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111442564389000Unit OutlineUnit Code:LIT370Unit Title:The NovelSemester:1Year: 2020Unit codeLIT370Unit nameThe NovelAssociated higher education awardsBachelor of Arts in the Liberal Arts Bachelor of Education (Secondary)Bachelor of Arts/Bachelor of Education (Secondary)DurationOne semesterLevelAdvancedUnit Coordinator Ben MyersLecturerBen MyersCore/ElectiveUG ElectiveWeightingUnit credit points: Total course credit points: 240 – Bachelor of Arts in the Liberal Arts 320 – Bachelor of Education (Secondary)320 – Bachelor of Arts/Bachelor of Education (Secondary)Student workloadFace-to-face on-site:External: Timetabled hours per semester: 39Personal study hours per semester: 111Total hours per semester: 150N/AStudents requiring additional English language support are expected to undertake an additional 1 hour per weekIn order to be considered for a passing grade, students must attend at least 80% of class sessions.Delivery modeFace to face on siteE-learning (online)Full-timePre-requisites/ Co-requisites/ RestrictionsNilRationaleIn the 18th century, three English writers – Daniel Defoe, Samuel Richardson, and Henry Fielding – created a completely new genre of writing: the ‘novel’ (meaning ‘new’). This genre, with its deep commitment to realism, reflected the new empiricism and pragmatism of the time. The novel’s main preoccupation was to portray realistically the experience of one individual character over time. The rise of the novel was also closely linked to the rise of a new reading public with niche audiences (especially women readers), niche tastes in genre (e.g. Gothic romance), and a booming publishing industry. The story of the evolution of the novel is thus inextricably linked with the changing social conditions of the time, the changing place of women in society, and the changing moral outlook under the influence of early modern scientific and philosophical thought. This unit explores the rise of the novel in the 18th and 19th centuries, with special attention to the importance of women readers and writers in the early history of the novel. The unit also explores the development of Gothic and Romantic conventions in the fiction of the 19th century.Prescribed text(s)Note: Students are expected to purchase or have access to the prescribed text(s).Austen, Jane. Northanger Abbey. Norton Critical Edition. Norton, 2004. Defoe, Daniel. Robinson Crusoe. Norton Critical Edition. Norton, 1993. Fielding, Henry. Tom Jones. Modern Library Classics. Random House, 2002. Shelley, Mary. Frankenstein. Norton Critical Edition. Norton, 2012. Stoker, Bram. Dracula. Norton Critical Edition. Norton, 1996. Recommended readingsFielding, Henry. Jos eph Andrews with Shamela and Related Writings. Norton Critical Edition. Norton, 1987 Jerrold, Hogle (ed.). The Cambridge Companion to Gothic Fiction. Cambridge University Press, 2002. Johnson, Claudia and Claire Tuite (eds.). A Companion to Jane Austen. Wiley-Blackwell, 2009. McKeon, Michael (ed.). Theory of the Novel: A Historical Approach. Johns Hopkins University Press, 2000. Power, Henry. Epic into Novel: Henry Fielding, Scriblerian Satire, and the Consumption of Classical Literature. Oxford University Press, 2015. Rawson, Claude (ed). The Cambridge Companion to Henry Fielding. Cambridge University Press, 2007. Richardson, Samuel. Pamela: Or Virtue Rewarded. Oxford World’s Classics. Oxford University Press, 2008. Richetti, John (ed.). The Cambridge Companion to the Eighteenth-Century Novel. Cambridge University Press, 1996. Richetti, John (ed.). The Cambridge Companion to Daniel Defoe. Cambridge University Press, 2009. Richetti, John (ed.). The Cambridge Companion to Robinson Crusoe. Cambridge University Press, 2018. Schor, Esther (ed.). The Cambridge Companion to Mary Shelley. Cambridge University Press, 2004. Smith, Andrew (ed.). The Cambridge Companion to Frankenstein. Cambridge University Press, 2016. Vickers, Isle. Defoe and the New Sciences. Cambridge University Press, 2006. Watt, Ian. The Rise of the Novel: Studies in Defoe, Richardson, and Fielding.University of California Press, 2001. Wood, James. How Fiction Works. Revised edition. Picador, 2018. In addition to the resources above, students should have access to a Bible, preferably the NRSV.These translations and many others may be accessed free on-line at . The Bible app from is also available free for smart phones and tablet devices.Specialist resource requirementsNilContentReadings need to be completed before the class session for which they are assigned.1. Defoe, Robinson Crusoe2. Defoe, Robinson Crusoe3. Ian Watt, The Rise of the Novel (excerpt) – Richardson, Pamela; Fielding, Shamela (excerpts)4. Fielding, Tom Jones5. Fielding, Tom Jones6. Fielding, Tom Jones7. Austen, Northanger Abbey8. Austen, Northanger Abbey9. Shelley, Frankenstein10. Shelley, Frankenstein11. Stoker, Dracula12. Stoker, Dracula13. Stoker, DraculaLearning outcomesOn completion of this Unit, students will be able to:1. Describe major conventions of the early novel such as epistolary writing, satire, social comedy, romance, and Gothic;2. Understand the rise of the novel within the context of the changing social conditions of the 18th century;3. Demonstrate the ability to analyse and evaluate ficitional writing in its literary and historical contexts;4. Justify, using autonomy and a well-developed judgement, independent research in literary criticism; and5. Communicate effectively concerning literary texts using the scholarly tools of literary criticism.Assessment tasksTask 1:Task 1: Class ParticipationDuration: Weighting: 10%Learning Outcomes: 1-3, 5Assessed: Week 2-13You will be assessed on your contribution to class discussions, as well as evidence of preparation for each class. Preparation includes reading, annotating the set texts, and bringing at least one prepared question for discussion.Task 2: Task 2: Paper on Robinson Crusoe or Tom JonesWord Length/Duration: 2500 wordsWeighting: 45%Learning Outcomes: 1-3, 5Assessed: Week 7Write a 2500 word paper on ONE of the following: ? How is the story of Robinson Crusoe informed by a Christian understanding of providence?? Fielding described Tom Jones as “a comic epic-poem in prose.” Explore the marriage of “comic” and “epic” elements in Fielding’s novel.? How does Fielding use his discursive introductory chapters to define and defend the novelistic genre.Task 3: Task 3: Paper on Northanger Abbey and/or FrankensteinWord Length/Duration: 2500 wordsWeighting: 45%Learning Outcomes: 1-5Assessed: Week 15Write a 2500 word paper on ONE of the following: ? In an impassioned passage of Northanger Abbey, Jane Austen argues for the seriousness of novels. Explore her argument in the context of changing attitudes at the time towards reading and entertainment.? Compare and contrast the parody of Gothic in Northanger Abbey with the Gothic elements in Frankenstein.? Frankenstein repeatedly refers to Milton’s Paradise Lost. