory experience. With Benjamin, we will focus first on what he means by the aura and how technological reproduction threatens its tradition. We will then look to how he shifts from the aura to cinemas productive powers through the notion of play (in particular, in IV, V, VI and footnote 11). How does the cinema, as a space of play (Spielraum) affect viewers sensually? To ground our discussions, films that explore mass production and industrialization will be screened this week. Films: Rhythm (Len Lye, 1957, 1m) Modern Times (Charlie Chaplin, 1936, USA, selections) Ballet Mcanique (Ferdinand Leger and Dudley Murphy, 1924, France, 14m) Man with a Movie Camera (Dziga Vertov, 1929, USSR, 68m) Required Reading: Walter Benjamin, The Work of Art in the Age of Its Technological Reproducibility (Second Version), trans. Edmund Jephcott and Harry Zohn, in Selected Writings: Volume 3: 19351938, ed. Howard Eiland and Michael W. Jennings (Cambridge, MA: Belknap Press, 2002), 101133. Miriam Bratu Hansen, The Mass Production of the Senses: Classical Cinema as Vernacular Modernism, in Reinventing Film Studies, ed. Christine Gledhill and Linda Williams, 332350 (London: Arnold, 2000). 22

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Recommended Reading: Susan Buck-Morss, Aesthetics and Anaesthetics: Walter Benjamins Essay Reconsidered, October 62 (Fall 1992): 341. Nel Carroll, Modernity and the Plasticity of Perception, The Journal of Aesthetics and Art Criticism 59.1 (2001): 1117. Tom Gunning, Chaplin and the Body of Modernity, Early Popular Visual Culture 8.3 (August 2010): 237245. Miriam Bratu Hansen, Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodore W. Adorno (Berkeley: University of California Press, 2011). , Room-for-Play: Benjamins Gamble with Cinema, October 109 (Summer 2004): 346. Anton Kaes, Martin Jay, and Edward Dimendberg, eds., Imaging America: Fordism and Technology, in The Weimar Republic Sourcebook (Berkeley: University of California Press, 1994). R. L. Rutsky, High Techne: Art and Technology from the Machine Aesthetic to the Posthuman (Minneapolis: University of Minnesota Press, 1999). Terry Smith, Fordism: Mass Production and Total Control, in Making the Modern (Chicago: University of Chicago Press, 1993). Recommended Films: Mickey's Choo-Choo (Walt Disney, 1929, USA, 7m) Mickeys Mechanical Man (Walt Disney, 1933, USA, 7m) Philips Radio (Joris Ivens, 1931, The Netherlands, 36m) Metropolis (Fritz Lang, 192526, Germany) Tetsuo, the Iron Man (Shinya Tsukamoto, 1989, Japan, 67m) WEEK 8: Gender and Modernism Professor Susan Sellers The final decades of the nineteenth and the first of the twentieth centuries saw a rise in demand for womens rights, captioned in the notion of the New Woman and embedded as a political force in the womens suffrage movement. The actual and perceived changes this demand for womens rights ushered in led to an unprecedented interest in gender in the literature of the period. Some of this manifested itself in terms of subject-matter (from the barely repressed fear of womens power in the writing of several influential male modernists to new female-focussed narratives by women), some in terms of pioneering experiment with form (from the radical direct treatment of poet H.D. to the novel stylistic insistence of Gertrude Steins Melanchta). This seminar will consider both the innovations in content the move towards sexual equality generated as well as some of the formal innovations the new focus on gender produced. Primary reading: 23

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Gilbert, Sandra and Gubar, Susan, Introduction: The female imagination and the modernist aesthetic, Womens Studies, 13.1/2 (1986), 110 H.D. Sea Rose, in Sea Garden (1916) Zora Neale Hurston, Their Eyes Were Watching God (1937) Virginia Woolf, A Room of Ones Own (1929) Virginia Woolf, Professions for Women, in Selected Essays, ed. David Bradshaw (Oxford University Press, 2008), pp. 1405 W.B. Yeats Leda and the Swan (1924) Suggested further reading: Nancy Armstrong, Modernisms Iconophobia and What it Did to Gender, Modernism/modernity, 5.2 (April 1998), 4775 Kate Chopin, The Awakening (1899) Joseph Conrad, The Nigger of the Narcissus (1897) Marianne DeKoven, Gender and Modernism, in The Cambridge Companion to Modernism, [1st edn], ed. Michael Levenson (Cambridge University Press, 1999), pp. 17493 [also reprinted in the 2nd edn, 2011] Rita Felski, The Gender of Modernity (Harvard, 1995) particularly the Introduction and Chapter 1 Charlotte Perkins Gilman, The Yellow Wallpaper (1891) Andreas Huyssen, Mass Culture as Woman: Modernisms Other, in After the Great Divide: Modernism, Mass Culture, Postmodernism (Indiana University Press, 1986) James Joyce, Ulysses (1922) Laura Marcus, Woolfs Feminism and Feminisms Woolf, in The Cambridge Companion to Virginia Woolf, 2nd edn, ed. Susan Sellers (Cambridge University Press, 2010), pp. 14279 Bonnie Kime Scott, Introduction, in The Gender of Modernism: A Critical Anthology (Indiana University Press,1990) Gertrude Stein, Three Lives (1903-6) especially Melanctha Virginia Woolf, Three Guineas (1938) WEEK 9: Modernism and popular science: Einstein and beyond Dr Ian Blyth The early decades of the twentieth century saw a number of revolutions take place in our understanding of reality, at both the sub-atomic and cosmological levels. Einsteins Special and General Theories of Relativity (1905, 191617) overturned the 24

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Newtonian system of Physics in several startling ways (space was curved, time was not a fixed constant, etc). Hubbles observations of the Andromeda nebula in 1923 proved the existence of other galaxies the universe was much bigger than had previously been thought. Neils Bohrs work on the structure of the atom suggested that matter was mostly empty space. Heisenberg and Schrdinger, building on Plancks, Bohrs and Einsteins work on the quantum energy of light, developed what became known as wave mechanics, or quantum theory the universe was a lot stranger than had previously been thought. From c.1920 onwards (after Einsteins General Theory had been proved by observation), all of this was documented and disseminated to an eager public by various popular science writers, most notably Arthur S. Eddington and James Jeans. This seminar will look at extracts from two of Eddingtons and Jeanss books, and consider some examples of how these revolutionary theories and discoveries were interpreted and alluded to (with varying degrees of success) in the poetry, fiction and literary non-fiction of this period. Primary reading (photocopies will be provided): Arthur S. Eddington, The Nature of the Physical World (CUP, 1928) [extracts] Albert Einstein, Relativity: The Special & The General Theory. A Popular Exposition, trans. Robert W. Lawson (Methuen, 1920) [extracts] James Jeans, The Universe Around Us (CUP, 1929) [extracts] Virginia Woolf, The Sun and the Fish (1928), in Selected Essays, ed. David Bradshaw (OUP, 2008), pp. 18892 Plus a selection of extracts from other modernist writers. Suggested further reading: Gillian Beer, Physics, Sound, and Substance: Later Woolf, in Virginia Woolf: The Common Ground (EUP, 1996), pp. 11224 Arthur S. Eddington, Space, Time and Gravitation: An Outline of the General Theory of Relativity (CUP, 1920) Arthur S. Eddington, The Expanding Universe (CUP, 1933) Graham Farmelo, A Revolution with No Revolutionaries: The Planck-Einstein Equation for the Energy of a Quantum, in It Must be Beautiful: Great Equations of Modern Science, ed. Graham Farmelo (Granta, 2003), pp. 127 Alan J. Friedman and Carol C. Donley, Einstein as Myth and Muse (CUP, 1985/89) Holly Henry, Virginia Woolf and the Discourse of Science: The Aesthetics of Astronomy (CUP, 2003) James Jeans, The Mysterious Universe (CUP, 1930) James Jeans, The Stars in Their Courses (CUP, 1931) Arthur I. Miller, Erotica, Aesthetics and Schrdingers Wave Equation, in It Must be Beautiful, ed. Farmelo, pp. 11031 25

