Visiting Students course outline booklet 2015-2016 Visiting Student Academic Co-ordinator



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LIST OF SEMINARS (SEMESTERS 1 and 2)
You may choose ONE seminar each semester
STUDENTS MUST TAKE A DIFFERENT SEMINAR COURSE EACH SEMESTER. STUDENTS MAY NOT TAKE TWO SEMINARS WITH THE SAME COURSE TITLE EVEN IF THE COURSE CODE IS DIFFERENT.



Code


Seminar Title

Semester available

Venue

EN278.I/

EN278.II

MILTON’S POETRY

Dr. Victoria Brownlee

 

This course focuses on John Milton’s biblical epic Paradise Lost, which tells the story of Adam and Eve, their fall from Eden, and the conflict between Satan and God. The seminar’s primary aim is to facilitate a close reading of Milton’s poem while also referring to seminal critical interpretations. We will explore the poem’s treatment of character and motivation, good and evil, free will, gender, politics, marriage, and literary epic. For the purposes of comparison, we will consider extracts from the King James Bible, and explore how the political, theological, and philosophical contexts of the seventeenth century inform Milton’s reading of the biblical narrative of Genesis.


Assessment: 30% continuous assessment (one oral presentation (10%), and one written assignment (20%)); 70% final essay.

1 and 2

Monday 11-1

AMB-G043 Seminar Room, Arts Millennium

(Semester 1)
Monday 11-1

Room 302 Tower 1

(Semester 2)



EN280.I/

EN280.II

TRANSFORMATIONS OF THE NOVEL

The Novel and the Ethical Effects of Reading

Ms. Kathleen Pacious


The crossover of literature and ethics is an exciting and recent field in literary studies. This seminar pays particular attention to the capacity of novels to persuade, influence, and affect their readers. We will explore topics that include aesthetics vs ethics, empathising with “bad” characters, the connection between novel-reading and empathy, fictionality vs reality, the relationship between reader and author, the role of affect in literary studies, and how to “measure” readerly engagement and ethical influence. Eschewing the idea that ethics only focuses on moral issues, we will draw on narrative theory as we engage in close reading of four novels from 1818-1989, drawing on historical and contemporary ethical theories.
The novels include: Jane Austen’s Persuasion (1818), Elizabeth Gaskell’s North and South (1855), E.M. Forster’s Howard’s End (1910), and Kazuo Ishiguro’s Remains of the Day (1989).
Assessment: 30% continuous assessment (10% in-class assignments, 20% mid-term essay), 70% final essay.


1 and 2

Monday 9-11

TB306 Tower 2





EN2112/

EN2100


CREATIVE WRITING

"Patrols of the Imagination"

Ms. Siobhan Kane


This course will provide a context and framework to nourish and enhance students' interest and ability in creative writing, with a mixture of weekly writing exercises and critical readings of notable writers, with a particular focus on the short story, referencing some of the genre's greatest exponents, such as; Edgar Allen Poe, Flannery O' Connor, Raymond Carver, Roald Dahl, James Joyce, Kurt Vonnegut, Alice Munro, William Carlos Williams, Annie Proulx, Kate Chopin, and Ray Bradbury. The course will also touch on a diverse range of novels, creative nonfiction, and poetry, and encourage weekly class discussions around the culture and processes of creative writing.
Assessment: 30% continuous assessment (a combination of weekly written exercises and critical reviewing,) and 70% final submission - a creative writing project of the student’s choice i.e. a chapter of a novel, some short stories, poems, play, or non-fiction.


1 and 2

Tuesday 9-11

TB306 Tower 2

(Semester 1)


EN2114/

EN2102


RENAISSANCE DRAMA

Ms. Kirry O’Brien


This course explores four plays, two by William Shakespeare and two by his predecessor Christopher Marlowe. We will examine the development of theatrical drama during this era, and invigilate many of the concerns of the day that were addressed by said theatre: Kingship, power, race, gender etc.
Texts: Christopher Marlowe’s The Jew of Malta and Edward II. William Shakespeare’s The Merchant of Venice and Henry IV.
Assessment: 15% for the class presentation write up, 15% for a mid-term minor essay and 70% for the final essay.

