Welcome to the English Department and the Master’s in Pan-Romanticisms Programme!



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Welcome to the English Department and the Master’s in Pan-Romanticisms Programme!
We hope this handbook will give you useful information about our optional modules and procedures. While we regard our course plans as final, we may have to make modifications in cases of illness or other unforeseen circumstances. Please consult relevant officers (listed below) and/or your Personal Tutor if you have questions about any matters related to your course.

MA Contacts




MA Convenor/ Personal Tutor

Prof Jackie Labbe

Room 523

024 76 573092

j.m.labbe@warwick.ac.uk

MA website: http://www2.warwick.ac.uk/fac/arts/english/postgrad/current/masters/panromanticisms




IMPORTANT DATES 2011-2012

AUTUMN TERM
Monday 3 October 2011 Beginning of Autumn Term.

Monday 3 October Introductory Meeting of all M.A. students in Room TBA at 6.00 pm. Wine to follow in H502.

Wednesday 5 October All module choices to be finalised. Hand in to Reception completed option-choice forms

Monday 7 November All Bibliography Exercises to be submitted
(week 6) to the English Office (H506) by 12.00 noon.
Saturday 10 December End of Autumn Term.
(week 10)

SPRING TERM

Monday 9 January 2012 Beginning of Spring Term.

Monday 13 February Introduction to Pan Romanticisms essay
to be submitted by 12.00 noon (week 6)

Monday 20 February Dissertation plan due in.
(week 7)


Saturday 17 March

SUMMER TERM

Monday 23 April Beginning of Summer Term.
Saturday 30 June End of Summer Term.

*****

Monday 3rd September Submit all remaining option essays and the Dissertation by 12.00 noon

Wednesday 17 October 2012 Taught M.A. Examination Board

NOTE: All deadlines are final. No late work will be accepted without the written permission of the MA Convenor, which shall not normally be given without documented medical evidence or equivalently serious cause. It is expected that students in difficulty will request an extension which can only be granted by the MA Convenor, who can be contacted directly. A medical note will be required in case of illness. Work which is late without permission will be penalised by 3 marks a day.

All assessed work must conform to the stated maximum word lengths. The maximum word lengths are inclusive of quotations and footnotes but not of bibliography. You will be asked to provide a word count of your essays on the cover sheet which you complete when the work is submitted. We allow a stated margin of up to 10% over or under-length for flexibility. Essays that are 10-25% over/under-length will incur a penalty of 3 marks. Essays that are more than 25% over/under-length will be refused.

ASSESSMENT INFORMATION



Bibliography Exercise - 2 short exercises are due in Term 1, Monday 7 November (week 6).

Essay Titles - The topics and titles of essays should be agreed with the relevant module tutor as she/he directs. Once this has been agreed with your tutor, you must submit the Agreed Essay Title form to the Graduate Secretary within one week of finalizing your title.


Draft Essays – Provided draft essays are submitted to English Department tutors well before the deadline (normally 6 weeks in advance; check with your tutor to determine her/his requirements), feedback but not projected marks will be available. Only one draft essay per module will be read. Please check with tutors from other departments before preparing a draft.

Tutor availability - Tutors will not generally be available during vacations; however, they may agree to consultations by arrangement. If you need to consult your tutors outside of term time, you may email them to arrange an appointment. However, please be aware that many tutors are not easily contactable during vacation times.

Marks for essaysMarks are provisional until confirmed by the External Examiner and the Board of Examiners.

Module Deadlines - Essay deadlines are those set by the tutor of each individual module. Essay length is always 5000 words; if module information specifies something different you must discuss your requirements as a student on the MA in Pan-Romanticisms with the tutor. If any tutor remains unclear about your MA requirements, please ask him/her to contact Professor Jackie Labbe (English), the MA Convenor.



Returning Essays

Essays will be returned by tutors during their normal office hours or by other arrangements made by the tutor. If you would like your essay returned by post please include an SAE (with sufficient postage) when you submit your essays.


Monitoring Student Progression

All PGT students will be subject to the monitoring structure detailed below.



Department of English and Comparative English Literature

Monitoring student progress: PGT Full-Time

Lead Academic: Director of Graduate Studies

 

Point 1

Point 2

Point 3

Point 4

Point 5

Term 1

Attendance at departmental induction event (week 1)

Compulsory attendance at Research Methods seminars

Compulsory attendance at seminars, including Reading Week

Compulsory submission of Bibliography Exercise

End of term meeting with seminar tutor to discuss essay title (by end Week 10)

Monitored by




  1. Recorded receipt of Bibliography Exercise in Departmental Office

  2. Seminar tutors’ reports describing student participation and noting any absences

  3. Submission of essay titles sheet to Departmental Office

 