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Roger Penrose, The Rediscovery of Gravity: The Einstein Equation of General Relativity, in It Must be Beautiful, ed. Farmelo, pp. 180212 Bertrand Russell, The ABC of Relativity (Kegan Paul, 1925) Michael H. Whitworth, Einsteins Wake: Relativity, Metaphor, and Modernist Literature (OUP, 2001)

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EN5502: READING THE MODERN

Class Hours: Semester One, TBC Venue: Staff Offices Module Organiser: Professor Susan Sellers (scs2) Other Teachers on the Module: Professor Robert Crawford (rc4), Dr Sarah Dillon (sjd16), Dr Michael Herbert (mfh1), Dr Christopher MacLachlan (cjmm), Dr Emma Sutton (ess2). Teaching and Assessment:The module will be taught in nine 1! - 2 hour discussion seminars. The module will be assessed by one 4-5,000 word essay, to be submitted TBC. Content and Syllabus: WEEK 1: American Modernism I: Gertrude Stein, Three Lives (1909) Dr Emma Sutton The publication of Steins novel - or group of three novellas - marked her break with conventional prose and her development of a modernist style characterised by repetition, grammatical oddity and a resistance to causality and plot. The class will consider the motives and means behind Steins defamiliarisation of prose, and the relationship between her prose style and criture fminine, aurality and her commitment to art that reflected the complete actual present. Reading: The set text is Gertrude Stein, Three Lives and Q.E.D., Norton Critical Edition, ed. Marianne DeKoven (W. W. Norton: New York, 2005). If possible, read Q.E.D. in addition to this recommended edition of Three Lives. The following critical works are also useful resources on Stein: Morag Schiach, ed., The Cambridge Companion to the Modernist Novel (Cambridge: CUP, 2007). [also an e-book] Mary E. Galvin, Queer Poetics: Five modernist women writers (Westport, Conn.: Praeger, 1999). Janet Hobhouse, Everybody who was anybody: a biography of Gertrude Stein (London: Arena, 1986, c1975). Jayne L. Walker, The making of a modernist: Gertrude Stein from Three lives to Tender buttons (Amherst : University of Massachusetts Press, 1984). Susanna Pavloska, Modern primitives: race and language in Gertrude Stein, Ernest Hemingway, and Zora Neale Hurston (New York; London: Garland, 2000). Barbara Will, Gertrude Stein, modernism, and the problem of genius (Edinburgh: Edinburgh University Press, 2000). 27

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B L Knapp, Gertrude Stein. Lives and Letters Series (New York: Continuum, 1990). J P Bowers, Gertrude Stein. Women Writers Series (Basingstoke: Macmillan, 1993). Nicola Shaughnessy, Gertrude Stein. Writers and their Work Series (Tavistock: Northcote/British Council, 2007). WEEK 2: American Modernism II: Ernest Hemingway, A Farewell to Arms (1929) Dr Emma Sutton This class will concentrate on the masculinity of Hemingways fiction in particular, the relationship between gender and the realist mode of the novel. We will consider his representation of the body and the natural world, and the way in which he deploys literary allusions to feminine modes of writing such as revenant ballads and folklore. Reading: The set text is Hemingway, A Farewell to Arms (London: Arrow, 1994). Please also read any other of Hemingways novels or short fiction, such as the collection Men and Women. The following secondary sources are also useful: Scott Donaldson ed., The Cambridge Companion to Hemingway (Cambridge: CUP, 1996). [e-book] Michael Reynolds, Hemingway: The Final Years (New York: Norton, 1999). ___, Hemingway: The Homecoming (New York: Norton, 1999). ___, The Young Hemingway (New York: Norton, 1998). Harold Bloom, ed., Ernest Hemingway (Modern Critical Views Series) (New York: Chelsea House, 1985). F. Voss, Picturing Hemingway: a writer in his time (Washington: Smithsonian and New Haven: Yale, 1999). D. Pizer, American Expatriate Writing and the Paris Movement: Modernism and Place (Baton Rouge: Louisiana State UP, 1996). Hemingway Notes (PAO Collection 2) Hemingway Review (LION) Meyers, Jeffrey, ed., Hemingway: The Critical Heritage (London: Routledge, 1982) Wagner-Martin, Linda, ed., Ernest Hemingway: Seven Decades of Criticism (East Lansing: Michigan State University Press, 1998) WEEKS 3 and 5: D. H. Lawrence and James Joyce 28

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Dr Michael Herbert These two canonical modernist writers will be considered as a pair. Though they are in many ways polar opposites, they are nevertheless oddly similar in various aspects of their fictional works. Accordingly, each of the seminars in weeks 3 and 5 will be used not only to consider their writing, but also to draw comparisons and contrasts between them. Among the similarities, both are autobiographical, much-censored, repetitious, rebellious, groundbreaking, challenging. Among the differences, Joyce is an Irish, Catholic, Classical, Art for Arts Sake aesthete; Lawrence is an English, Protestant, Romantic, Art for My Sake champion of life. WEEK 3: D. H. Lawrence Reading: The set text is Sons and Lovers (1913), ed. Helen and Carl Baron (Penguin, 1994 or later). It would also be helpful to look at indexed volumes of Lawrences Letters, and his essays on the nature and importance of novels in general, in, e.g., his Selected Critical Writings. Students are also advised to browse the considerable critical writing on this author. WEEK 4: The French Influence: Marcel Proust Professor Susan Sellers Although James Joyce famously claimed not to have read the work of Marcel Proust before writing Ulysses (which many critics pair with the opening volume in the French writers series: In Search of Lost Time), Prousts influence on literary modernism cannot be underestimated. This seminar will consider Prousts radical experiments with time, space and the role and nature of memory, and tease out some of the influences his work had on modernist writers in Britain and beyond. Primary reading: Marcel Proust, Swanns Way (1913) and Remembrance of Things Past (1927). Suggested further reading: Richard Bales (ed.), The Cambridge Companion to Proust (Cambridge University Press, 2001) [e-book] WEEK 5: James Joyce Dr Michael Herbert This seminar is intended particularly to continue the discussions of D. H. Lawrence in week 3. Reading: The set text is James Joyce, A Portrait of the Artist as a Young Man (1916), ed. Seamus Deane (Penguin, 1992 or later). It would also be helpful to look at indexed volumes of Joyces Letters, and parts of the volume of his Critical Writings. As with Lawrence, students are also advised to browse the considerable critical writing on this author. 29

