Difference between revisions of "S The First World War in British Literature and Culture: A Centennial History"

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* Barker, Pat. ''Regeneration''. 1991. London: Penguin, 2008. Print. [ISBN: 978-0141030937]
 
* Barker, Pat. ''Regeneration''. 1991. London: Penguin, 2008. Print. [ISBN: 978-0141030937]
−
* Hollinghurst, Alan. ''The Stranger's Child''. London: Pan Macmillan, 2012. [ISBN: 978-0330483278]
 
 
* Woolf, Virginia. ''Mrs Dalloway''. 1925. Oxford: OUP, 2008. Print. [ISBN: 978-0199536009]
 
* Woolf, Virginia. ''Mrs Dalloway''. 1925. Oxford: OUP, 2008. Print. [ISBN: 978-0199536009]
−
 
+
* Hollinghurst, Alan. ''The Stranger's Child''. 2011. London: Pan Macmillan, 2012. [ISBN: 978-0330483278]
  
  
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* [Prüfungsleistung] Gruppenreferat (3-4 Personen; ca. 20 Folien) mit Schriftlicher Ausarbeitung (10 Seiten) [oder in Ausnahmefällen: Hausarbeit (15 Seiten)]
 
* [Prüfungsleistung] Gruppenreferat (3-4 Personen; ca. 20 Folien) mit Schriftlicher Ausarbeitung (10 Seiten) [oder in Ausnahmefällen: Hausarbeit (15 Seiten)]
  
−
* [Aktive Teilnahme] Regular Attendance (cf. Richtlinien der Fakultät III, Studiendekanat), Course Preparation (i.e. watching the asynchronous presentations), 4 Abstracts
+
* [Aktive Teilnahme] Regular Attendance (cf. Richtlinien der BPO, Fakultät III, Studiendekanat), Course Preparation (i.e. watching the asynchronous presentations), 4 Abstracts
  
 
Please note that written assignments (abstracts, short term papers, long term papers) need to be composed according to the style sheet ("Leitfaden") of the University of Oldenburg, which can be accessed via the 'Institutswiki'-page of the English department. The style sheet not only provides relevant information on how to write a correct bibliography but it may also help you to structure your work according to academic standards.
 
Please note that written assignments (abstracts, short term papers, long term papers) need to be composed according to the style sheet ("Leitfaden") of the University of Oldenburg, which can be accessed via the 'Institutswiki'-page of the English department. The style sheet not only provides relevant information on how to write a correct bibliography but it may also help you to structure your work according to academic standards.
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−
==Session 01, October 18: Introduction==
+
==Session 01, October 16: Introduction==
  
  
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* Assignments
 
* Assignments
−
Assignments are graded and mandatory. In order to obtain 6 credits (KP), you will have to give an (group) presentation (Referat, 20 Folien) on one of the presentation topics specified in the syllabus. In addition to that, you will have to hand in a short term paper (Ausarbeitung, 10 Seiten) by the end of term (15. March). In exceptional cases, you may hand in a long term paper (Hausarbeit, 15 Seiten) instead of the above. However, an exception is only granted upon prior consultation.
+
Assignments are graded and mandatory. In order to obtain 6 credits (KP), you will have to give an (group) presentation (Referat, 20 Folien) on one of the presentation topics specified in the syllabus. In addition to that, you will have to hand in a short term paper (Ausarbeitung, 10 Seiten) by the end of term (15. März). In exceptional cases, you may hand in a long term paper (Hausarbeit, 15 Seiten) instead of the above. However, an exception is only granted upon prior consultation.
  
 
* Presentation Topics, Presentation Groups
 
* Presentation Topics, Presentation Groups
 
Presentation Topics are specified in your syllabus. In order to prepare your presentations, please pick a topic, get together in groups (see below) and write up a power-point presentation. Save the file and send it on to me so that we can discuss your presentation in your preparatory session. Preparatory sessions take place one week before your presentation is due, i.e. at the end of the session preceding your presentation. After the preparatory session, revise your presentation and make your file available on Stud.IP on the Friday ''before'' your presentation is due so that all participants can read/ watch the presentation in time, i.e. before the session.
 
Presentation Topics are specified in your syllabus. In order to prepare your presentations, please pick a topic, get together in groups (see below) and write up a power-point presentation. Save the file and send it on to me so that we can discuss your presentation in your preparatory session. Preparatory sessions take place one week before your presentation is due, i.e. at the end of the session preceding your presentation. After the preparatory session, revise your presentation and make your file available on Stud.IP on the Friday ''before'' your presentation is due so that all participants can read/ watch the presentation in time, i.e. before the session.
  
−
Requests regarding your choice of presentation topics can be send to me via e-mail, starting on Monday, October 09. Please send me three possible presentation topics and prioritise them according to your preferences. I will sign you in in the order of the requests' arrival. Please check this page regularly to see if your requests have been met.
+
Requests regarding your choice of presentation topics can be send to me via e-mail, starting on Monday, October 07. Please send me three possible presentation topics and prioritise them according to your preferences. I will sign you in in the order of the requests' arrival. Please check this page regularly to see if your requests have been met.
  
 
* Active Participation
 
* Active Participation
  
−
Active Participation is ungraded but mandatory. In order to fulfil the requirements, you will have to attend class regularly and prepare the presentations prior to the relevant sessions. Moreover, you will have to write four abstracts, each including a topic, a state of research, a thesis statement, and a brief outline of your argument (approx. 1 page), in the course of the seminar. You can choose your own topic; however: all abstracts have to address different primary texts. In other words, your abstracts will have to cover the four primary materials below. Abstracts are due by the end of the week (i.e. Friday) that marks the ending of the respective sections, i.e. due date ''Heart of Darkness'': December 01; due date ''Maurice'': December 15; due date ''A Portrait of the Artist as a Young Man'': January 12; due date ''Mrs Dalloway'' January 26)
+
Active Participation is ungraded but mandatory. In order to fulfil the requirements, you will have to attend class regularly (cf. BPO, FK III) and prepare the presentations prior to the relevant sessions. Moreover, you will have to write four abstracts, each including a topic, a state of research, a thesis statement, and a brief outline of your argument (approx. 1 page), in the course of the seminar. You can choose your own topic; however: all abstracts have to address different primary texts. In other words, your abstracts will have to cover four primary materials from the course. Abstracts are due by the end of the week (i.e. Friday) that marks the ending of the respective sections, i.e. due date ''War Poetry'': November 15; due date ''Regeneration'': November 29; due date ''Mrs Dalloway'': December 13; due date ''The Stranger's Child'' January 24)
  
 
     Summary: Presentations
 
     Summary: Presentations
  
−
1. Pick a presentation topic and contact me via e-mail (starting October 09). Check below for available places. Presentation groups may consist of 3-4 people. Send me three suggestions and prioritise them accoording to preference.
+
1. Pick a presentation topic and contact me via e-mail (starting October 07). Check below for available places. Presentation groups may consist of 3-4 people. Send me three suggestions and prioritise them accoording to preference.
  