Point 1

Point 2

Point 3

Point 4

Point 5

Term 2

Compulsory attendance at seminars, including Reading Week

Compulsory submission first Term 1 option essay (Week 6)

Submission of title sheet for second Term 1 option

Contact (in person or email) with tutors to discuss essays

Meeting with Personal Tutor to discuss progress

Monitored by




  1. Seminar tutors’ reports describing student participation and noting any absences

  2. Submission of essay titles sheet to Departmental Office

  3. Recorded receipt of essay in Departmental Office

 

Point 1

Point 2

Point 3







Term 3

Submission of title sheets for Term 2 options

Compulsory submission second Term 1 option essay (Week 5)

 Compulsory submission first Term 2 option essay (Week 10)

 

 

Monitored by




  1. Seminar tutors’ reports describing student participation and noting any absences

  2. Submission of essay titles sheets to Departmental Office

  3. Recorded receipt of essays in Departmental Office




Point 1

Point 2










Summer

Contact (in person or email) with tutors to discuss essays and/or dissertation

Compulsory submission of remaining essay(s) and/or dissertation










Monitored by







  1. Recorded receipt of essay(s)/dissertation in Office





Important:

  • PGT students must attend a minimum of 60% of any one module or they will not be permitted to submit the essay for the module and hence will not earn credit for it. They must either take an additional module in the following term or switch to PT registration and take an additional module in the following year.


COURSE STRUCTURE
This course is aimed at students with an interest in the period 1770-1830 who wish to explore in more detail than is possible at undergraduate level the literary migration of ideas and texts at that time, especially across western Europe. This MA is unique in that it offers a wide range of modern language modules, and is currently the only UK-based MA to emphasize European Romantic writing both in translation and the original language. For this reason, a reading knowledge of one of French, German or Italian is desirable, although not necessary for successful completion of the course. Students will be based in the Department of English and Comparative Literary Studies but will be required to take at least one of their modules from another department. This is a taught MA with a significant research component in the form of a compulsory dissertation, and so may be especially suited to students who are interested in pursuing PhD work in the field of comparative literatures. All tutors on the MA would welcome interested and suitably qualified students to follow their MA with PhD study at the University of Warwick.
The MA in Pan-Romanticisms may be taken either full-time or part-time. The part-time option is offered over two years; students taking the MA part-time are required to take the Core Module and Research Methods in their first year. At least one option must be taken outside the English Department. The MA may be studied in the following ways:
Term 1: Either

Core Module (Introduction to Pan Romanticisms – see page 8)

Research Methods (see page 7)

Or

Core Module (Introduction to Pan Romanticisms – see page 8)

Research Methods (see page 7)

Option


Term 2: Either

Option


Option

Or

Option


Term 3 and summer:

Dissertation

For each option students will write an essay of 5000 words (Research methods is assessed by an extended bibliographical exercise). The Dissertation is planned over Terms 1 and 2 and written in Term 3 and the summer vacation. Supervisors will be assigned by the end of Term 1 and supervision continues through the end of Term 3. Students use the summer for final revisions and writing up. It is important to note that regular and formal supervision of the dissertation ceases at the end of Week 11 of Term 3. It is not expected that students will require regular and formal supervision during the summer vacation. However, your supervisor will be available to read and comment on your full final draft in advance of the submission date. Please ensure you make the necessary arrangements for this well ahead of time.
The Dissertation

The MA Dissertation allows students to undertake and complete a sustained research project (approximately 20,000 words) on a topic of special interest.



The topic of the dissertation does not have to be directly related to any of the taught modules. However, topics must fall within the competence and interests of one member of the teaching staff and must be feasible in terms of resources to be accepted. During the Autumn Term a workshop will be held to help students shape their general ideas into an appropriate and feasible proposal. Attendance at this workshop is mandatory. Students will also be expected to meet once with their potential supervisor. Full proposals will be submitted by Week 6 of Term 1. The Dissertation Plan must be given to your supervisor by the end of Week 7 of the Spring Term (AT THE LATEST).
Thereafter, you should see your supervisor on a basis arranged between the two of you. Your supervisor may require you to submit written work regularly and will recommend reading as well as assisting you in structuring your project. Direct dissertation supervision finishes in Week 11 of the Summer Term, by which time you should have completed your research, finalized your structure and written drafts of the majority of chapters. The writing up period is undertaken during the Summer Vacation with final submission in early September.
MA Modules
The MA modules listed in the following pages will be offered whenever possible. However, in any one year, due to staffing and other considerations, certain modules may not run. When considering modules, students are advised to check the websites of the relevant departments for the most up-to-date information.
Attendance at all classes is obligatory. If students are unable to attend a particular seminar they should contact the tutor in advance to explain their absence.
Part-time students following the MA course are normally expected to take the Core Module and Research Methods in Term 1 and a module in Term 2 in their first year. In their second year they normally take 1 option in term 1 and concentrate on their dissertation subsequently. They should attend the dissertation workshop in their second year.
Students are reminded that MA work is demanding, and that normally they should not attempt more than two option modules in any one term, full-time, or one module, part-time. You will be asked to indicate an alternative module for each term, as it may not be possible to accommodate every first choice.
Introduction to Research Methods (Dr Rochelle Sibley and Mr. Peter Larkin)
This module introduces students to the basic issues and procedures of literary research, including electronic resources. The Academic Writing Programme offers guidance for MA students on structuring their research, engaging critically with secondary material and planning their dissertation or Long Project. The first seminar (term 1, week 2) will discuss the structure of the dissertation or Long Project, including how to construct a bibliography, and how to establish good writing practice. The second session (term 1, week 5) will focus on research methods and how to demonstrate critical engagement. Sessions are conducted by English Department staff members and by the subject librarian, Mr Peter Larkin.