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WEEK 6: Dystopian fiction: Aldous Huxley, Brave New World (1932) and George Orwell, Nineteen Eighty-Four (1949) Dr Christopher MacLachlan These two novels of the future, though published seventeen years apart, are often paired as examples of dystopian responses to modern civilisation. The class will compare and contrast their ideas about politics and society while also considering their differing historical contexts. Attention will also be paid to ideas about literature and language in both novels and the relation of these to the styles and structures used by Huxley and Orwell. Reading: The set texts are Aldous Huxley, Brave New World (any complete edition [beware the Penguin Simplified Text version!]; the 1991 Longman edition, edited by Linda Cookson, Roy Blatchford and Robert Southwick, has thorough notes and includes Huxleys 1946 foreword) and George Orwell, Nineteen Eighty-Four (Penguin, 1954, and frequently reprinted). See also: Aldous Huxley, Foreword to Brave New World (1946 available online at http://alexsk.de/A_Huxley.html and elsewhere). Brave New World Revisited (1958). George Orwell, Literature and Totalitarianism (1941), James Burnham and the Managerial Revolution (1946), Writers and the Leviathan (1948). (All these Orwell essays can be found online at various locations.) WEEK 7: Elizabeth Bowen and the Haunted House (of Fiction) Dr Sarah Dillon This session we will enter into the uncanny world of the literary fiction of Elizabeth Bowen. Reading two of her novels, we will consider the way in which Bowens fiction experiments with what Bennett and Royle call the dissolution of the novel focusing in particular on the many ways in which the idea of haunting permeates her texts at the levels of plot, character, technique, structure and idea. Primary Reading: Bowen, The House in Paris (1935) Bowen, A World of Love (1955) Esther Rashkin, Tools for a New Psychoanalytic Literary Criticism: The Work of Abraham and Torok, Diacritics 18 (1988), 31-52. Andrew Bennett and Nicholas Royle (eds.), Elizabeth Bowen and the Dissolution of the Novel (New York: St Martins Press, 1995): Introduction, and Chapters 3 and 6. Suggested Further Reading: 30

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Nicolas Abraham and Maria Torok, The Wolf Mans Magic Word: A Cryptonymy, trans. Nicholas Rand (Minneapolis: University of Minnesota Press, 1986). Lis Christensen, Elizabeth Bowen: The Later Fiction (Copenhagen: Museum Tusculanum Press, 2001). Elizabeth Bowen, After-Thought: Pieces About Writing (London: Longmans, 1962). Elizabeth Bowen, The Collected Stories of Elizabeth Bowen (Harmondsworth: Penguin, 1980). Victoria Glendinning, Elizabeth Bowen: Portrait of a Writer (London: Weidenfeld and Nicolson, 1977). Phyllis Lassner, Elizabeth Bowen: A Study of the Short Fiction (New York: Twayne, 1991). Hermione Lee (ed.), The Mulberry Tree: Writings of Elizabeth Bowen (London: Vintage, 1999). Gill Plain, Womens Fiction of the Second World War: Gender, Power and Resistance (Edinburgh: Edinburgh University Press, 1996). Eibhear Walshe (ed.), Elizabeth Bowen (Dublin and Portland, OR: Irish Academic Press, 2009). WEEK 8: Fictional Hybrids: Virginia Woolf Professor Susan Sellers This seminar will build on previous discussions and consider two of Virginia Woolfs most enduring texts: her spoof biography Orlando and her essay A Room of Ones Own. Reading will enable us to probe such topics as the impact of tradition, the impossibility of history, feminism, and the interconnections between fact and fiction, and broaden into discussion of modernisms challenge to different canonical literary forms. Reading: Virginia Woolf: Orlando (1928) and A Room of Ones Own (1929) Suggested Further Reading: Rachel Bowlby, Feminist Destinations and Further Essays on Virginia Woolf (Edinburgh University Press, 1997) Franoise Defromont, Metaphorical Thinking and Poetic Writing in Virginia Woolf and Hlne Cixous, in The Body and the Text: Hlne Cixous, Reading and Teaching, ed. Helen Wilcox et al. (Harvester Wheatsheaf, 1990), pp. 11425 Anne Fernald, A Room of Ones Own, Personal Criticism, and the Essay, Twentieth Century Literature, 40:2 (Summer 1994), 16589

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Suzanne Raitt, Vita and Virginia: The Work and Friendship of V. Sackville-West and Virginia Woolf (Oxford University Press, 1997) The Letters of Vita Sackville-West to Virginia Woolf, ed. Louise DeSalvo and Mitchell A. Leaska (Hutchinson, 1984; repr. Virago, 1997) Virginia Woolf, Women & Fiction: The Manuscript Versions of A Room of Ones Own, ed. S. P. Rosenbaum (Blackwell, 1992) , Orlando: The Holograph Draft, ed. Stuart Nelson Clarke (SN Clarke, 1993) WEEK 9: Literature and Tradition 2: Hugh MacDiarmid and a Poetry of Science Professor Robert Crawford The focus of this seminar will be on MacDiarmid's use of scientific materials in poetry. Poems studied will include 'The Bonnie Broukit Bairn', 'Empty Vessel', 'On a Raised Beach', 'The Glass of Pure Water', 'To a Friend and Fellow Poet', 'Poetry and Science', 'Crystals Like Blood' and parts of 'In Memoriam James Joyce'. Primary reading: Hugh MacDiarmid, Selected Poems, ed. Alan Riach (Manchester: Carcanet, 1992; London: Penguin, 1994) Suggested Further Reading: Alan Bold, MacDiarmid, Christopher Murray Grieve: A Critical Biography (John Murray, 1988). PR6013.R5Z5B77 [the standard biography] Robert Crawford, Devolving English Literature (Clarendon Press, 1992), the chapter 'Modernism as Provincialism' Robert Crawford, The Modern Poet (Oxford University Press, 2001), the chapter 'Modernist Cybernetics' Nancy Gish, Hugh MacDiarmid: The Man and his Work (Macmillan, 1984). PR6013.R5Z5G5 [good introductory overview, concentrating on earlier poems] W. N. Herbert, To Circumjack MacDiarmid: The Poetry and Prose of Hugh MacDiarmid (Oxford: Clarendon Press, 1992) PR6013.R5Z5H4 [the best book] Hugh MacDiarmid, Selected Poems, ed. Alan Riach and Michael Grieve (Penguin, 1994). PR6013.R5A6R5G8 [a good selection] Hugh MacDiarmid, Selected Prose, ed. Alan Riach and Michael Grieve (Carcanet, 1992). PR6013.R5A6R5 [sparky do sample it at least, making sure to read the early essays]