 
2. Contact the other members of your group and prepare your presentation, i.e. power-point presentation.
 
2. Contact the other members of your group and prepare your presentation, i.e. power-point presentation.
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6. Give your presentation in class.
 
6. Give your presentation in class.
−
 
−
==Session 02, October 25: Theory Session - Modernist Fiction==
 
−
 
−
'''Theory Texts'''
 
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Stevenson_ModernistFiction.pdf?v=1695106675 Stevenson, Randall. ''Modernist Fiction: An Introduction.'' London, New York, et al.: Prentice Hall, 1998. Print.] (Excerpts)
 
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Childs_Modernism_Intro.pdf?v=1695288055 Childs, Peter. ''Modernism.'' New Critical Idiom. London and New York: Routledge, 2000. Print.] (Excerpts)
 
−
 
−
'''Further Reading'''
 
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Woolf_ModernFiction.pdf?v=1696935022 Woolf, Virginia. "Modern Fiction." 1925. ''Selected Essays''. Oxford: OUP, 2009. 6-12. Print.]
 
−
 
−
'''Guiding Questions'''
 
−
 
−
* How does modernism relate to its literary predecessors, especially Victorian realism? What are some of the major "new" aspects of modernist literature and art that distinguish modernist modes of representation from realist modes of representation?
 
−
* What social, cultural, and historical changes and developments have influenced and indeed brought about the emergence of modernist art? How do these changes (and the discourses the produce) shape the objectives and the (self-)concepts of modernist art?
 
−
* Regarding form, what are some of the innovative techniques of modernist writing and what is their supposed function, i.e., what effects are supposed to bring about?
 
−
* Regarding the representation of allegedley "basic" (or even "factual") aspects, i.e. time, space, identity (class, race, gender, sexuality, etc.), how does modernist art approach these issues?
 
−
* Can you pinpoint modernist elements in other contemporary forms of art, i.e., modernist painting, music, etc.? What do these different modernisms have in common?
 
−
 
−
'''Group Work'''
 
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Group01_Portrait.pdf?v=1697799348 Group 01: Joyce, ''Portrait'']
 
−
 
−
These are the first pages from James Joyce's novel ''A Portrait of the Artist as a Young Man''. The first sentences basically throw us into a very specific mindset. Without further explanation, we come to share the perspective of the novel's protagonist, young Stephen Dedalus. How does he see the world, and how do we see the world through his eyes? Please discuss the narratological design of this opening, especially in terms of focalisation, and identify and discuss relevant discourses. You may want to look at aspects such as genre, gender, age, and national identity.
 
−
 
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Group02_TheGardenParty.pdf?v=1697799348 Group 02: Mansfield, "The Garden Party"]
 
−
 
−
"The Garden Party" is the titular story of Katherine Mansfield's last short story collection. In it, the Sheridans prepare for their afternoon garden party and everybody seems thrilled with anticipation and excitement, especially Laura, a teenager, who is busy sorting out all the necessary arrangements when her enthusiasm is suddenly stopped short: she learns that one of their neighbours - the father of a poor family - has unexpectedly died in an accident. How does she fit this event into her life? And how do the other members of her family respond to it? What do they tell her, and what do they withhold from her? Please discuss the narratological design of the passage, especially in terms of focalisation, and identify and discuss relevant discourses. You may want to look at aspects such as class, gender, age, and family.
 
−
 
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Group03_MrsDalloway.pdf?v=1697799348 Group 03: Woolf, ''Mrs Dalloway'']
 
−
 
−
It is June 13th, 1923. Septimus Warren Smith, a combat veteran from the First World War, finds himself in Regent's Park on a sunny summer's day in postwar London with his Italian wife Lucrezia, when a single word - "time" - suddenly unhinges him. What is it that he sees, that he feels, that upsets him beyond recognition? And what do the others see and feel - Lucrezia, his wife? Or even Peter Walsh, a passerby who has just returned from India and visits London for the first time in decades? What is it that they recognize about Sepetimus? Please discuss the narratological design of the passage, especially in terms of focalisation, and identify and discuss relevant discourses. You may want to look at aspects such as war, mental health, age, and gender.
 
  
 
'''Preparatory Session'''
 
'''Preparatory Session'''
−
* ''Preparatory Session Group'': Ramon-Gigel Lupu
+
* ''Preparatory Session Group'':
  
−
==Session 03, November 01: Modernist Short Fiction I - "Narrative Form, Subjectivity, and the Mind"==
+
==Session 02, October 23: War Enthusiasm==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Woolf_TheMarkOnTheWall.pdf?v=1696409647 Woolf, Virginia. "The Mark on the Wall."]
+
* Rupert Brooke. "The Soldier."
 +
* ─. "Peace."
 +
* ─. "Safety."
 +
* Julian Grenfell. "Into Battle."
 +
* John Masefield. "August 1914."
 +
* John McCrae. "In Flanders Fields."
  
 
'''Theory Texts'''
 
'''Theory Texts'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Bartkuviene_AestheticModernFictionWoolfMarkWall_gesichert.pdf?v=1695365583 Bartkuvienë, Linara. "Virginia Woolf's Aesthetics of Modern Fiction: Search for Form in a (sic) Short Story 'The Mark on the Wall.'" ''Literatura'' 47.4 (2005): 7-16. Print.]
+
* Parker, Peter. ''The Old Lie: The Great War and the Public-School Ethos''. London: Constable, 1987. Print. [pp. 15-27 and 196-254]
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Ki_Structure_and_Anti_Structure_Virginia_Woolf_s_Feminist_Politics_and_The_Mark_on_the_Wall_gesichert.pdf?v=1695365583 Ki, Magdalen Wing-chi. "Structure and Anti-Structure: Virginia Woolf's Feminist Politics and 'The Mark on the Wall'." ''English Studies'' 91.4 (2010): 425-42. Print.]
+
  
 
'''Further Reading'''
 
'''Further Reading'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Head_ModernistShortStory_WoolfExperimentsGenre_gesichert.pdf?v=1695365583 Head, Dominic. "Virginia Woolf: Experiments in Genre." ''The Modernist Short Story: A Study in Theory and Practice.'' Cambridge: CUP, 1992. 79-108. Print.]
+
* Hibbert, Dominic and John Onions. "Introduction." ''Poetry of the Great War: An Anthology''. Eds. Dominic Hibbert and John Onions. New York: St. Martin's Press, 1986. 1-36. Print.
  