The seminars will take place in weeks 2-5 of the autumn term. All sessions are on Wednesday afternoons from 1.00-3.00. Full details and venues will available on-line at the beginning of the year. Note that the week 2 and 3 meetings will take place in the Library Training Room (Floor 2). You are asked to complete online training tutorials before each library session using the link below which will be updated over the summer -



http://www2.warwick.ac.uk/services/library/main/tealea/arts/engcomplitstudies/training/

Week 2: Bibliography, Style and the Book – Dr Rochelle Sibley

Week 3: Resources in Research (i) – Mr. Peter Larkin

Week 4: Resources in Research (ii) – Mr. Peter Larkin

Week 5: How to demonstrate Critical Engagement – Dr Rochelle Sibley
Assessment

Students will be required to complete a short two-part exercise. Part I will consist of a bibliographical exercise, and Part II of a number of advanced electronic search exercises. Both must be submitted to the English Graduate Secretary by 12 noon on Monday, Week 6. (7th November) The exercise is marked as Pass/Fail. If you receive a Fail, you will receive appropriate feedback and will be required to resubmit. The award of an MA is contingent upon successful completion of the assessment for this module.



MODULE DESCRIPTIONS
(note: if no time/day is listed, please check the MA website in late summer for information for 2010-11)
INTRODUCTION TO PAN-ROMANTICISMS
Introduction to Pan-Romanticisms

Prof. Jackie Labbe (English), Dr. James Hodkinson (German), Dr. Kate Astbury (French), tbc (Italian)

Time/Day: Weeks 1-4: Tuesday 10-12; Weeks 5-10: tbc
Learning Outcomes:

By the end of this module you should be able to



  • Discuss elements of British and European Romanticism knowledgeably

  • Identify key aspects of national literary identities

  • Display a broad understanding of the place of Romantic writing in a European context


Module Description:

This module aims to introduce students to types and styles of writing of the Romantic period both in Britain and abroad; to introduce students to key texts of the period from a transnational perspective; to provide students with a grounding in key tropes, images and contexts of the Romantic period; and to encourage students to see ‘Romanticism’ as a global (ie European) phenomenon. We will read examples of Romantic-period writing from four major locales: England, Germany, France, and Italy. All non-English texts will be available in translation, although students are encouraged to make use of any language skills they may have and read, whenever possible, in the original.


Teaching Methods

  1. one 2-hour seminar per week (including Reading Week)

  2. one 5000-word essay, topic decided in consultation with tutor(s)



Module Requirements


  1. Attend seminars, having prepared material in advance

  2. Make regular contributions to discussion

  3. Deliver at least one in-class presentation of approximately 20 minutes

  4. Submit one essay of 5000 words


Selected Secondary Texts

The Cambridge Companion to British Romanticism (CUP, 1993)

A Companion to European Romanticism, ed. Michael Ferber (Blackwell, 2005)

British Romanticism and Continental Influences, Peter Mortensen (Palgrave, 2004)

The Reading Nation in the Romantic Period, William St. Clair (CUP, 2004)

The Birth of European Romanticism, John Claiborne Isbell (CUP, 1994)

Romanticism, Aesthetics, and Nationalism, David Aram Kaiser (CUP, 2005)

Romanticism in National Context, ed. Roy Porter (CUP, 1988)

Imperfect Histories: The elusive past and the legacy of Romantic historicism. Ann Rigney (Cornell UP, 2001)

Le romantisme libéral en France, 1815-1830: la représentation souveraine, Corinne Pelta (L’Harmattan, 2001)

The young romantics: writers and liaisons, Paris 1827-37, Linda Kelly (Starhaven, 2003)

German Aesthetic and literary criticism. The Romantic Ironists and Goethe, ed. Kathleen Wheeler (CUP, 1984)

German Romantic Literary Theory, Ernst Behler (CUP, 1993)

The Languages of Italy, G. Devoto, (University of Chicago Press, 1978)