1 and 2

Tuesday 9-11

Room 302 Tower 1




EN2115/

EN2103


RENAISSANCE DRAMA

Dr. Dermot Burns


This course examines the treatment of love in three of Shakespeare’s plays: Romeo and Juliet, Twelfth Night and Measure for Measure. The method of study will involve close textual analysis and consideration of a variety of critical approaches to the plays.
Texts: William Shakespeare’s Romeo and Juliet, Twelfth Night and Measure for Measure.
Assessment: two short essays (15% each) - 30%, one final in-class essay 70%.


1 and 2


Thursday 1-3

TB306 Tower 2



EN299.I/

EN299.II

FILM AND SHAKESPEARE

Dr. Lindsay Reid


What happens when a Renaissance-era stage play is adapted for the contemporary screen? Why have successive generations of filmmakers so often sought to reinterpret Shakespeare’s works? What does the plethora of modern film adaptations say about the ‘Shakespeare Industry’? This seminar is designed for students interested in exploring Shakespeare's dramatic art alongside cinematic adaptations of his plays. We will study one tragedy and one comedy from Shakespeare (Romeo and Juliet and The Taming of the Shrew, respectively) as a means to understanding the interpretative choices made by filmmakers who have reworked these two texts. Feature-length films under our consideration will include Romeo and Juliet (1968), Shakespeare in Love (1998) and 10 Things I Hate About You (1999), among others.
Assessment: 15% group presentation, 15% film review, and 70% final essay


1 and 2

Tuesday 9-11

Q1, Huston School of Film and Media

(Block Q, Earls Isla

nd)




EN2116/

EN2106


SHAKESPEAREAN COMEDIES

Ms. Kirry O’Brien


This seminar will examine, in detail, some examples of Shakespearean Comedy. Shakespeare’s comedies end in marriage: however, many trials and obstacles have to be overcome along the way. We shall explore the complex issues raised on the journey towards a so-called happy ending. Recommended (not obligatory) text: RSC William Shakespeare Complete Works ed. Jonathan Bate and Eric Rasmussen.
Plays: A Midsummer Night’s Dream, As You Like It, Twelfth Night, Measure For Measure.
Assessment: 15% for the class presentation write up, 15% for a minor essay and 70% for the final essay.



1 and 2

Tuesday 11-1

TB306 Tower 2




EN2117/

EN2107


SHAKESPEAREAN COMEDIES

Ms. Kirry O’Brien


This seminar will examine, in detail, some examples of Shakespearean Comedy. Shakespeare’s comedies end in marriage: however, many trials and obstacles have to be overcome along the way. We shall explore the complex issues raised on the journey towards a so-called happy ending. Recommended (not obligatory) text: RSC William Shakespeare Complete Works ed. Jonathan Bate and Eric Rasmussen.
Plays: A Midsummer Night’s Dream, As You Like It, Twelfth Night, Measure For Measure.
Assessment: 15% for the class presentation write up, 15% for a minor essay and 70% for the final essay.

1 and 2

Wednesday 9-11

TB306 Tower 2




EN441.I/

EN441.II

PLAYS, PLAYERS AND PLAYHOUSES

Victorian Farce and Melodrama

Prof. Richard Pearson

 

This seminar explores the popular forms of theatre that dominated the nineteenth century: farce and melodrama. We will examine a number of texts within each genre to identify their central characteristics, and then consider how these plays were situated in the theatrical and cultural contexts of the day. We will look at the playwrights, theatres, managers and actors who wrote, staged and performed some of the most popular examples of the forms. Above all, we will explore the question of why these forms became so dominant in the nineteenth-century London theatre.


Texts include a series of One-Act farces: J.M. Morton, Box and Cox and Grimshaw, Bagshaw and Bradshaw; William Brough, Apartments; Mark Lemon, The Ladies’ Club; J.S. Coyne, How to Settle Accounts with your Laundress; and a series of Melodramas: Dion Boucicault, The Colleen Bawn and Jessie Brown; or, The Relief of Lucknow; Charles Dickens & Wilkie Collins, The Frozen Deep; Colin Hazlewood, The Chevalier of the Maison Rouge; or, The Days of Terror!; Tom Taylor, The Ticket-of-Leave Man; H.M. Milner, Mazeppa.
NOTE – YOU WILL NEED TO BRING A TABLET, LAPTOP OR E-READER TO THESE CLASSES, AS ALL TEXTS ARE ONLINE.
Assessment: Portfolio (30%); final essay (70%).