 
'''Presentation'''
 
'''Presentation'''
−
* Representing the Workings of the Mind, or: Modernist Subjectivity, Stream of Consciousness Writing, and the (Alleged) Absence of Plot in Woolf's "The Mark on the Wall"
+
* Education and Public-School Homosociality, or: the Pedagogy of Patriotism
−
* ''Presentation Group'': Ramon-Gigel Lupu
+
* ''Presentation Group'':
  
 
'''Preparatory Session'''
 
'''Preparatory Session'''
−
* ''Preparatory Session Group'': Lea-Marie Krüger, Finn Fromme, Patrick Kreyenborg
+
* ''Preparatory Session Group'':
  
−
==Session 04, November 08: Modernist Short Fiction II - "Narrative Form, Gender, and Genre"==
+
==Session 03, October 30: Home Front==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Conrad_TheSecretSharer..pdf?v=1696409647 Conrad, Joseph. "The Secret Sharer."]
+
* Pope, Jessie. "The Call."
 +
* ─. "The Beau Ideal."
 +
* Mackintosh, E.A. "Recruiting."
 +
* Sassoon, Siegfried. "They."
 +
* Brittain, Vera. "The War Generation: Ave."
  
 
'''Theory Texts'''
 
'''Theory Texts'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Perel_TransformingHeroConradSecretSharer_gesichert.pdf?v=1695367121 Perel, Zivah. "Transforming the Hero: Joseph Conrad’s Reconfiguring of Masculine Identity in 'The Secret Sharer'." ''Conradiana'' 36.1–2 (2004): 111-29. Print.]
+
* Winter, Jay. "Imaginings of War: Posters and the Shadow of the Lost Generation." ''Picture This: World War I Posters and Visual Culture''. Ed. Pearl James. Lincoln and London: U of Nebraska P, 2009. 37-58. Print.
 +
* Gullace, Nicoletta F. "Barbaric Anti-Modernism: Representations of the 'Hun' in Britain, North America, Australia, and Beyond." ''Picture This: World War I Posters and Visual Culture.'' Ed. Pearl James. Lincoln and London: U of Nebraska P, 2009. 61-78. Print.
 +
* Albrinck, Meg . "Humanitarians and He-Men: Recruitment Posters and the Masculine Ideal." ''Picture This: World War I Posters and Visual Culture''. Ed. Pearl James. Lincoln and London: U of Nebraska P, 2009. 313-39. Print.
  
 
'''Further Reading'''
 
'''Further Reading'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Casarino_SublimeClosetConrad_gesichert.pdf?v=1695367128 Casarino, Cesare. "The Sublime in the Closet; or, Joseph Conrad's Secret Sharing." ''boundary'' (1997): 199-243. Print.]
+
* Kingsbury, Celia Malone. ''For Home and Country: World War I Propaganda on the Home Front''. Chesham: Combined Academic Publishers, 2010. Print. [pp.1-26 and 218-61.]
  
 
'''Presentation'''
 
'''Presentation'''
−
* Representing the Self and the Other, or: Modernist Masculinities, Changing Genre Traditions, and the Function of the ''Double'' in Conrad's "The Secret Sharer"
+
* War Propaganda, or: Media, Affect, and the Language of Recruiting
−
* ''Presentation Group'': Lea-Marie Krüger, Finn Fromme, Patrick Kreyenborg
+
* ''Presentation Group'':
  
 
'''Preparatory Session'''
 
'''Preparatory Session'''
−
* ''Preparatory Session Group'': Lotta Nissen, Lea Tersteegen, Lukas Schewe
+
* ''Preparatory Session Group'':
  
−
==Session 05, November 15: Modernist Short Fiction III - "Narrative Form, Liminality, and Space"==
+
==Session 04, November 06: Stalemate==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Mansfield_AtTheBay.pdf?v=1696935165 Mansfield, Katherine, "At the Bay."]
+
* Isaac Rosenberg. "Break of Day in the Trenches."
 +
* ─.  "Returning We Hear the Larks."
 +
* Wilfred Owen. "Anthem for Doomed Youth."
 +
* ─. "Dulce et Decorum Est."
 +
* ─. "Strange Meeting."
  
 
'''Theory Texts'''
 
'''Theory Texts'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Tordasi_WomenWaterfront_Mansfield_gesichert.pdf?v=1696935023 Tordasi, Kathrin. "The Farthest Shore: Katherine Mansfield's New Zealand Fiction." ''Women by the Waterfront: Modernist (Re)Visions of Gender, Self, and Littoral Space.'' Würzburg: Könighausen und Neumann, 2018. 163-231. Print.] (Excerpts, esp. "The Secret Self in 'At the Bay'" and "Beach Liminality and the Modernist Short Story")
+
* Gilbert, Sandra M. "'Rat's Alley': The Great War, Modernism, and the (Anti) Pastoral Elegy." ''New Literary History'' 30.1 (Winter 1999): 179-201. Print.
  
 
'''Further Reading'''
 
'''Further Reading'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/May_Mansfield_Bay_gesichert.pdf?v=1696587616 May, Brian. "Katherine Mansfield, Postimpressionist." ''MFS Modern Fiction Studies'' 69.1 (2023): 22-47. Print.]
+
* Fussell, Paul . "Arcadian Recourses." ''The Great War and Modern Memory.'' Oxford: OUP, 1975. 231-69. Print.
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Head_katherine_mansfield_the_impersonal_short_story_gesichert.pdf?v=1695366747 Head, Dominic. "Katherine Mansfield: The Impersonal Short Story." ''The Modernist Short Story: A Study in Theory and Practice.'' Cambridge: CUP, 1992. 109-38. Print.]
+
  
 
'''Presentation'''
 
'''Presentation'''
−
* Representing Liminal Spaces, or: Maritime Spaces, Gendered Spaces, and Colonial Spaces in Mansfield's "At the Bay"
+
* Trench Poets, or: Modern Warfare, Nature, and the Anti-Pastoral Elegy
−
 
+
* ''Presentation Group'':
−
* ''Presentation Group'': Lotta Nissen, Lea Tersteegen, Lukas Schewe
+
  
 
'''Preparatory Session'''
 
'''Preparatory Session'''
−
* ''Preparatory Session Group'': Marvin Martens, Tom Dillner, Thomas Marr
+
* ''Preparatory Session Group'':
  
−
==Session 06, November 22: Analysing ''Heart of Darkness'' I - "Modernism and Colonialism: Eurocentric Attitudes, Colonial Exploitation, and the Congo Free State"==
+
==Session 05, November 13: Comradeship==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* Conrad, Joseph. ''Heart of Darkness.''
+
* Wilfred Owen. "Greater Love"
 +
* ─. "Apologia pro Poemate Meo"
 +
* Ivor Gurney. "Sonnets 1917: Servitude"
 +
* ─.  "To his Love"
 +
* Siegfried Sassoon. "Banishment"
  
 
'''Theory Texts'''
 
'''Theory Texts'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Parry_MomentArterlifeHoD_gesichert.pdf?v=1696935022 Parry, Benita. "The Moment and Afterlife of ''Heart of Darkness''." ''Conrad in the Twenty-First Century: Contemporary Approaches and Perspectives''. Eds. Carola M. Kaplan, Peter Mallios, and Andrea White. New York and London: Routledge, 2005. 39-53. Print.]
+
* Cole, Sarah. "'My killed friends are with me where I go': friendship and comradeship at war." ''Modernism, Male Friendship, and the First World War''. Cambridge: CUP, 2003. 138-84. Print.
  