The Reasonable Romantic: Essays on Alessandro Manzoni, S. Matteo and L. H. Peer (eds), (Peter Lang, 1986)
Syllabus

  • Week 1-4: British Romanticism and its Locales

Week 1: British Romanticism, 1780-1800: selections from: Edmund Burke, Reflections on the Revolution in France; Mary Wollstonecraft, Vindication of the Rights of Men; Charlotte Smith, selections from Elegiac Sonnets; Mary Robinson, ‘Ode to Melancholy’ and ‘Ode to the Nightingale’; William Wordsworth, ‘Tintern Abbey’; S.T. Coleridge, ‘Frost at Midnight’ and ‘This Lime-Tree Bower my Prison’

Week 2: British Romanticism, 1800-1830: Walter Scott, ‘The Lay of the Last Minstrel’; John Keats, ‘Ode to a Nightingale’ and ‘Ode on Melancholy’; Felicia Hemans, Records of Woman; Lord Byron, Manfred

Week 3: India and the East: William Jones, ‘A Hymn to Indra’, ‘A Hymn to Na’ra’yena’, ‘A Hymn to Su’rya’, ‘A Hymn to the Night’, from The Yarjurveda; Letitia Landon, The Zenana: An Eastern Tale; Lord Byron, The Giaour

Week 4: Britons and Italy: Percy Shelley, ‘Lines Written among the Euganean Hills, October 1818’; Letitia Landon, The Venetian Bracelet; Lord Byron, from Childe Harold’s Pilgrimage: Canto 4, ‘Venice’

  • Weeks 5-10: European Romanticism (all texts provided in translation and tbc)


Week 5: Germany I: German responses to the Enlightenment: ‘Die Welt muß wieder romantisiert werden’: Novalis Heinrich von Ofterdingen (1802)

Week 6: Germany II: Romantic literary theory in Germany: Selections from: Friedrich Schlegel and August Wilhelm von Schlegel and other supplementary texts

Week 7: France I: Chateaubriand, René and Mme de Stael, extracts from Delphine

Week 8: France II: Stendhal, Racine and Shakespeare, and Hugo, Preface to Cromwell

Week 9: Italy I: A.Manzoni, I promessi sposi (extracts)

Week 10: Italy II: G. Leopardi, 'Ultimo canto di Saffo', A.Verri, Le avventure di Saffo


Eighteenth-Century and Romantic Theatre – Dr David O’Shaughnessy
This module will assess the literary and cultural impact of theatre across the eighteenth and early nineteenth centuries. Understanding the cultural and literary life of this period is simply not possible without a firm grasp of the theatre and the manner in which its discursive modes permeated other spheres of Georgian life, for example, its politics, political writing, courts, newspapers, and its burgeoning review culture. Theatre was as much a part of the development of the public sphere as the coffee-house.
Although the module will pay close attention to literary concerns such as how a particular genre (ie comedy) evolved over the period covered, it will be equally interested in relating that literary evolution with the unfolding of political events and historical currents. Thus, for example, it will consider the technical comic innovations of Richard Brinsley Sheridan's 'The School for Scandal' (1777) and its relationship to Restoration comedy but we will be alert to Sheridan's Whiggish political sympathies and the play's referencing of sensitive events which nearly caused it to be refused a performance license.
Key government interventions pertaining to the theatre bookend the course (Stage Licensing Act 1737 and the Select Committee on the Theatre 1832) and one strand of discussion which we will follow through the ten weeks is the extent to which and the reasons why the state felt obliged to monitor theatrical production so assidiously. Theatre was the only form of literary production subject to pre-publication censorship and we will debate the impact of that policy in a society that was itself profoundly theatrical.
Week 1 The Stage Licensing Act of 1737 and its contexts (Henry Fielding's satires, rise of illegitimate theatre)
Week 2 A culture of theatricality (parliament, newspapers, reviews, trials, political polemic)
Week 3 Sentimental vs laughing comedy (Richard Brinsley Sheridan, Oliver Goldsmith, Richard Cumberland)
Week 4 Creating 'the Bard': Shakespeare in the 18th century (David Garrick, Samuel Taylor Coleridge, Charles Lamb)
Week 5 Staging Revolutions (representations of events in France and Ireland)
Week 6 Imperial theatre (a selection of plays dealing with empire in India and Ireland)
Week 7 Gothic Theatre (Horace Walpole, Matthew Lewis, Percy Shelley)
Week 8 Melodrama (August von Kotzebue, Thomas Holcroft, Dion Boucicault)
Week 9 Theatre criticism: Oliver Goldsmith to William Hazlitt
Week 10 The Theatre Select Committee of 1832 and its implications (reform of theatre censorship)