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EN5511: THEORISING THE CONTEMPORARY

Class Hour: Semester Two, TBC Venue: Staff Offices Module Organiser: Dr Sarah Dillon (sjd16) Other Teachers on the Module: Dr Alex Davis (ald3), Dr Tom Jones (tej1), Professor Susan Sellers (scs2), Professor Gill Plain (gp3), Professor Don Paterson (dp31), Dr Alistair Rider (ajr1, Art History), Dr David Martin-Jones (dm70, Film Studies) Teaching and Assessment: The module will be taught in nine 1! - 2 hour discussion seminars. The module will be assessed by one 4-5,000 word essay, to be submitted TBC. Content and Syllabus: WEEK 1: The Postmodern Dr Alex Davis This session will examine the concept of 'the postmodern' as influentially developed by the American theorist Fredric Jameson. For Jameson, postmodernism can be understood first and foremost neither as a uncontrolled outbreak of sceptical thought, nor as any kind of Lyotardian assault upon grande narratives, but rather as a structure of cultural phenomena intimately linked to the development of what he calls late capitalism. Primary Reading: Frederic Jameson, Postmodernism, or The Cultural Logic of Late Capitalism, from the book of the same name (Durham, NC: Duke University Press, 1991); or New Left Review I: 146 (1984), pp. 53-92 (available online). Frederic Jameson, The Antinomies of Postmodernity, from The Seeds of Time (New York: Columbia University Press, 1994), pp. 1-71. Suggestions for Further Reading: Perry Anderson, The Origins of Postmodernity (London and New York: Verso, 1998). William C. Dowling, Jameson, Althusser, Marx: An introduction to the Political Unconscious (London: Methuen, 1984). Sean Homer, Fredric Jameson: Marxism, Hermeneutics, Postmodernism (Cambridge: Polity Press, 1998). Douglas Kellner ad Sean Homer eds, Fredric Jameson: A Critical Reader (Houndsmills and New York: Palgrave Macmillan, 1984) - electronic text. WEEK 2: Structuralism and Poetry 33

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Dr Tom Jones This session will explore the connections between structuralist poetic theory and avant-garde poetic practice, concentrating on work produced in the Russian and Czech milieux of the early twentieth centuries. Primary Reading Roman Jakobson, Language in Literature, ed. by Krystyna Pomorska and Stephen Rudy (Cambridge, MA: Belknap Press, 1987) Chapters: Futurism, Dada, On a Generation that Squandered its Poets, Linguistics and Poetics Osip M. Brik, Contributions to the Study of Verse Language, in Readings in Russian Poetics: Formalist and Structuralist Views, ed. by Ladislav Matejka and Krysyna Pomorska, intro. by Gerald L. Bruns (Chicago and Normal, IL: Dalkey Archive Press, 2002; 1st publ. Cambridge, MA: MIT Press, 1971) pp. 117-125 Jon Cook, Poetry in Theory: An Anthology, 1900-2000 (Oxford: Blackwell, 2004) Chapters: Velimir Khlebnikov, On Poetry and on Contemporary Poetry; Vladimir Mayakovsky, How Verses are Made; Julia Kristeva, The Ethics of Linguistics Jan Mukarovsky, Standard Language and Poetic Language, in A Prague School Reader on Esthetics, Literary Structure, and Style, ed. by Paul L. Garvin (Washington, D.C.: Georgetown University Press, 1964), pp. 17-30 Suggested further reading/listening: Vladimir Mayakovsky, The Bedbug: And Selected Poetry, trans. by Max Hayward and George Reavey, ed. by Patricia Blake (London: Weidenfeld and Nicolson, 1961) For the poems of Velimir Khlebnikov: http://www.ubu.com/sound/chlebnikov.html Jonathan Culler, Structuralist Poetics: Structuralism, Linguistics and the Study of Literature (London: Routledge, 1975) WEEK 3: Poststructuralism I - Derrida and Photography Dr Sarah Dillon This session will provide a way into the thought of Jacques Derrida in the context of theorising the contemporary via his thoughts specifically about photography, but also in association with these his thinking about such contemporary issues as (queer) sexuality, death, drugs and film. To do so, we will read Derridas commentary on photography elicited by Marie-Franoise Plissarts lesbian photographs alongside Lisa Cholodenkos 1998 independent film High Art (1998) which tells the story of a photography journalist (Rhada Mitchell) and her lesbian affair with a drug-addicted photographer (Ally Sheedy). Primary Reading Derrida, Jacques, Right of Inspection, trans. David Wills, with photographs by MarieFranoise Plissart (New York: The Monacelli Press, 1999). High Art, dir. Lisa Cholodenko (1998). 34

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Suggestions for Further Reading: Agamben, Georgio, Nudities, trans. David Kishik and Stefan Pedatella (Stanford: Stanford University Press, 2011). Ahmed, Sara, Queer Phenomenology: Orientations, Objects, Others (Durham and London: Duke University Press, 2006). Aaron, Michele, New Queer Cinema: A Critical Reader (Edinburgh: Edinburgh University Press, 2004). Barthes, Roland, Camera Lucida (London: Vintage, 2000). de Lauretis, Teresa, Alice Doesnt: Feminism, Semiotics, Cinema (Bloomington: Indiana University Press, 1984). Debord, Guy, Society of the Spectacle (Eastbourne: Soul Bay Press, 2009). Derrida, Jacques, The Rhetoric of Drugs in Points!Interviews, 1974-1994, ed. Elisabeth Weber (Stanford: Stanford University Press, 1995), pp. 228-54. Derrida, Jacques, The Deaths of Roland Barthes, in Psyche: Inventions of the Other, Vol. 1, ed. Peggy Kamuf and Elizabeth Rottenberg (Stanford: Stnaford University Press, 2007), pp. 264-98. Derrida, Jacques, Copy, Archive, Signature: A Conversation on Photography, trans. Jeff Fort (Stanford: Stanford University Press, 2010). Derrida, Jacques, Athens, Still Remains: The Photographs of Jean Franois Bonhomme, tans. Pascale-Anne Brault and Michael Naas (New York: Fordham University Press, 2010). Doane, Mary Ann, Femmes Fatales: Feminism, Film Theory, Psychoanalysis (London: Routledge, 1991). Hawkins, Joan, Dark, Disturbing, Intelligent, Provocative, and Quirky: Avant-Garde Cinema of the 1980s and 1990s, in Contemporary American Independent Film: From the Margins to the Mainstream, ed. Chris Holmlund and Justin Wyatt (New York: Routledge, 2005), pp. 77-91. Mulvey, Laura, Visual and Other Pleasures, 2nd edn. (Basingstoke: Palgrave Macmillan, 2009). Royle, Nicholas, Impossible Uncanniness: Deconstruction and Queer Theory in In Memory of Jacques Derrida (Edinburgh: Edinburgh University Press, 2009), pp. 11333. Sontag, Susan, On Photography (London: Penguin, 1977). Wallace, Lee, Lesbianism, Cinema, Space: The Sexual Life of Apartments (New York: Routledge, 2009). 35