 
'''Further Reading'''
 
'''Further Reading'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Kaplan_ColonizersCannibalsConradHOD_gesichert.pdf?v=1696492054 Kaplan, Carola M. "Colonizers, Cannibals, and the Horror of Good Intentions in Joseph Conrad's ''Heart of Darkness''." ''Studies in Short Fiction'' 34 (1997): 323-33. Print.]
+
* Campbell, James S. "For You May Touch Them Not: Misogyny, Homosexuality, and the Ethics of Passivity in First World War Poetry." ''ELH'' 64.3 (Fall 1997): 823-42. Print.
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Nayak_NarrativesModernismHOD_gesichert.pdf?v=1696492054 Nayak, Srila. "Two Narratives of Modernism in ''Heart of Darkness''." ''Conradiana'' 44.1 (2012) 29-49. Print.]
+
  
 
'''Presentation'''
 
'''Presentation'''
−
* "All Europe Contributed to the Making of Kurtz," or: Marlow, Narrative Ambivalence, and the Deconstruction of Colonial Power Structures in Conrad's ''Heart of Darkness''
+
* Brothers in (Each Other's) Arms, or: the Homoerotics of Comradeship
−
* ''Presentation Group'': Marvin Martens, Tom Dillner, Thomas Marr
+
* ''Presentation Group'':
  
 
'''Preparatory Session'''
 
'''Preparatory Session'''
−
* ''Preparatory Session Group'': Antonia Blome, Cai Richter
+
* ''Preparatory Session Group'':
  
−
==Session 07, November 29, Analysing ''Heart of Darkness'' II - "Modernism and Gender: Deconstructing Gendered Spaces and Gendered Spheres"==
+
==Session 06, November 20: Shell Shock==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* Conrad, Joseph. ''Heart of Darkness.''
+
* Barker, Pat. ''Regeneration''. 1991.
  
 
'''Theory Texts'''
 
'''Theory Texts'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/McIntire_GenderDifferenceHOD_gesichert.pdf?v=1696492054 McIntire, Gabrielle. "'The Women Do not Travel': Gender, Difference, and Incommensurability in Conrad's ''Heart of Darkness''." ''MFS Modern Fiction Studies'' 48.2 (2002): 257-84. Print.]
+
* Harris, Greg. "Compulsory Masculinity, Britain, and the Great War: The Literary-Historical Work of Pat Barker." ''Critique: Studies in Contemporary Fiction'' 39.4 (1998): 290-304. Print.
  
 
'''Further Reading'''
 
'''Further Reading'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Peters_WesternWomenConradHOD_gesichert.pdf?v=1696492054 Peters, John G. "Joseph Conrad's ''Heart of Darkness'' and the World of Western Women." ''Studies in Short Fiction'' 37.1 (2012): 87-112. Print.]
+
* Leese, Peter. ''Shell Shock: Traumatic Neurosis and the British Soldiers of the First World War''. Basingstoke: Palgrave, 2002. Print.
  
 
'''Presentation'''
 
'''Presentation'''
−
* "The Women Are out of It," or: Deconstructing the Binaries of Gender, Race, and Space in Conrad's ''Heart of Darkness''
+
* Shell Shock Male (''alias'' Male Hysteria), or: Representing the Traumatised Soldier in Pat Barker's ''Regeneration''
−
* ''Presentation Group'': Antonia Blome, Cai Richter
+
* ''Presentation Group'':
  
 
'''Preparatory Session'''
 
'''Preparatory Session'''
−
* ''Preparatory Session Group'': Paul Hasdenteufel, Leon Jürning
+
* ''Preparatory Session Group'':
  
−
==Session 08, December 06: Analysing ''Maurice'' I - "Modernism and Sexuality: (De-)Constructing Sexology and its Classification of Sexual Identities"==
+
==Session 07, November 27: The Talking Cure==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* Forster, E.M. ''Maurice''
+
* Barker, Pat. ''Regeneration''. 1991.
  
 
'''Theory Texts'''
 
'''Theory Texts'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Jon_Harned_Becoming_Gay_in_E.M._Forster_s_Maurice_gesichert.pdf?v=1695111660  Harned, Jon. "Becoming Gay in E.M. Forster's ''Maurice''." ''PLL'' 29.1 (1993): 49-66. Print.]
+
* Whitehead, Anne. "Open to Suggestion: Hypnosis and History in Pat Barker's ''Regeneration''." ''MFS: Modern Fiction Studies'' 44.3 (1998): 674-94. Print.
  
 
'''Further Reading'''
 
'''Further Reading'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Wilper_GayNovelEnglishGerman_gesichert.pdf?v=1696939106 Wilper, James P. ''Reconsidering the Emergence of the Gay Novel in English and German''. West Lafayette, IN: Purdue UP, 2016.] (Excerpts)
+
* Martin, Meredith. "Therapeutic Measures: The Hydra and Wilfred Owen at Craiglockhart War Hospital." ''Modernism/Modernity'' 14.1 (2007): 35-54. Print.
  
 
'''Presentation'''
 
'''Presentation'''
−
* "An Unspeakable of the Oscar-Wilde Sort", or: Representing Sexology's Invention of (Male) Homosexuality in Forster's ''Maurice''
+
* Craiglockhart War Hospital, or: The First World War and the Discovery of Psychoanalysis and Psychotherapy in Pat Barker's ''Regeneration''
−
 
+
* ''Presentation Group'':
−
* ''Presentation Group'': Paul Hasdenteufel, Leon Jürning
+
  
 
'''Preparatory Session'''
 
'''Preparatory Session'''
−
* ''Preparatory Session Group'': Alice Santoro, Annalena Schmitz, Marie Kersken
+
* ''Preparatory Session Group'':
  
−
==Session 09, December 13: Analysing ''Maurice'' II - "Modernism and Space: Locating Otherness and Male Same-Sex Desire in Modern Culture"==
+
==Session 08, December 04: Trauma==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* Forster, E.M. ''Maurice''
+
* Woolf, Virginia. ''Mrs Dalloway''. 1925.
  
 
'''Theory Texts'''
 
'''Theory Texts'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Martin_Edward_Carpenter_and_the_Double_Structure_of_Maurice_gesichert.pdf?v=1695106675 Martin, Robert K. "Edward Carpenter and the Double Structure of Maurice." ''Journal of Homosexuality'' 8.3-4 (1983): 35-46. Print.]
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/DeMeesters_Woolf_Trauma_gesichert.pdf?v=1695106675 DeMeester, Karen. "Trauma, Post-Traumatic Stress Disorder, and Obstacles to Postwar Recovery in ''Mrs Dalloway''." ''Virginia Woolf and Trauma: Embodied Texts''. Eds. Suzette Henke, David Eberly, and Jane Lilienfeld. New York, NY: Pace UP, 2007. Print. 77-93.]
  