1 and 2

Monday 3-5

TB306 Tower 2




EN444.I/

EN444.II

PAIN AND PLEASURE IN JACOBEAN THEATRE

Prof. Lionel Pilkington


Jacobean drama is well known for its often-spectacular stage explorations of sexual transgression and social punishment. This course considers four of the most famous of these plays, and examines the relationship between theatricality, social order, power and sexual desire. The main emphasis of the course will be on close textual analysis, and to that end a detailed knowledge of all four plays will be essential. As well as class presentations, there will be two short critical essays.
Texts: William Shakespeare, Measure for Measure (Penguin);

Anon The Revenger’s Tragedy (New Mermaids or Methuen);

Thomas Middleton and John Rowley’s The Changeling (NHB or New Mermaids); John Ford’s ‘Tis Pity She’s a Whore (NHB or Revels New Student Edition).
Assessment: 30% for continuous assessment (15% for a short [1000 word max] essay and 15% for general class participation including completion of a one page in-class analysis). 70% for final (2,000 word max) essay.


1 and 2


Semester 1

Thursday 9-11

Room 302 Tower 1

Semester 2

Thursday 9-11

Room 302 Tower 1



ENG201.I/

ENG201.II

EXPLORING THE CREATIVE ARTS

Ms. Mary McPartlan


This ten-week course aims to offer students of literature and theatre an opportunity to experience other relevant art forms, thereby gaining a valuable broader context for their chosen field of study. Thus,traditional Irish music, old style and contemporary song and dance, one contemporary Irish Film, one contemporary Irish Play and a TG4 documentary will be included, with a view to developing a critical understanding of the creative arts, and the varied forms of cultural expression. The Arts in Action programme will be a compulsory element of study with attendance at three of the workshop- lunchtime performances, follow up class discussion and written reviews.
Valuable resourceTexts:

- Carson, Ciarán, The Pocket Guide to Irish Traditional Music;

- Breathnach, Breandán. Folk Music and Dances of Ireland;

- Hast, Dorothea and Scott, Stanley. Music in Ireland: Experiencing Music, Expressing Culture;

- Brennan, Helen. The Story of Irish Dance

- White, Harry, and Barra Boydell, eds. The Encyclopdia of Music in Ireland. 1st ed. Vol. 1&2;

- Mulrooney, Deirdre. Irish Moves: An Illustrated History of Dance and Physical Theatre in Ireland.
Assessment: 30% Continuous assessment and 70% end of term essay of 2,000 words.



1 and 2

Wednesday 11- 1

Large Acoustics Room, Aras na Mac Leinn.



ENG205.I/

ENG205.II

OLD ENGLISH I – INTRODUCTION TO LANGUAGE AND READING

Francisco Rozano Garcia


Old English is an exciting and beautiful language. Apart from being an invaluable object of study to those with an interest in etymology, it is the vehicle for some of the most challenging and captivating literature you will ever read.  This course will provide you with a thorough introduction to learning to read Old English without painful memorisation! We’ll think about many important theoretical issues related to engagement with the language and its texts, and we’ll explore the culture of the Anglo-Saxon people. 
Texts: Robert Hasenfratz and Thomas Jambeck’s Reading Old English.
Assessment: Weekly assignments 30% (five assigned, best three chosen); Essays 70% (two short essays assigned, worth 35% each).


1 and 2

Monday 1-3

TB306 Tower 2





ENG207.I/ENG207.II

19TH CENTURY WRITING: SCARY LONDON

Anna Gasperini


Victorian London was the natural environment of some of the scariest monsters of literature in the English language. This course focuses on representations of the Victorian city in serialized popular fiction, cheap literature written specifically for lower-class readers. Using a critical approach based on new historicism and spatial theory, the course analyses the monstrous characters and spaces of literature from the perspective of Victorian London’s geography, class structure, and such infrastructures as markets, workhouses, hospitals, and cemeteries. Finally, the course examines how the space and characters of Victorian London survived, through adaptation and reinvention, in contemporary fantasy fiction.
Main texts: Charles Dickens, Oliver Twist 1837 (Oxford edition); G.W.M. Reynolds, The Mysteries of London 1846-52; James Malcolm Rymer, Sweeney Todd (1846-7); Neil Gaiman, Neverwhere (1996).
Assessment: 30% Continuous Assessment (20% Short Writing Assignment + 10% Class Presentation) , 70% Final Essay