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WEEK 4: Queer Today? Professor Gill Plain This seminar will consider the statement by the editors of the Social Text special issue Whats Queer about Queer Studies Now?, that sexuality is intersectional, not extraneous to other modes of difference, and calibrated to a firm understanding of queer as a political metaphor without a fixed referent (2005: 1). Using a range of essays from Social Text, we will discuss the meanings of queer as the term enters its third decade as a social, political and theoretical force. Primary Text: Whats Queer About Queer Studies Now?, Special issue, ed. David L. Eng, Judith Halberstam and Jos Esteban Muoz, Social Text, 84-85, Vol. 23, Nos. 3-4, FallWinter 2005. Suggestions for Background Reading: Judith Butler, Gender Trouble: Feminism and the Subversion of identity, London, Routledge, 1990. Judith Butler, Bodies That Matter: On the Discursive Limits of Sex, London: Routledge, 1993. Eve Kosofsky Sedgwick, The Epistemology of the Closet, London: Harvester, 1991. WEEK 5: Poetics Professor Don Paterson This seminar will give an overview of a number of different approaches to contemporary poetic practice and criticism (poetics is used here in its narrow sense of the theory of poetry), focusing on selected chapters from the set text. Contemporary poetics is a minefield of widely different and often mutually exclusive methodologies, where New Critical models of close reading have gradually been superseded by more flexible approaches in the poetics of both the mainstream and the avant-garde. This seminar will provide a rough map of the field, as well as introducing the subject of cognitive poetics, and the kind of insights contemporary linguistics and neuroscience are able to provide into the way we process the poem and the poetic sign. Primary Reading: Poetry in Theory: An Anthology 1900-2000, ed. Jon Cook (Blackwell Anthologies, 2004). Suggestions for Further Reading: Language in Literature, Roman Jakobson (Belknap Press, 1990) Dont Ask Me What I Mean: Poets in Their Own Words, ed. Paterson, Brown (Picador 2004)

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WEEK 6: Contemporary Visual Art Dr Alistair Rider (Art History) Over the past few years there has been a lively debate among visual artists and critics about what makes current art truly contemporary. This seminar is designed to introduce you to some of these conversations, as well as provide a schematic map of a range of contemporary visual art practices in different media. While literature will not be the central focus of this particular session, much of the vocabulary used to discuss contemporary art such as globalization, diaspora, postcolonialism, or hybridity is likely to be familiar to you. This class will therefore offer an opportunity to assess how another cultural field understands its contemporaneity, with a view to locating potential moments of cross-fertilization with literary studies. Primary Reading: Smith, Terry, What is Contemporary Art? (Chicago: University of Chicago Press, 2009) Suggestions for Further Reading: Crinson, Mark, Fragments of Collapsing Space: Postcolonial Theory and Contemporary Art, in Amelia Jones, ed. A Companion to Contemporary Art since 1945 (Oxford: Blackwell, 2006), pp. 450-469 Ratnam, Niru, Art and Globalization, in Themes in Contemporary Art, ed. Gill Perry and Paul Wood (New Haven and London: Yale University Press, 2004, pp. 277-313 Cotton, Ch., The Photograph as Contemporary Art (London and New York: Thames & Hudson, 2004) Fried, Michael, Why Photography Matters as Art as Never Before (New Haven: Yale University Press, 2008) Aranda, J., B. Kuan Wood and A Vidokle, What is Contemporary Art? An Introduction (Berlin and New York: Sternberg, 2010) Armstrong, C and C. de Zegher, eds. Women Artists at the Millennium (Cambridge, MA: MIT Press, 2006) Bourriard, Nicolas, Relational Aesthetics, trans. S. Pleasance and F. Woods (Dijon: Les Presses du reel, 2002) Mercer, K., ed. Exiles, disporas, and strangers (London: Institute of International Visual Arts, and Cambridge, MA: MIT Pres, 2008) Perry, Gill and Paul Wood, Themes in Contemporary Art (New Haven and London: Yale University Press, 2004) Reilly, M. and L. Nochlin, eds., Global Feminisms: New Directions in Contemporary Art (London and New York: Merrell, 2007) WEEK 7: Gilles Deleuze and Film Theory Dr David Martin-Jones (Film Studies) 37

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Since the 1970s and 1980s the discipline of film studies has moved away from grand, universalising theories which attempt to answer the question, what is cinema? Instead, historical analysis of cinema has become the norm, with film theory integrating increasingly with film history. For instance, rather than one feminist theory of cinema, like Laura Mulveys in the 1970s, we now have many different feminist interpretations of women in different cinemas, in different countries, at different times in history. Yet even in this at times inhospitable context, film theory continues to look for new directions. This week we will look at just one example, the philosophical approach of the famous French philosopher, Gilles Deleuze. During the 1980s Deleuze wrote two works on cinema entitled: Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985). For many years these were not given much in the way of serious consideration within film studies. Since the early 1990s, however, a growing body of work has appeared on Deleuze and cinema, as a younger generation of film scholars use his work to rejuvenate film theory. Required viewing: The Cell (Tarsem Singh, 2000). Primary Reading: David Martin-Jones & Damian Sutton, Deleuze Reframed (London: I.B. Tauris, 2008), chpt 5. Additional reading: Ronald Bogue, Deleuze on Cinema (London: Routledge, 2003). Gilles Deleuze, Cinema 1: The Movement-Image (London: Athlone, 1983). Gilles Deleuze, Cinema 2: The Time-Image (London: Athlone Press, 1989). Suggestions for Further Reading: David Bordwell, The Art Cinema as a Mode of Film Practice, in Catherine Fowler (ed.), The European Cinema Reader (London: Routledge, 2002), pp. 94-102 Gregory Flaxman (ed.), The Brain is the Screen: Deleuze and the Philosophy of Cinema (Minneapolis: University of Minnesota Press, 2000). Barbara Kennedy, Deleuze and Cinema: The Aesthetics of Sensation (Edinburgh, 2000). Laura U. Marks, The Skin of the Film: Intercultural Cinema, Embodiment and the Senses (Durham: Duke University Press, 2000). David Martin-Jones, Deleuze, Cinema and National Identity (Edinburgh: Edinburgh University Press, 2006). David Martin-Jones, Deleuze and World Cinemas (London: Continuum, 2011). Patricia Pisters, The Matrix of Visual Culture: Working With Deleuze in Film Theory (California: Stanford University Press, 2003). Anna Powell, Deleuze and Horror Film (Edinburgh: Edinburgh University Press, 2005). 38