 
'''Further Reading'''
 
'''Further Reading'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Cole_ModernismMale_victorian_dreams_modern_realities_forsters_classical_imagination_gesichert.pdf?v=1695377795 Cole, Sarah. "Victorian Dreams, Modern Realities: Forster’s Classical Imagination." ''Modernism, Male Friendship, and the First World War''. Cambridge: CUP, 2003. 21-91. Print]
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Levenback-VirginiaWoolfReturning-1996.pdf?v=1695378884 Levenback, Karen L. "Virginia Woolf and Returning Soldiers: The Great War and the Reality of Survival in 'Mrs. Dalloway' and 'The Years'." ''Woolf Studies Annual'' 2 (1996): 71-88. Print.]
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Bredbeck_ForsterCarpenterSexualIdentity_gesichert.pdf?v=1696939106 Bredbeck, Gregory W. "'Queer Superstitions': Forster, Carpenter, and the Illusion of (Sexual) Identity." ''Queer Forster''. Eds. Robert K. Martin and George Piggford. Chicago, IL: U of Chicago P, 1997. 29-58. Print.]
+
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Raschke_PhilosophyHeteroHomoMaurice.pdf?v=1696939106 Raschke, Debrah. "Breaking the Engagement with Philosophy: Re-envisioning Hetero/ Homo Relations in ''Maurice''." ''Queer Forster''. Eds. Robert K. Martin and George Piggford. Chicago, IL: U of Chicago P, 1997. 151-66. Print.]
+
  
 
'''Presentation'''
 
'''Presentation'''
−
* "Greece Is not for Our Little Lot," or: Greek Love, Democratic Comradeship, Pastoral Escapes, and the Construction of Gay Cultural History in Forster's ''Maurice''
+
* "Dulce et decorum est pro patria mori", or: Mental Health Crises, Stream-of-Consciousness Literature, and the Representation of Trauma in Virginia Woolf's ''Mrs Dalloway''
−
 
+
* ''Presentation Group'':
−
* ''Presentation Group'': Alice Santoro, Annalena Schmitz, Marie Kersken 
+
  
 
'''Preparatory Session'''
 
'''Preparatory Session'''
−
* ''Preparatory Session Group'': Lucie Timm, Niklas Hand, Alexander Ifebuzor
+
* ''Preparatory Session Group'':
  
−
==Session 10, December 20: Analysing ''A Portrait of the Artist as a Young Man'' I - "Modernism and the Developing Mind: Narrative Form, Adolescence, and Subjectivity"==
+
==Session 09, December 11: Post-War Britain==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* Joyce, James. ''A Portrait of the Artist as a Young Man''
+
* Woolf, Virginia. ''Mrs Dalloway''. 1925.
  
 
'''Theory Texts'''
 
'''Theory Texts'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Castle_ComingOfAgePortrait_gesichert.pdf?v=1696837271 Castle, Gregory. "Coming of Age in the Age of Empire: Joyce’s Modernist Bildungsroman." ''James Joyce Quarterly'' 50.1-2 (2012-2013): 359-84. Print.]
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Tate_Mrs_Dalloway_Armenian_Question.pdf?v=1695106675 Tate, Trudi. "''Mrs Dalloway'' and the Armenian Question." ''Modernism, History and the First World War''. Manchester: Manchester UP, 1998. Print. 147-70.]
  
 
'''Further Reading'''
 
'''Further Reading'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Esty_UnseasonableYouth_WoolfJoyce_gesichert.pdf?v=1696837267 Esty, Jed. "Tropics of Youth in Woolf and Joyce." ''Unseasonable Youth: Modernism, Colonialism, and the Fiction of Development.'' Oxford: OUP, 2011. 127-59. Print.]
+
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Shin_NegativeDialecticsMrsDalloway_gesichert.pdf?v=1695373753 Shin, John. "Negative Dialectics in ''Mrs Dalloway''." ''English Studies 102.5 (2021): 552-62. Print.]
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Fernihough_CCModernist_Fiction_consciousness_as_a_stream_gesichert.pdf?v=1695288516 Fernihough, Anne. "Consciousness as a Stream." ''The Cambridge Companion to the Modernist Novel.'' Cambridge Companions to Literature. Cambridge: CUP, 2007. 65-81. Print.]
+
  
 
'''Presentation'''
 
'''Presentation'''
−
* Becoming Stephen Dedalus, or: Stream of Consciousness Writing, Coming-of-Age Narratives, and Identity Formation in Joyce's ''A Portrait''
+
* Clarissa and Her Kind, or: Post-War London, Civilian Incomprehension, and the Deconstruction of Traditional Gender Roles in Virginia Woolf's ''Mrs Dalloway''
−
 
+
* ''Presentation Group'':  
−
* ''Presentation Group'': Lucie Timm, Niklas Hand, Alexander Ifebuzor
+
  
 
'''Preparatory Session'''
 
'''Preparatory Session'''
 
* ''Preparatory Session Group'':
 
* ''Preparatory Session Group'':
  
−
==Session 11, January 10: Analysing ''A Portrait of the Artist as a Young Man'' II - "Modernism and National Identity: A Look at Contemporary Ireland"==
+
==Session 10, December 18: Mid-term Recap==
 +
 
 +
* Recap
 +
* Feedback Session
 +
* Work in Progress
 +
 
 +
==Session 11, January 08: Historiographic Metafiction==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* Joyce, James. ''A Portrait of the Artist as a Young Man''
+
* Hollinghurst, Alan. ''The Stranger's Child''. 2011.
  
 
'''Theory Texts'''
 
'''Theory Texts'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Stevic_NationalismWithoutNationalismPortraitJoyce_gesichert.pdf?v=1695379436 Stevic, Aleksandar. "Stephen Dedalus and Nationalism without Nationalism." ''Journal of Modern Literature'' 41.1 (2017): 40-57. Print.]
+
*  
  
 
'''Further Reading'''
 
'''Further Reading'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/MULROONEY-STEPHENDEDALUSPOLITICS-2001_gesichert.pdf?v=1695379435 Mulrooney, Jonathan. "Stephen Dedalus and the Politics of Confession." ''Studies in the Novel'' 33.2 (2002): 160-79. Print.]
+
*  
  
 
'''Presentation'''
 
'''Presentation'''
−
* "To Fly by those Nets,": or: Identity Constructions beyond Catholicism, Irish Nationalism, and the Celtic Revival in Joyce's ''A Portrait''
+
*  
−
 
+
 
* ''Presentation Group'':
 
* ''Presentation Group'':
  
 
'''Preparatory Session'''
 
'''Preparatory Session'''
−
* ''Preparatory Session Group'': Stella Hachtmann, Lutz Emken, Mikko Bank, Fynn Menne
+
* ''Preparatory Session Group'':
  
−
==Session 12, January 17: Analysing ''Mrs Dalloway'' I - "Modernism and War: Modern Warfare, Shell Shock, and Trauma"==
+
==Session 12, January 15: Identity Construction==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* Woolf, Virginia. ''Mrs Dalloway''
+
* Hollinghurst, Alan. ''The Stranger's Child''. 2011.
  