Literature, Revolution and Print Culture in 1790s – Professor Jon Mee
The origins of British Romantic writing are routinely traced to the Revolution Controversy of the 1790s. This course looks at the revolutionary decade and its literary productions. It takes off by looking at the key texts in the Revolution debate (Burke, Wollstonecraft, Paine, and Godwin) and considers their distinctive ideas and rhetorics, the relation of those ideas to questions of style and circulation, and the extent that they set the terms of what followed. Thereafter, it will look at the influence of the controversy on the emerging poetic careers of Coleridge and Wordsworth, especially in relation to the poetry of the radical leader John Thelwall, and the way
the controversy was fought out in the novel of the 1790s. As far as a ten-week course will allow, the focus will not just on canonical or even obviously ‘literary’ texts, but on print culture more broadly construed, including the pamphlet, broadside, and periodical literature of the popular radical movement (provided in photocopies or online). In the process, it will examine the notion that there was a ‘crisis’ of literature (Paul Keen) in the 1790s out of which modern ideas of the ‘literary’ emerged. This issue will be addressed particularly in the final two weeks of the course, which will look at some of the literature that emerged after the revolutionary decade and its constructions of the ‘literary’ and ‘the public sphere’ in light of the revolutionary crisis of the 1790s.
Primary texts
Marilyn Butler, ed., /Burke, Paine, Godwin, and the Revolution Controversy/ (Cambridge)
Novels: Godwin, Caleb Williams,;Mary Hays, Memoirs of Emma Courtney/
Poetry: Coleridge, ‘Fears in Solitude’, ‘Lines written on leaving a Place of Retirement’, ‘Frost at Midnight’; Wordsworth, ‘The Ruined Cottage’, ‘Old Man Travelling’, ‘Preface’ to Lyrical Ballads; Thelwall, ‘Lines written at Bridgwater’
Indicative reading
Greg Claeys, The French Revolution Debate in Britain (Palgrave Macmillan)
Mary Favret, Romantic Correspondence: Women, Politics and the Fiction of Letters (Cambridge)
Paul Keen, The Crisis of Literature in the 1790s (Cambridge)


Romantic Elegy – Dr Emma Mason

This course seeks to examine examples of 'Romantic' elegy and elegiac poetry from Anne Caron's translation of Euripides Grief Lessons to Douglas Dunn's Elegies. We examine 'Romantic' elegy as a genre marked by what Geoffrey Hartman calls an ‘elegiac anticipation’ of sorrow, as well as a product of a ruined society now invested in a fragile and threatened concept of the individual. We ask if the elegy serves to justify its expression of despondent sentiment in its formal experiments (Gerard Manley Hopkins, Roland Barthes), political assertions (John Clare’s enclosure elegies), ideals of faith and community (William and Dorothy Wordsworth, Rainer Maria Rilke), investment in poetry (Ted Hughes) and private mourning (Alfred Tennyson, Paul Monette, Douglas Dunn). Seminars focus on a particular poem or poetic text in relation to critical extracts. You are encouraged to prepare for the course by reading widely on the subject of elegy: David Kennedy's Elegy, Peter Sacks’ The English Elegy and W. David Shaw’s Elegy and Paradox offer useful introductions. Further information is available online.


Writing Ireland, Writing England – Dr David O’Shaughnessy
Ireland and England had - perhaps endured - a particularly intense relationship period at the end of the 18th and beginning of the 19th century. The 'Irish question' was to the fore in British politics even at a time when it was engulfed by the Napoleonic Wars. Ireland was a country uniquely in a position to support or distract England at a difficult time in its history and it loomed large in the English cultural imagination.
Complicating the issue of Ireland for the English was the sense that, one the one hand, the Irish were imagined as vulgar, at best, or barbaric, at worst, in order to justify the moral certitude of occupation. Conversely, particularly around the time of the French Revolution, the Irish were simultaneously imagined as stalwart supporters of Britain so as to discourage Irish dissent and the possibility of French invasion via Ireland. In the event the Irish rebelled, there was an Act of Union, and a long difficult march towards Catholic Emancipation in 1829.
The history of Anglo-Irish relations from this period is fascinating. In this module we will explore how literary and visual culture responded to historical events and political currents across the period. We will concentrate on four major events: the French Revolution in 1789, the Irish Rebellion of 1798, the Act of Union 1801, and Catholic Emancipation 1829. We will look at the work of Irish Catholic, Anglo-Irish 'Ascendancy', and English writers across the period and consider the extent to which these works from different traditions cohere. How did these different traditions respond to each other? How did novelists, journalists, dramatists, and artists respond to the period's tumultuous events? Was it possible to be both proudly Irish and loyal to the Crown? And how did Ireland figure in the imagination of English writers, particularly those we now consider Romantic? To use Homi Bhabha's phrase, this module will measure the extent to which the Irish were 'almost the same, but not quite' and the degree which this slippage provoked cultural production across the period.