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Anna Powell, Deleuze, Altered States and Cinema (Edinburgh: Edinburgh University Press, 2007). Elena del Rio, Deleuze and the Cinemas of Performance (Edinburgh University Press, 2009). D. N. Rodowick, Gilles Deleuzes Time Machine (London: Duke University Press, 1997). Steven Shaviro, The Cinematic Body (Minneapolis: University of Minnesota Press, 1993). Additional viewing: Pulp Fiction (1995), Sliding Doors (1997), Run Lola Run (1998), Memento (2000), Adaptation (2002), Gothika (2003), Identity (2003), Fifty First Dates (2004), Eternal Sunshine of the Spotless Mind (2004). WEEK 8: Posthumanism Dr Sarah Dillon In this session we will be asking, what does it mean to think beyond humanism? What would modes of philosophy, ethics and hermeneutics that move beyond classic humanist divisions look like? Ones that renegotiate the relationship between self and other, for instance, or between mind and body, society and nature, the human and non-human animal, the organic and the technological. How do the disciplines within what has traditionally been known as the Humanities rethink humanitys place in the world in a contemporary context in which we are coming more and more to realise that human life is just one form among many others, organic and technological? We will address these questions using Cary Wolfes enquiry into posthumanism as our starting point, and by following his example in considering how such a redefined philosophy might change the way in which we engage with art and literature. Primary Reading Wolfe, Cary, What is Posthumanism? (Minneapolis, MA: University of Minnesota Press, 2009). Selected poems by Wallace Stevens, including The Man with the Blue Guitar, The Idea of Order at Key West, and The Poems of Our Climate. Suggestions for Further Reading: Badmington, Neil (ed), Posthumanism (Basingstoke: Palgrave Macmillan, 2000). Badmington, Neil, Alien Chic: Posthumanism and the Other Within (New York and London: Routledge, 2004). Christian, Brian, The Most Human Human: A Defence of Humanity in the Age of the Computer (London: Viking, 2011). Davies, Tony, Humanism (New York: Routledge, 1997). Fukayama, Francis, Our Posthuman Future: Consequences of the Biotechnology Revolution (London: Picador, 2003). 39

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Haraway, Donna J., Simians, Cyborgs, and Women: The Reinvention of Nature (London: Free Association Books, 1991) Haraway, Donna, The Haraway Reader (New York: Routledge, 2004). Hayles, N. Katerine, How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics (Chicago and London: University of Chicago Press, 1999). Pepperell, Robert, The Posthuman Condition: Consciousness Beyond the Brain (Bristol: Intellect Books, 2003). Smith, Marquard and Joanne Morra (eds), The Prosthetic Impulse: From a Posthuman Present to a Biocultural Future (Cambridge, MA and London: MIT Press, 2006). Weinstone, Ann, Avatar Bodies: A Tantra for Posthumanism (Minneapolis: University of Minnesota Press, 2003). WEEK 9: Poststructuralism II Cixous Professor Susan Sellers This session will focus on Cixouss challenge to theorizing and explore her call for an alternative feminine praxis of writing. We will consider Cixouss definition of feminine as a mode of behaviour rather than a biological gender, and discuss her case for a relationship of equality between self and other, signifier and signified and the various binaries that structure our thinking - including structuralism, modernism and their posts. Primary Reading: What is it oclock? Or the door (we never enter) and Love of the Wolf, in Stigmata Escaping Texts (London: Routledge, 1998). Letter-beings and Time in The Portable Cixous (New York: Columbia University Press, 2010). Suggestions for Further Reading: Ian Blyth with Susan Sellers, Hlne Cixous: live theory (London: Continuum, 2004) Hlne Cixous, Portrait of Jacques Derrida as a Young Jewish Saint, trans. Beverley Bie Brahic (New York: Columbia University Press, 2005) Hlne Cixous, Hyperdream, trans. Beverley Bie Brahic (Cambridge: Polity, 2009) Hlne Cixous, Eve Escapes (Cambridge: Polity, 2012)

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EN5512: LITERATURE IN CULTURE: THE CONTEMPORARY

Class Hour: Semester Two, TBC Venue: Staff Offices Module Organiser: Dr Sarah Dillon (sjd16) Other Teachers on the Module: Professor Robert Crawford (rc4), Professor Gill Plain (gp3), Professor Susan Sellers (scs2), Mr Jacob Polley (jbp3), Professor John Burnside (jb44), Dr Philip Parry (php), Dr Leshu Torchin (lt40, Film Studies) Teaching and Assessment: The module will be taught in ten 1! - 2 hour discussion seminars. The module will be assessed by one 4-5,000 word essay, to be submitted TBC. Content and Syllabus: WEEK 1: Literature and Science I: Prose Dr Sarah Dillon This seminar will consider the relationship between science and contemporary fiction via close study of the set text an anthology of short stories written after collaboration between the authors and practising scientists in fields as diverse as nanotechnology, invertebrate physiology, particle physics and software archaeology. What makes this anthology particularly interesting is that each story is followed by an afterword by the collaborating scientist. The collection therefore serves as an excellent starting point for discussing the relationship between contemporary literature and contemporary scientific thinking and practice. Primary Reading: When It Changed: Science into Fiction: An Anthology, ed. Geoff Ryman (Manchester: Comma Press, 2009). Suggestions for Further Reading: Beer, Gillian, Darwins Plots: Evolutionary Narrative in Darwin, George Eliot and Nineteenth-Century Fiction (Cambridge: Cambridge University Press, 3rd edn 2009). [clearly dealing with non-contemporary fiction but a key texts in the scienceliterature canon] Kagan, Jerome, The Three Cultures: Natural Sciences, Social Sciences, and the Humanities in the 21st Century (Cambridge: Cambridge University Press, 2009). Kuhn, Thomas S., The Structure of Scientific Revolutions, 3rd edn (Chicago and London: University of Chicago Press, 1996). Livingston, Ira, Between Science and Literature: An Introduction to Autopoetics (Urbana and Chicago: University of Illinois Press, 2006). Sleigh, Charlotte, Literature and Science (Basingstoke: Palgrave, 2011). 41

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Snow, C. P., The Two Cultures (Cambridge: Cambridge University Press, 1998). Whelan, Robert (ed), From Two Cultures to No Culture: C. P Snows Two Cultures lecture fifty years on (London: Civitas, 2009). WEEK 2: Literature and Science II: Poetry Professor Robert Crawford This session will examine both the practical and some of the more theoretical aspects of collaborations between poets and scientists, taking as its focus the 2006 volume I edited on contemporary poetry and contemporary science. Students will be encouraged to see how they too could facilitate such exchanges, and to reflect on the permeability or otherwise of disciplinary boundaries. On a larger scale, the discussion will focus on whether creativity has a common meaning in poetry and in science. Primary Reading: Crawford, Robert (ed), Contemporary Poetry and Contemporary Science (Oxford: Oxford University Press, 2006). Suggestions for Further Reading: Kurt Brown, ed., The Measured Word: On Poetry and Science (Athens, GA: University of Georgia Press, 2001) John Burnside and Maurice Riordan, eds., Wild Reckoning: An Anthology provoked by Rachel Carsons Silent Spring (London: Calouste Gulbenkian Foundation, 2004) John Holmes, ed., Science in Modern Poetry: New Directions (Liverpool: Liverpool University Press, 2012) (forthcoming) Mary Midgley, Science and Poetry (London: Routledge, 2001) I. A. Richards, Poetries and Sciences (London: Routledge, 1970) Maurice Riordan and Jon Turney, eds., A Quark for Mister Mark: 101 Poems about Science (London: Faber, 2000) WEEK 3: Crime Fiction: Television and the boundaries of genre Professor Gill Plain This seminar will consider the relationship between television and the crime fiction genre, specifically asking how the television series format enables or inhibits innovation within genre structures. The set text for the class will be The Wire, Series 1, episode 4, but students are encouraged to watch the whole series. The Wire will provide a framework for discussing the key generic substructures of classical or cluepuzzle detection, hard-boiled or private-eye detection, and the police procedural. It also raises questions regarding series construction and narrative arcs, suspense, comedy, violence, gender, race, style, language, and the negotiation of taboos.