 
'''Theory Texts'''
 
'''Theory Texts'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/DeMeesters_Woolf_Trauma_gesichert.pdf?v=1695106675 DeMeester, Karen. "Trauma, Post-Traumatic Stress Disorder, and Obstacles to Postwar Recovery in ''Mrs Dalloway''." ''Virginia Woolf and Trauma: Embodied Texts''. Eds. Suzette Henke, David Eberly, and Jane Lilienfeld. New York, NY: Pace UP, 2007. Print. 77-93.]
+
* Rivkin, Julie. "''The Stranger's Child'' and ''The Aspern Papers'': Queering Original Stories and Questioning the Visitable Past." ''Alan Hollinghurst: Writing under the Influence''. Eds. Michèle Meldelssohn and Denis Flannery. Manchester: MUP, 2016. 79-95. Print.
  
 
'''Further Reading'''
 
'''Further Reading'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Levenback-VirginiaWoolfReturning-1996.pdf?v=1695378884 Levenback, Karen L. "Virginia Woolf and Returning Soldiers: The Great War and the Reality of Survival in 'Mrs. Dalloway' and 'The Years'." ''Woolf Studies Annual'' 2 (1996): 71-88. Print.]
+
* Eeckhout, Bart. "English Architectural Landscapes and Metonymy in Hollinghurst's ''The Stranger's Child''." ''CLCWeb: Comparative Literature and Culture'' 14.3 (2012): n.pag.
  
 
'''Presentation'''
 
'''Presentation'''
−
* "Dulce et decorum est pro patria mori", or: Representing Shell Shock, Trauma, and Mental Health Crises in Woolf's ''Mrs Dalloway''
+
* War Heroes Revisited, or: De-constructing the Image of the Soldier Poet in Alan Hollinghurst's ''The Stranger's Child''
−
 
+
* ''Presentation Group'':
−
* ''Presentation Group'': Stella Hachtmann, Lutz Emken, Mikko Bank, Fynn Menne
+
  
 
'''Preparatory Session'''
 
'''Preparatory Session'''
 
* ''Preparatory Session Group'':
 
* ''Preparatory Session Group'':
  
−
==Session 13, January 24: Analysing ''Mrs Dalloway'' II - "Modernism and Beyond: Post-War Britain, Civilian Incomprehension, and Social Change"==
+
==Session 13, January 22: Grief and Mourning==
  
 
'''Primary Material'''
 
'''Primary Material'''
−
* Woolf, Virginia. ''Mrs Dalloway''
+
* Hollinghurst, Alan. ''The Stranger's Child''. 2011.
  
 
'''Theory Texts'''
 
'''Theory Texts'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Tate_Mrs_Dalloway_Armenian_Question.pdf?v=1695106675 Tate, Trudi. "''Mrs Dalloway'' and the Armenian Question." ''Modernism, History and the First World War''. Manchester: Manchester UP, 1998. Print. 147-70.]
+
* Johnson, Allan. "The Latterday Sortes Virgilianae: Confirmation Bias and the Image of the Poet in ''The Stranger's Child''." ''Alan Hollinghurst and the Vitality of Influence''. Houndmills: Palgrave, 2014. 133-49.
  
 
'''Further Reading'''
 
'''Further Reading'''
−
* [https://uol.de/f/3/inst/anglistik/download/Lehre/Lassen_Lehrmaterialien/AM_Modernist_Fiction/Shin_NegativeDialecticsMrsDalloway_gesichert.pdf?v=1695373753 Shin, John. "Negative Dialectics in ''Mrs Dalloway''." ''English Studies 102.5 (2021): 552-62. Print.]
+
* Winter, Jay M. ''Sites of Memory, Sites of Mourning: The Great War in European Cultural History''. Cambridge: Cambridge UP, 1996. 54-77. Print.
  
 
'''Presentation'''
 
'''Presentation'''
−
* Clarissa and Her Kind, or: Post-War London, Civilian Incomprehension, and the Deconstruction of Traditional Gender Roles in Woolf's ''Mrs Dalloway''
+
* Spectral Visitations, or: Resurrecting the Dead Soldier Poet in Alan Hollingurst's ''The Stranger's Child''
−
 
+
 
* ''Presentation Group'':
 
* ''Presentation Group'':
  
−
'''Group Work'''
+
'''Preparatory Session'''
−
* ''Group 01'': "[T]hey love life [...] to give her party." (4-5)
+
* ''Preparatory Session Group'':
−
* ''Group 02'': "He [Richard] must be off [...] the only flowers she could bear to see cut." (101-2)
+
−
* ''Group 03'': "She walked to the window [...] the little room." (157-8)
+
−
 
+
−
Please discuss the narratological design of the respective passages, i.e. narration and focalisation, identify relevant discourses, and characterise Clarissa Dalloway. What's your reading of Clarissa as a representative of postwar London?
+
  
−
==Session 14, January 31: RPO Session==
+
==Session 14, January 29: RPO Session==
  
 
'''Guidelines for finding your RPO topic:'''
 
'''Guidelines for finding your RPO topic:'''

Latest revision as of 11:38, 28 June 2024

UNDER CONSTRUCTION


COURSE OUTLINE

3.02.121 S The First World War in British Literature and Culture: A Centennial History

  • [Module] ang612 - Periods and Key Figures in Literary and Cultural History
  • [Credits] 6 KP
  • [Instructor] Dr. Christian Lassen
  • [Time] Wednesday, 08.15 am - 09.45 am
  • [Room] TBA
  • [Description] The First World War has left a lasting legacy on British cultural memory up until today. Redefining modern warfare, the horrors of the trenches and the first gas attacks led to bloodshed of hitherto unknown dimensions. And from among the soldiers who actually returned to Britain alive many suffered from shell shock and its irreversible psychological damage. Apart from the many devastating personal effects, the 'Great War' rearranged European society in ways that profoundly disrupted established political alliances and eventually caused conflicts not only between Britons and Germans, but also between soldiers and civilians, front and homefront, men and women as well as the old and the young. Throughout the last 100 years, this defining period of twentieth-century Europe has triggered countless cultural and literary representations of war and trauma. Among these we find works as artistically diverse as the war poetry of Wilfred Owen and Siegfried Sassoon; the autobiographies of Robert Graves and Vera Brittain; Virginia Woolf's post-war novel Mrs. Dalloway, Benjamin Britten's War Requiem; Pat Barker's historiographic metafiction Regeneration Trilogy, Alan Hollinghurst's novel The Stranger's Child, as well as various movies like Stanley Kubrick's Paths of Glory, Christian Carion's Merry Christmas and, more recently, Edward Berger's All Quiet on the Western Front, to name but a few. Focusing on the iconic figure of the soldier-poet and their representation, this seminar traces the social and cultural changes brought about by the First World War, thereby touching on issues as varied as 'heroism', patriotism, shell shock, comradeship, women's suffrage, pastoral and anti-pastoral poetry, and the 'authenticity'/the constructedness of the (heroic) image of the soldier-poet.
  • [Office Hours] Thursday, 11.00 am - 12.00 am