Week 1 Ireland and England 1780-1830: history and politics


Week 2 The novel, the theatre, journalism, and visual culture 1780-1830
Week 3 Irish 1: Irish in London: Edmund Burke, Richard Brinsley Sheridan, and James Barry
Week 4 Irish 2: Brian Merriman, The Midnight Court (17??); Charlotte Brooke, Reliques of Irish Poetry (1789); Thomas Moore, Memoirs of Captain Rock (1824)
Week 5: Irish 3: The Stage Irishman in John O'Keeffe, The Poor Soldier (1783), The World in a Village (1793) and Richard Lalor Sheil, Adelaide; or, The Emigrants (1814)
Week 6: Irish 4: John and Michael Banim, Tales from the O'Hara Family (1825)
Week 7 Anglo-Irish 1: Maria Edgeworth, Castle Rackrent (1801); The Absentee (1812)
Week 8 Anglo-Irish 2: Lady Morgan, The Wild Irish Girl (1806/7); Charles Maturin, The Wild Irish Boy (1808)
Week 9 English 1: Charles Lucas, The Infernal Quixote (1801); William Godwin, Mandeville (1817)
Week 10 English 2: Ireland in the Romantic Imagination (Shelley, Coleridge, Wordsworth)


REASON AND REVOLUTION IN EIGHTEENTH-CENTURY FRANCE
Tutor: Dr Kate Astbury (French)
Please consult the French Department website at http://www2.warwick.ac.uk/fac/arts/french/pg/culturethought/modules/reasonandrev/.
The years leading up to the French Revolution were marked by intense literary, political and social change in France. This module will explore those changes by taking some of the guiding principles of the Enlightenment and how writers used them in the final years of ancient regime and the first years of the Revolution. The aim will be to evaluate the extent to which texts can reflect the attempts to wipe away old certainties and replace them with new ideas of harmony and progress but also to assess the limitations of Enlightened thought. The thematic approach to seminars will permit a broad exploration of the last decades of the ancient regime but also an engagement with issues such as tolerance and religious difference, class, gender, and the position of the individual in society.

 

CONSUMPTION AND CULTURE IN EIGHTEENTH-CENTURY BRITAIN


Please consult the History Department website at http://www2.warwick.ac.uk/fac/arts/history/postgraduate/taughtma/18thcen

Module Aims



  • To enable students to develop a core historical base in the subject, and to develop optional specialisms in some of these subjects for the development of dissertation topics.

  • To enable students to develop methodological skills in the use of archives, texts and quantitative material focussed on the period under study.

  • To study and to apply interdisciplinary theoretical approaches to the study of consumer society now and in the past.

  • To study the rise of British consumer culture in the context of the wider world; to engage with recent work in global history

  • To understand the cultural context of specific consumer groups, and to develop case studies of specific commodities

  • To engage with cultural history and the history of art in the study of the market for culture

  • To enable students to develop new topics for historical investigation, and to carry out primary research


POLITICS AND OPINION IN HANOVERIAN BRITAIN
Please consult the History Department website at http://www2.warwick.ac.uk/fac/arts/history/postgraduate/taughtma/hanoverianbritain
This module examines the richness and variety of eighteenth-century political culture in England. Students will be introduced to recent historical interpretations of eighteenth century England which have demonstrated the interconnections between society, culture, the economy and politics in this important period of transition. A wide range of contemporary sources will also be used including political and theoretical works, novels, personal records and visual sources. As a result students will be able to engage with existing literature and to develop their own research skills.
Intended Learning Outcomes

  • to develop further skills (including ICT mediated skills) in communication, writing and research.

  • to analyse and evaluate at an advanced level the contributions made by a wide range of interdisciplinary scholars to the field of eighteenth century political culture.

  • to locate, consider and analyse a range of primary source materials to further an appreciation of political culture in the eighteenth century

  • the opportunity, through the independent preparation and writing of 5,000 word essays, to choose and frame for themselves a topic worthy of analysis in the light of the advanced literature in the relevant area of study; to construct their own bibliographies from books, articles and websites; to gather evidence and use it to shape a cogent and coherent extended analytical discussion; and where appropriate to deploy evidence from primary sources


THE LURE OF ITALY
Please consult the website at http://www2.warwick.ac.uk/fac/arts/french/pg/modules/lureofitaly
The module aims to evaluate the impact of Italy on German and French writers of the Romantic age but also the influence these countries may have had in return on Italy. Seminars will take a thematic approach to permit a broad exploration of the last decades of the 18th century and the first decades of the 19th. Topics to be covered will include:

  • travel literature

  • the grand tour

  • art, architecture and archaeology

  • fictional representation

  • political consciousness



Presentation of Written Work
Papers, dissertations and theses must be consistent in presentation and typography, and they should show mastery of the conventions for presenting scholarly work. These are set out in the MHRA Style Book (obtainable from the web at http://www.mhra.org.uk/publications/Books/StyleGuides/download.shtml), and students must ensure that their essays and dissertations conform to the conventions laid down in this booklet or to the conventions laid down by the MLA. You are also recommended to consult F.W. Bateson, The Scholar-Critic: An Introduction to Literary Research, and George Watson, The Literary Thesis: A Guide to Research. Please note that it helps greatly if you put your name, module tutor and title on every page of the essay.