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In order to understand how The Wire works, students are encouraged to read a selection of crime novels and if possible to watch some other recent examples of television crime drama. Primary Text: The Wire, Series 1, episode 4 Suggestions for Further Watching and Reading: Crime Fiction Chandler, Raymond, Farewell, My Lovely (London, Penguin, 1949 [1941]) Hammett, Dashiell, The Maltese Falcon (London, Orion, 2002 [1929]) Christie, Agatha, The Body in the Library (London, HarperCollins, 2002 [1942]) Forrest, Katherine V. Murder By Tradition, (Tallahassee, Florida, Naiad Press, 1991) McBain, Ed, Cop Hater, (London, Penguin, 1963 [1956]) Sjwall, Maj and Per Wahl, The Locked Room, London, Vintage, 1992 [1973]) Pelecanos, George, Hell to Pay, (London, Orion, 2002) Arnott, Jake, The Long Firm (London, Sceptre, 1999) Television These are just suggestions: watching almost any TV crime drama will be useful. Z Cars Hill Street Blues NYPD Blue The Sweeney The Bill Inspector Morse Homicide: Life on the Street The Wire series 2-5 The Shadow Line [youll need to watch the full series to make sense of this] Criticism Knight, Steven, Form and Ideology in Crime Fiction, (Basingstoke, Macmillan, 1980) Horsley, Lee, Twentieth-Century Crime Fiction, (Oxford University Press, 2005) Priestman, Martin, The Cambridge Companion to Crime Fiction (Cambridge University Press, 2003) WEEK 4: Collaboration in Sound and Image Mr Jacob Polley This seminar will explore the idea of artistic collaboration through a presentation of some of Jacob Polleys collaborative work in film, art installation and audio, followed 43

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by a discussion of the collaborative processes and an examination of some of the working documents, drafts and sources. Required Viewing Flickerman and the Ivory-skinned Woman (dir. Ian Fenton, written by Ian Fenton and Jacob Polley, 2001) The Recollection Rooms (Picture House exhibition at Belsay Hall, Imogen Clot and Jacob Polley, 2007) Saturday Matinee (Tyneside Cinema, Imogen Clot, Jacob Polley and John Alder, 2008) Bathtime (Segedunum Roman Fort and Museum, Imogen Clot and Jacob Polley, 2011) Suggestions for Further Reading: Lorca Dali Buuel WEEK 5: Literature, Politics and Photography Professor John Burnside This session discusses ways in which literature treats of the photograph and the role of photography in politics and public relations, both via the photograph as official document, (for example, electoral images, wanted posters, etc.) and as unofficial or artistic imagery (the portrait, the first-person record, home movie footage and snapshots). How are political figures - midstream and radical, official candidate and terrorist - portrayed by the camera and what is the real impact, both immediate and modified through art, of certain key political images in recent history? How does the camera glamorise its subject, how does it validate or undermine? These questions will be explored via two novels by Don DeLillo - Mao II, from 1991, and Falling Man, published in 2007 - in which the place of photography / the image is central. Primary Reading: Don DeLillo, Mao II (1991) Don DeLillo, Falling Man (2007) Suggestions for Further Reading: Jacques Ranciere, The Future of the Image Jean Baudrillard, Simulacra and Simulation Roland Barthes, Mythologies Gerald Vizenor, Manifest Manners WEEK 6: Drama and Technology Dr Philip Parry 44

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Once you accept and this is the underlying assumption that fuels this session -that theatre is performance, you must also accept that theatrical performance (or presence) is located in real physical space and is mediated by a technology, sometimes simple and sometimes complex, that serves to fill that space. Indeed we might define technology in this context as whatever means is used to materialize performance (for instance a wooden technology in the case of puppet-shows). This technology inevitably has a history but a complex one. O'Neill's Dynamo (1929) is an early celebration of industry, industry's attendant technology, and the theatre industry and its attendant technology, but it's also a questioning of the value of each of these things. Sarah Kane's highly physical theatre (with Cleansed as our central text) again celebrates boundless/unbounded staging but does so by celebrating the power that comes from technology's negation: thus a celebration of pure theatre is conducted by means of a celebration of 'poor' theatre. Hence we shall also look at the theoretical/practical work of Jerzy Grotowski, at Polish theatre in the 1960s and 1970s; and at some of the Happenings that were such a feature of American avantgarde theatre in the sixties and seventies also. Primary Reading: Eugene ONeill. Dynamo (1929). http://gutenberg.net.au/ebooks04/0400151h.html Sarah Kane. Complete Plays. London, Methuen Drama. 2001. Suggestions for Further Reading: Edward Gordon Craig. Craig on Theatre, Edited J. Michael Walton. London, Methuen. 1983. Gambit International Theatre Review: Special Double Polish Theatre Issue, Volume 9, numbers 33-34 (1979). Deborah Geis. Postmodern Theatric[k]s: Monologue in Contemporary American Drama. Ann Arbor: Michigan University Press. 1993. RoseLee Goldberg. Performance Art: From Futurism to the Present. London, Thames and Hudson. 1988. Jerzy Grotowski. Towards a Poor Theatre. London: Methuen. 1969. Stephen Joseph. New Theatre Forms. London, Pitman. 1968. Iain Mackintosh. Architecture, Actor and Audience: Theatre Concepts. London, Routledge. 1993. Michael Rush. New Media in Late Twentieth-Century Art. London, Thames and Hudson. 1999. Theodore Shank. American Alternative Theatre. Macmillan, London. 1982. Jon Whitmore. Directing Postmodern Theater: Shaping Signification in Performance. Ann Arbor: Michigan University Press. 1994.