PRIMARY TEXTS (Mandatory Texts)

Poetry Anthology

  • Walter, George, ed. The Penguin Book of First World War Poetry. London: Penguin, 2006. Print. [ISBN: 978-0141181905]

Novels

  • Barker, Pat. Regeneration. 1991. London: Penguin, 2008. Print. [ISBN: 978-0141030937]
  • Woolf, Virginia. Mrs Dalloway. 1925. Oxford: OUP, 2008. Print. [ISBN: 978-0199536009]
  • Hollinghurst, Alan. The Stranger's Child. 2011. London: Pan Macmillan, 2012. [ISBN: 978-0330483278]


ASSIGNMENTS

  • [Prüfungsleistung] Gruppenreferat (3-4 Personen; ca. 20 Folien) mit Schriftlicher Ausarbeitung (10 Seiten) [oder in Ausnahmefällen: Hausarbeit (15 Seiten)]
  • [Aktive Teilnahme] Regular Attendance (cf. Richtlinien der BPO, Fakultät III, Studiendekanat), Course Preparation (i.e. watching the asynchronous presentations), 4 Abstracts

Please note that written assignments (abstracts, short term papers, long term papers) need to be composed according to the style sheet ("Leitfaden") of the University of Oldenburg, which can be accessed via the 'Institutswiki'-page of the English department. The style sheet not only provides relevant information on how to write a correct bibliography but it may also help you to structure your work according to academic standards.

Please make sure to sign the "Erklärung zum 'Plagiat'" and to attach it to your research papers.

  • [Abgabefrist] 15. März 2025.




Session 01, October 16: Introduction

Organisational Matters

  • Assignments

Assignments are graded and mandatory. In order to obtain 6 credits (KP), you will have to give an (group) presentation (Referat, 20 Folien) on one of the presentation topics specified in the syllabus. In addition to that, you will have to hand in a short term paper (Ausarbeitung, 10 Seiten) by the end of term (15. März). In exceptional cases, you may hand in a long term paper (Hausarbeit, 15 Seiten) instead of the above. However, an exception is only granted upon prior consultation.

  • Presentation Topics, Presentation Groups

Presentation Topics are specified in your syllabus. In order to prepare your presentations, please pick a topic, get together in groups (see below) and write up a power-point presentation. Save the file and send it on to me so that we can discuss your presentation in your preparatory session. Preparatory sessions take place one week before your presentation is due, i.e. at the end of the session preceding your presentation. After the preparatory session, revise your presentation and make your file available on Stud.IP on the Friday before your presentation is due so that all participants can read/ watch the presentation in time, i.e. before the session.

Requests regarding your choice of presentation topics can be send to me via e-mail, starting on Monday, October 07. Please send me three possible presentation topics and prioritise them according to your preferences. I will sign you in in the order of the requests' arrival. Please check this page regularly to see if your requests have been met.

  • Active Participation

Active Participation is ungraded but mandatory. In order to fulfil the requirements, you will have to attend class regularly (cf. BPO, FK III) and prepare the presentations prior to the relevant sessions. Moreover, you will have to write four abstracts, each including a topic, a state of research, a thesis statement, and a brief outline of your argument (approx. 1 page), in the course of the seminar. You can choose your own topic; however: all abstracts have to address different primary texts. In other words, your abstracts will have to cover four primary materials from the course. Abstracts are due by the end of the week (i.e. Friday) that marks the ending of the respective sections, i.e. due date War Poetry: November 15; due date Regeneration: November 29; due date Mrs Dalloway: December 13; due date The Stranger's Child January 24) 

   Summary: Presentations

1. Pick a presentation topic and contact me via e-mail (starting October 07). Check below for available places. Presentation groups may consist of 3-4 people. Send me three suggestions and prioritise them accoording to preference.

2. Contact the other members of your group and prepare your presentation, i.e. power-point presentation.

3. Send me your presentation at least 8 days before your presentation is scheduled.

4. Discuss your presentation with me in your preparatory session 7 days, i.e week, before your presentation is scheduled. Preparatory sessions take place during the second part of class, i.e. Wednesday 9.30 am - 9.45 am.

5. Revise and upload your file on the Friday before your presentation is scheduled.

6. Give your presentation in class.

Preparatory Session

  • Preparatory Session Group:

Session 02, October 23: War Enthusiasm

Primary Material

  • Rupert Brooke. "The Soldier."
  • ─. "Peace."
  • ─. "Safety."
  • Julian Grenfell. "Into Battle."
  • John Masefield. "August 1914."
  • John McCrae. "In Flanders Fields."

Theory Texts

  • Parker, Peter. The Old Lie: The Great War and the Public-School Ethos. London: Constable, 1987. Print. [pp. 15-27 and 196-254]

Further Reading

  • Hibbert, Dominic and John Onions. "Introduction." Poetry of the Great War: An Anthology. Eds. Dominic Hibbert and John Onions. New York: St. Martin's Press, 1986. 1-36. Print.

Presentation

  • Education and Public-School Homosociality, or: the Pedagogy of Patriotism
  • Presentation Group:

Preparatory Session

  • Preparatory Session Group:

Session 03, October 30: Home Front

Primary Material

  • Pope, Jessie. "The Call."
  • ─. "The Beau Ideal."
  • Mackintosh, E.A. "Recruiting."
  • Sassoon, Siegfried. "They."
  • Brittain, Vera. "The War Generation: Ave."

Theory Texts

  • Winter, Jay. "Imaginings of War: Posters and the Shadow of the Lost Generation." Picture This: World War I Posters and Visual Culture. Ed. Pearl James. Lincoln and London: U of Nebraska P, 2009. 37-58. Print.
  • Gullace, Nicoletta F. "Barbaric Anti-Modernism: Representations of the 'Hun' in Britain, North America, Australia, and Beyond." Picture This: World War I Posters and Visual Culture. Ed. Pearl James. Lincoln and London: U of Nebraska P, 2009. 61-78. Print.
  • Albrinck, Meg . "Humanitarians and He-Men: Recruitment Posters and the Masculine Ideal." Picture This: World War I Posters and Visual Culture. Ed. Pearl James. Lincoln and London: U of Nebraska P, 2009. 313-39. Print.

Further Reading

  • Kingsbury, Celia Malone. For Home and Country: World War I Propaganda on the Home Front. Chesham: Combined Academic Publishers, 2010. Print. [pp.1-26 and 218-61.]