1 and 2

Thursday 9-11

TB306 Tower 2




ENG208.I/

ENG208.II

TWENTIETH CENTURY STUDIES

Dr. David Clare


This seminar will examine the children’s fiction of Belfast writer C.S. Lewis, alongside Irish children’s literature that either influenced his work or that has much in common with it. Lewis was heavily influenced by the literature of his native country – particularly Irish works of fantasy by Swift and Stephens. Like Wilde and Edgeworth, he attempted to infuse his work with spiritual and moral teachings while never losing sight of the need to tell a good story. Writers who came after Lewis, such as Lavin, have tried to emulate his success at introducing supernatural happenings into the prosaic lives of ordinary children. The anti-colonial themes in the work of Lewis and the other writers will also be discussed.
Texts: Jonathan Swift – Parts I & II of Gulliver’s Travels; Maria Edgeworth – Eton Montem, “The Orphans”, and “The White Pigeon”; Oscar Wilde – “The Selfish Giant” and “The Happy Prince”; James Stephens – The Crock of Gold; C.S. Lewis – The Magician’s Nephew, The Lion, the Witch and the Wardrobe, and The Voyage of the Dawn-Treader; Mary Lavin – A Likely Story [All but the Lewis and the Lavin will be included in a Course Handbook].
Assessment: 30% continuous assessment (class participation, one oral presentation and one, brief written assignment); 70% final essay.


1 and 2

Tuesday 11-1

Room 302, Tower 1

(Semester 1)
Monday 2-4

IT204 IT Building

(Semester 2)


ENG223.I/

ENG223.II

SPECIAL THEME

Dr. Sorcha Gunne


Bodies and Ireland

This module will explore representations and registrations of the body in a selection of Irish and related writing and film from the late twentieth and early twenty-first centuries. It will consider both the specificities of the Irish socio-historical context and the corresponding conditions of global modernity. As such, it will examine the tensions, negotiations and new articulations that can be read through the lens of both Irish social history and transnational configurations of bodies, particularly women’s bodies. The module has been arranged into 4 interconnected units of intellectual debate. By way of introduction, we begin by considering the female embodiment of Ireland in discourses of nationalism. We will then think about the embodiment of Ireland through the literary trope of the body in the bog. We next turn to the topic of food and hunger before concluding with two units that will explore the policing of women’s bodies in various manifestations.
Reading list includes:

Seamus Heaney, North (1975, selections from)

Aislinn Hunter, Stay (2002)

Marita Conlon-McKenna, Under the Hawthorn Tree (1990)

Eavan Boland, Domestic Violence (2007, selections from)

Shani Mootoo, Cereus Blooms at Night (1996)

Emer Martin, Baby Zero (2007)

Eimear McBride, A Girl is a Half-formed Thing (2013)


Assessment: 30% continuous assessment, 70% final essay


1 and 2

Wednesday 3-5

Room 302 Tower 1




EN298.I/

EN298.II

Edmund Spenser’s Faerie Queene

Dr. Clíodhna Carney


Edmund Spenser’s Faerie Queene (1590s) is one those very rare works of art into which a whole culture seems to have been poured. There is everything in it: love, sex, evil, religion, theories of government, philosophy, violence, slavery, perversion. And above all, brilliant poetry. Spenser was looking in two directions: back to the literature of Virgil, and forwards through the political and religious change of his own time into a hypothetical future world. Our class will involve a close reading of Books 1 and 2, and students can bring all sorts of other interests to bear on our discussions: history, science, philosophy, political science, mythology, classics.
Text: Edmund Spenser, The Faerie Queene, ed. A. C. Hamilton, rev. ed. (Longman, 2007).
Assessment: 30% continuous assessment (4 short written assignments: 20% (i.e. 4 x 5%); one panel discussion: 5%, one debate: 5%) and one long end-of-term essay: 70%.

1 and 2

Monday 9-11

Room 302, Tower 1




EN2113/

EN2101


Creative Writing

Siobhan Kane


This course will provide a context and framework to nourish and enhance students' interest and ability in creative writing, with a mixture of weekly writing exercises and critical readings of notable writers, with a particular focus on the short story, referencing some of the genre's greatest exponents, such as; Edgar Allen Poe, Flannery O' Connor, Raymond Carver, Roald Dahl, James Joyce, Kurt Vonnegut, Alice Munro, William Carlos Williams, Annie Proulx, Kate Chopin, and Ray Bradbury. The course will also touch on a diverse range of novels, creative nonfiction, and poetry, and encourage weekly class discussions around the culture and processes of creative writing.
Assessment: 30% continuous assessment (a combination of weekly written exercises and critical reviewing,) and 70% final submission - a creative writing project of the students choice ie. a chapter of a novel, some short stories, poems, play, or non-fiction.