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WEEK 7: Trauma and Cinematic Representation Dr Leshu Torchin Trauma Studies allows us to understand the catastrophic impact of certain events and the ways in which they are transmitted. Much like the origins of the theory, found in Psychoanalysis and Neurology, trauma was initially concerned with the individual and the personal response to a horrific encounter. However, the term also holds broader political and cultural significance, as indicated by its appearance in Modern Languages and Film Studies: What is the place of the traumatic event in our world, and how is it managed by literature and film? These questions take on particular significance in light of the challenge to assimilating and communicating the experience of the traumatic event and testimonys crucial role in processes of history-making, recuperation and reconciliation. In this session, we will focus on the way film has been used to express trauma, bringing the personal experience to a wider audience. While our central case will be that of the Holocaust we will extend our exploration into other settings and explore the applicability of the theories for other contexts. Required Viewing: The Pawnbroker (Sidney Lumet, 1967) (To be watched in advance of the session). Primary Reading: Various Authors, Special Debate: Trauma and Screen Studies in Screen Vol. 42, (2001), pp 188- 211. Janet Walker, The Traumatic Paradox: Documentary Films, Historical Fictions, Cataclysmic Past Events Signs, Vol. 22, No. 4. (Summer, 1997), pp. 803-825. Suggestions for Further Reading: Caruth, Cathy Unclaimed Experience: Trauma, Narrative, and History (Baltimore and London: The Johns Hopkins University Press, 1996). (Chapters 1-3) Doneson, Judith E, The Holocaust in American Film, 2nd Edition, (Syracuse University Press, 2001), pp 107-118. Felman, Shoshana,, Film as Witness: Claude Lanzmanns Shoah in Geoffrey Hartman, (ed.) Holocaust Remembrance: The Shapes of Memory (Oxford UK and Cambridge MA: Blackwell, 1994), pp. 90-103. Freud, Sigmund, Beyond the Pleasure Principle (New York and London: W.W. Norton & Company, 1961), pp. 10-17. Lanzmann, Claude The Obscenity of Understanding: An Evening with Claude Lanzmann in Cathy Caruth (ed), Trauma: Explorations in Memory (Baltimore and London: The Johns Hopkins University Press, 1995), pp. 200-220. Rothberg, Michael Traumatic Realism: The Demands of Holocaust Representation (Minneapolis and London: University of Minneapolis Press, 2000). Walker, Janet Trauma Cinema: Documenting Incest and the Holocaust, (Berkeley: University of California Press, 2005), pp. 3-32. Suggestions for Further Viewing: 46

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Waltz with Bashir (Ari Folman, 2009) Ararat (Atom Egoyan, 2002) Cach (Michael Haneke, 2005) Hiroshima, Mon Amour (Alain Resnais, 1959) Lumumba: La Mort du Prophte (Raoul Peck, 1992) WEEK 8: Literature and Time - The Future Dr Sarah Dillon This seminar addresses the resurgence in contemporary mainstream fiction of novels concerned with imagining the future, in particular novels that consider the consequences of advancing technology, late capitalism, climate change, ecocatastrophe, terror and conflict for the planet and for mankind. We will be asking: why has such writing become common in contemporary mainstream fiction? What narrative modes are such writers using? What can we learn from these texts about contemporary fictions relation to time? What alternative political and economic structures do such texts offer? What future for literature itself do such texts imagine? Primary Reading: David Mitchell, Cloud Atlas (London: Sceptre, 2004). Maggie Gee, The Flood (London: Saqi, 2004). Jacques Derrida, No Apocalypse, Not Now (Full Speed Ahead, Seven Missiles, Seven Missives), trans. Catherine Porter and Philip Lewis, Diacritics 14:2 (1984): 2031. Suggestions for Further Reading: Barbour, Julian, The End of Time: The Next Revolution in our Understanding of the Universe (London: Phoenix, 2000). Baudrillard, Jean, The Illusion of the End, trans. Chris Turner (Cambridge: Polity Press, 1994). Berger, James, After the End: Representations of Post-Apocalypse (Minneapolis and London: University of Minnesota Press, 1999). Bloch, Ernst, The Principle of Hope (Cambridge, MA: MIT Press), vols. 1-3. [a serious and significant work that repays hard and lengthy study for students specifically interested in this topic] Brown, David Jay (ed), Conversations on the Edge of Apocalypse (Basingstoke: Palgrave, 2005). Bull, Malcolm (ed), Apocalypse Theory and the Ends of the World (Oxford UK and Cambridge USA: Blackwell, 1995). Currie, Mark, About Time: Narrative, Fiction and the Philosophy of Time (Edinburgh: Edinburgh University Press, 2007). Dillon, Sarah (ed), David Mitchell: Critical Essays (Canterbury: Gylphi: 2011). 47

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Dillon, Sarah and Caroline Edwards (eds), Maggie Gee: Critical Essays (Canterbury: Gylphi, 2013). Head, Dominic, The State of the Novel: Britain and Beyond (Oxford: Blackwell, 2008), esp. chapts 4 and 5. Kermode, Frank, The Sense of an Ending: Studies in the Theory of Fiction (Oxford: Oxford University Press, 2000). Wood, David, Time After Time (Bloomington and Indianapolis: Indiana University Press, 2007). "i#ek, Slavoj, Living in the End Times (London and New York: Verso, 2010). Suggestions for Further Fictional Reading: Atwood, Oryx and Crake (2003) Atwood, Margaret, The Year of the Flood (2009) Crace, Jim, The Pesthouse (2007) Harkaway, Nick, The Gone-Away World (2009) Houellebecq, Michel, The Possibility of an Island (2005) Lessing, Doris, Mara and Dann: An Adventure (1999) Lessing, Doris, The Story of General Dann and Maras Daughter, Griot and the Snow Dog (2005) McCarthy, The Road McEwan, Ian, Solar (2010) Self, Will, The Book of Dave (2006) Taylor, Sam, The Island at the End of the World (2009) Winterson, Jeanette, The Stone Gods (2007) WEEK 9: Literature and Painting: Cixous Professor Susan Sellers This session explores contemporary ekphrastic writing through discussion of a series of essays by Hlne Cixous. Defined by Leo Spitzer as the reproduction, through the medium of words, of sensuously perceptible objets dart, we will consider some of the ways contemporary writers employ ekphrasis across texts as diverse as A. S. Byatts The Matisse Stories and Patrick Gales Notes from an Exhibition. In particular, following Cixous, we will discuss the ways the visual might be incorporated in writing as source of inspiration, as untranslatable other and reflect on what the process of prose-painting may indicate about the role of sensory perception, understanding and their mimesis. Primary Reading: Hlne Cixous, The Last Painting in Coming to Writing and Other Essays, (Harvard, 1991) Bathsheba or the Interior Bible and Without end, no, State of drawingness, no, Rather the Executioners taking off in Stigmata Escaping Texts (Routledge, 1998). Suggestions for Further Reading: 48

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A. S. Byatt, The Matisse Stories, (Vintage, 1994) Stephen Cheeke, Writing for Art: The Aesthetics of Ekphrasis (Manchester University Press, 2010). Patrick Gale, Notes from an Exhibition (Fourth Estate, 2007) Susan Sellers, Vanessa and Virginia (Two Ravens, 2008).

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School of English MLitt in Modern and Contemporary Literature & CultureTimetable TBC

2012/13

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