Presentation

  • War Propaganda, or: Media, Affect, and the Language of Recruiting
  • Presentation Group:

Preparatory Session

  • Preparatory Session Group:

Session 04, November 06: Stalemate

Primary Material

  • Isaac Rosenberg. "Break of Day in the Trenches."
  • ─. "Returning We Hear the Larks."
  • Wilfred Owen. "Anthem for Doomed Youth."
  • ─. "Dulce et Decorum Est."
  • ─. "Strange Meeting."

Theory Texts

  • Gilbert, Sandra M. "'Rat's Alley': The Great War, Modernism, and the (Anti) Pastoral Elegy." New Literary History 30.1 (Winter 1999): 179-201. Print.

Further Reading

  • Fussell, Paul . "Arcadian Recourses." The Great War and Modern Memory. Oxford: OUP, 1975. 231-69. Print.

Presentation

  • Trench Poets, or: Modern Warfare, Nature, and the Anti-Pastoral Elegy
  • Presentation Group:

Preparatory Session

  • Preparatory Session Group:

Session 05, November 13: Comradeship

Primary Material

  • Wilfred Owen. "Greater Love"
  • ─. "Apologia pro Poemate Meo"
  • Ivor Gurney. "Sonnets 1917: Servitude"
  • ─. "To his Love"
  • Siegfried Sassoon. "Banishment"

Theory Texts

  • Cole, Sarah. "'My killed friends are with me where I go': friendship and comradeship at war." Modernism, Male Friendship, and the First World War. Cambridge: CUP, 2003. 138-84. Print.

Further Reading

  • Campbell, James S. "For You May Touch Them Not: Misogyny, Homosexuality, and the Ethics of Passivity in First World War Poetry." ELH 64.3 (Fall 1997): 823-42. Print.

Presentation

  • Brothers in (Each Other's) Arms, or: the Homoerotics of Comradeship
  • Presentation Group:

Preparatory Session

  • Preparatory Session Group:

Session 06, November 20: Shell Shock

Primary Material

  • Barker, Pat. Regeneration. 1991.

Theory Texts

  • Harris, Greg. "Compulsory Masculinity, Britain, and the Great War: The Literary-Historical Work of Pat Barker." Critique: Studies in Contemporary Fiction 39.4 (1998): 290-304. Print.

Further Reading

  • Leese, Peter. Shell Shock: Traumatic Neurosis and the British Soldiers of the First World War. Basingstoke: Palgrave, 2002. Print.

Presentation

  • Shell Shock Male (alias Male Hysteria), or: Representing the Traumatised Soldier in Pat Barker's Regeneration
  • Presentation Group:

Preparatory Session

  • Preparatory Session Group:

Session 07, November 27: The Talking Cure

Primary Material

  • Barker, Pat. Regeneration. 1991.

Theory Texts

  • Whitehead, Anne. "Open to Suggestion: Hypnosis and History in Pat Barker's Regeneration." MFS: Modern Fiction Studies 44.3 (1998): 674-94. Print.

Further Reading

  • Martin, Meredith. "Therapeutic Measures: The Hydra and Wilfred Owen at Craiglockhart War Hospital." Modernism/Modernity 14.1 (2007): 35-54. Print.

Presentation

  • Craiglockhart War Hospital, or: The First World War and the Discovery of Psychoanalysis and Psychotherapy in Pat Barker's Regeneration
  • Presentation Group:

Preparatory Session

  • Preparatory Session Group:

Session 08, December 04: Trauma

Primary Material

  • Woolf, Virginia. Mrs Dalloway. 1925.

Theory Texts

Further Reading

Presentation

  • "Dulce et decorum est pro patria mori", or: Mental Health Crises, Stream-of-Consciousness Literature, and the Representation of Trauma in Virginia Woolf's Mrs Dalloway
  • Presentation Group:

Preparatory Session

  • Preparatory Session Group:

Session 09, December 11: Post-War Britain

Primary Material

  • Woolf, Virginia. Mrs Dalloway. 1925.

Theory Texts

Further Reading

Presentation

  • Clarissa and Her Kind, or: Post-War London, Civilian Incomprehension, and the Deconstruction of Traditional Gender Roles in Virginia Woolf's Mrs Dalloway
  • Presentation Group:

Preparatory Session

  • Preparatory Session Group:

Session 10, December 18: Mid-term Recap

  • Recap
  • Feedback Session
  • Work in Progress

Session 11, January 08: Historiographic Metafiction

Primary Material

  • Hollinghurst, Alan. The Stranger's Child. 2011.

Theory Texts

Further Reading

Presentation

  • Presentation Group:

Preparatory Session

  • Preparatory Session Group:

Session 12, January 15: Identity Construction

Primary Material

  • Hollinghurst, Alan. The Stranger's Child. 2011.

Theory Texts

  • Rivkin, Julie. "The Stranger's Child and The Aspern Papers: Queering Original Stories and Questioning the Visitable Past." Alan Hollinghurst: Writing under the Influence. Eds. Michèle Meldelssohn and Denis Flannery. Manchester: MUP, 2016. 79-95. Print.

Further Reading

  • Eeckhout, Bart. "English Architectural Landscapes and Metonymy in Hollinghurst's The Stranger's Child." CLCWeb: Comparative Literature and Culture 14.3 (2012): n.pag.

Presentation

  • War Heroes Revisited, or: De-constructing the Image of the Soldier Poet in Alan Hollinghurst's The Stranger's Child
  • Presentation Group:

Preparatory Session

  • Preparatory Session Group:

Session 13, January 22: Grief and Mourning

Primary Material

  • Hollinghurst, Alan. The Stranger's Child. 2011.

Theory Texts

  • Johnson, Allan. "The Latterday Sortes Virgilianae: Confirmation Bias and the Image of the Poet in The Stranger's Child." Alan Hollinghurst and the Vitality of Influence. Houndmills: Palgrave, 2014. 133-49.

Further Reading

  • Winter, Jay M. Sites of Memory, Sites of Mourning: The Great War in European Cultural History. Cambridge: Cambridge UP, 1996. 54-77. Print.

Presentation

  • Spectral Visitations, or: Resurrecting the Dead Soldier Poet in Alan Hollingurst's The Stranger's Child
  • Presentation Group:

Preparatory Session

  • Preparatory Session Group:

Session 14, January 29: RPO Session

Guidelines for finding your RPO topic:

Your RPO topic needs to be related to at least one of the primary texts 

   March 15: Term Paper Due

Please upload your paper to the folder "Ausarbeitungen und Hausarbeiten" on our Stud.IP page and send a printed copy to the address below.

Bitte stellen Sie Ihre Prüfungsleistung in den Ordner "Ausarbeitungen und Hausarbeiten" auf unserer Stud.IP-Seite ein und senden Sie eine gedruckte Fassung an die untenstehende Adresse.

Dr. Christian Lassen

Institut für Anglistik und Amerikanistik

Fakultät III: Sprach- und Kulturwissenschaften

Carl von Ossietzky Universität Oldenburg

Ammerländer Heerstraße 114-118

26129 Oldenburg

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