Plagiarism

Plagiarism is the abuse of secondary reading in essays and in other writing, including creative writing. It consists first of direct transcription, without acknowledgement, of passages, sentences and even phrases from someone else’s writing, whether published or not. It also refers to the presentation as your own of material from a printed or other source with only a few changes in wording. There is of course a grey area where making use of secondary material comes close to copying it, but the problem can usually be avoided by acknowledging that a certain writer holds similar views, and by writing your essay without the book or transcription from it open before you. When you are using another person’s words you must put them in quotation marks and give a precise source. When you are using another person’s ideas you must give a footnote reference to the precise source.


All quotations from secondary sources must therefore be acknowledged every time they occur. It is not enough to include the work from which they are taken in the bibliography at the end of the essay, and such inclusion will not be accepted as a defence should plagiarism be alleged. Whenever you write an essay that counts towards university examinations, you will be asked to sign an undertaking that the work it contains is your own.
The University regards plagiarism as a serious offence. A tutor who finds plagiarism in an essay will report the matter to the Head of Department. The Head may, after hearing the case, impose a penalty of a nil mark for the essay in question. The matter may go to a Senate disciplinary committee which has power to exact more severe penalties. If plagiarism is detected in one essay, other essays by the student concerned will be examined very carefully for evidence of the same offence.
In practice, some cases of plagiarism arise from bad scholarly practice. There is nothing wrong with using other people’s ideas. Indeed, citing other people’s work shows that you have researched your topic and have used their thinking to help formulate your own argument. The important thing is to know what is yours and what is not and to communicate this clearly to the reader. Scholarly practice is a means of intellectual discipline for oneself and of honest service to others.

Descriptive Marking Scheme for Taught MAs in the Arts (assessed and examined work)



These guidelines assume a pass mark of 50. Some of the qualities listed below apply only to examinations, some only to assessed work, and some to both.



80+: (Distinction): Work which, over and above possessing all the qualities of the 70-79 mark range, indicates a fruitful new approach to the material studied, represents an advance in scholarship or is judged by the examiners to be of a standard publishable in a peer-reviewed publication.
70-79: (Distinction): Methodologically sophisticated, intelligently argued, with some evidence of genuine originality in analysis or approach. Impressive command of the critical/historiographical/theoretical field, and an ability to situate the topic within it, and to modify or challenge received interpretations where appropriate. Excellent deployment of a substantial body of primary material/texts to advance the argument. Well structured, very well written, with proper referencing and extensive bibliography.
60-69: Well organised and effectively argued, analytical in approach, showing a sound grasp of the critical/historiographical/theoretical field. Demonstrates an ability to draw upon a fairly substantial body of primary material, and to relate this in an illuminating way to the issues under discussion. Generally well written, with a clear sequence of arguments, and satisfactory referencing and bibliography.
50-59: A lower level of attainment than work marked in the range 60-69, but demonstrating some awareness of the general critical/historiographical/theoretical field. Mainly analytical, rather than descriptive or narrative, in approach. An overall grasp of the subject matter, with, perhaps, a few areas of confusion or gaps in factual or conceptual understanding of the material. Demonstrates an ability to draw upon a reasonable range of primary material, and relate it accurately to the issues under discussion. Clearly written, with adequate referencing and bibliography.
40-49(Fail/Diploma): This work is inadequate for an MA award, but may be acceptable for a Postgraduate Diploma [although some departments may wish to set the pass mark for a diploma at a level higher than this]. Significant elements of confusion in the framing and execution of the response to the question. Simple, coherent and solid answers, but mainly descriptive or narrative in approach. Relevant, but not extensive deployment of primary material in relation to the issues under discussion. Occasional tendency to derivativeness either by paraphrase or direct quotation of secondary sources. Some attempt to meet requirements for referencing and bibliography.
39-(Fail): Work inadequate for an MA or Diploma award. Poorly argued, written and presented. Conceptual confusion throughout, and demonstrates no knowledge of the critical/historiographical/theoretical field. Failure to address the issues raised by the question, derivative, very insubstantial or very poor or limited deployment of primary material.