1 and 2


Tuesday 1-3

Room 505, English Dept

Semester 1
Tuesday 1-3,

TB306, Tower 2

Semester 2


EN2119/

EN2120

Media Studies

Bernadette O’Sullivan


This Seminar series is an introduction to journalism. Students who engage fully with all aspects of the seminar will begin to develop the knowledge, practical skills and confidence to find their journalistic voice: to generate ideas and research and develop a portfolio of journalistic material. Students will select and attend two newsworthy events on campus, in the city, or in their own locality and submit follow-up work.
Assessment:  Portfolio of journalistic work: 30% continuous assessment and 70% for final portfolio of articles.


1 and 2


Friday 11-1

TB306, Tower 2

(Semester 1)



EN2121/

EN2122

Media Industries A

Andrew O’Baoill


How do issues of ownership, funding, and organisation shape our media environment? This course will provide an introduction to study of media industries, through a critical political economic lens. We will examine a variety of models, including commercial, political economic and alternative; identify the institutional pressures shaping media texts; and discuss the role of a number of interventions aimed at disrupting 'business as usual' in the mass media
Assessment: 30% Continuous Assessment and 70% Final Assessment

1 and 2


Wednesday 5-7

TB306, Tower 2




ENG213.I/

ENG213.II

Film Studies

Dr Fiona Bateman


This seminar is an introduction to studying film in an academic context. During the semester students will develop new ways of watching and thinking about films; they will learn how to ‘read’ a film. Issues including genre, intertextuality, narrative and narration will be discussed in class. The films (texts) which students will view and analyse for the course are all Irish, chosen because they share certain thematic characteristics but differ in significant ways.
The films are: Flight of the Doves (1971), Into the West (1992), Mickybo and Me (2006) and Kisses (2008). As we will be focussing on Irish films, this seminar will also address representations of Ireland and Irishness on screen.
Assessment: 3 short assignments (10% each) and 1 essay (70%).


1 and 2

Thursday 9-11,

B1 Huston School of Film & Media

(Semester 1)


Friday 12-2,

Q1 Huston School of Film & Media

(Semester 2)


ENG222.I/

ENG222.II

Special Author: Jane Austen

Muireann O’Cinneide


This seminar explores a selection of the writings of Jane Austen (1775-1817). Austen’s current status as one of the best-loved and most critically-admired novelists in English literature can obscure the formative influences and cultural contexts of her work. This module begins with some of Austen’s earliest work, tracing a transition in narrative voice from parody to satire to a distinctive ironic mode. It then traces the refinement of this mode into a powerful tool of ethical commentary through examining two of Austen’s most complex and often-misunderstood mature novels. We will also examine the present-day cultural production of Austen as author through twentieth-century cinematic adaptations and literary pastiches.

Main Texts: “Love and Freindship” (~1790); “Lady Susan” (~1794); Northanger Abbey (1818); Mansfield Park (1814); Emma (1815). Oxford University Press editions (where possible), esp. the 2008 edition for NA.

Assessment: 30% continuous assessment (15% class presentation; 10% written assignment(s); 5% in-class participation); 70% final essay.



1 and 2


Wednesday 3-5

TB306 Tower 2



ENG217.I/

ENG217.II

MEDIA STUDIES

Exploring Journalism

Mrs. Bernadette O’Sullivan


This Seminar series is an introduction to journalism. Students who engage fully with all aspects of the seminar will begin to develop the knowledge, practical skills and confidence to find their journalistic voice: to generate ideas and research and develop a portfolio of journalistic material. Students will select and attend two newsworthy events on campus, in the city, or in their own locality and submit follow-up work.
Assessment:  Portfolio of journalistic work: 30% continuous assessment and 70% for final portfolio of articles.

1 and 2

Monday 1-3

CA002 Cairnes Building

(Semester 1)
Monday 1-3

AM112 Arts Millennium Building

(Semester 2)


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