FORMAT FOR TITLE PAGES


THE UNIVERSITY OF WARWICK
TITLE OF PAPER ________________________________________
_________________________________________________________
_________________________________________________________
_________________________________________________________
_________________________________________________________

MA MODULE TITLE: ___________________________________________


SUPERVISED BY: _______________________________________________

DISSERTATION (IF APPLICABLE)

SUPERVISED BY: _______________________________________________

Approx Word Count _______________________

NAME: __________________________ DATE: ________________
GENERAL
Immediately upon arrival you should see the English Graduate Secretary in the English Office in order to obtain a Student Information Card. These cards must be completed by Wednesday of week 1 and returned to the Graduate Secretary ( do not forget to fill in your name and address on the reverse side of the card).

During term time all tutors set aside office hours during which they are available for consultation. Times of office hours are posted on tutors' doors.


Mail, Messages & Common Room

Messages for academic staff may be left in staff trays in the Senior Common Room. You will be emailed by the Reception Secretary if any post arrives in the department for you. The PGT Common Room on the lst floor (H103) is available for students to use, from 9.00 am - 3.30 p.m. There is also a postgraduate space for the Arts Faculty adjacent to the Word Processing facility on the Fourth floor of the Humanities Building extension. The noticeboard will indicate activities for postgraduates in the Faculty.


There is a notice board for postgraduate students in English in the corridor just outside the H504. You are advised to check this regularly. The Arts Graduate Studies Notice Board, for information of general interest to all Arts Graduates, is situated on the First Floor in the corridor outside Room H105.
Information Technology Facilities and Training
Extensive IT facilities are available to students, including 23 PCs exclusively for the use of Arts postgraduates (rooms 447 and 454 of the Humanities Building) and approximately 200 PCs in the library. All students are given email addresses; however, if you have another private email address please give it to the Graduate Secretary or make sure that mail sent to your University email address is automatically transferred to your other one. A number of bibliographical and textual databases are available, including BIDS, the MLA Bibliography, Dissertation Abstracts International, the Chadwyck Healey databases of English Poetry and English Verse drama, ECCO and EEBO. All students receive instruction in Word for Windows and in the use of bibliographic databases.

Transport

Public Transport to and from the University: a timetable may be obtained from University House Reception.



Lost Property

Lost property is held by University House Reception. If you lose something, however, first try the office, and also the porters in the Lodge on the Ground Floor of the Arts building. It is unwise to leave personal property lying unattended.


Dissertation Binding

Warwick Print has facilities for binding.



Past MA Papers
Copies of some past MA papers may be consulted in the Senior Common Room H502. Students are asked to consult the catalogue held by the Secretary. PAPERS MUST NOT BE REMOVED FROM THE BOXES WITHOUT PERMISSION AND MUST NOT BE TAKEN OUT OF THE BUILDING.

Careers Service

The University offers a wide range of services to students wishing to apply for work at the end of their studies. Careers fairs focusing on a wide variety of fields, including teaching, publishing, law and finance, are held throughout the year. The service also offers personalised advice on identifying potential employers, compiling a CV and writing a cover letter. Full details can be found - http://www2.warwick.ac.uk/services/careers/mycareers


Further Study

Many MA students plan to continue their studies at PhD level, either at Warwick or elsewhere. If you are considering this, it is important to begin talking with members of academic staff early. You will need to identify a thesis topic, choose the right institution and consider sources of funding, so the more advice you can get, the better. For advice on the application process at Warwick, you should speak to the department’s PhD funding officer (ask the Graduate Secretary).


At Warwick, there are two sources of PhD funding:

  • AHRC awards. These are provided by the Arts and Humanities Research Council, a UK government funded research council. To be eligible for an AHRC award, you must be a resident of the UK or EU. The University has been allocated a limited number of AHRC research awards and you will need to apply directly to the University for one of these awards.

  • Warwick Postgraduate Research Studentships. These PhD studentships are funded at the research council rate. This funding is provided by the University itself, and there is no restriction on nationality of those applying.

Both awards are highly competitive. Note that you must first secure the offer of a place on the PhD programme before you can apply for funding. The department’s PhD funding officer can provide further information and advice.
Personal Tutors
Your Personal Tutor for the MA in Pan-Romanticisms is Prof. Jackie Labbe. She can assist and advise on all academic and most pastoral matters.

Sexual and Racial Harassment

The University of Warwick considers sexual and racial harassment to be totally unacceptable and offers support to students subjected to it. The University is also prepared to take disciplinary action against offenders. Help is available from the Senior Tutor and the Student Counsellors (extension 2761) or Student Union Welfare Staff (extension 73129).


Complaints

A student may raise a complaint about any aspect of the teaching and learning process and the provision made by the University to support that process, unless the matter can be dealt with under the Disciplinary regulations, the Harassment Guidelines or the appeals mechanism. Students may not use the complaints procedure to challenge the academic judgement of examiners. Full details of the Student Academic Complaints Procedure can be found at http://www2.warwick.ac.uk/services/gov/complaintsandfeedback/








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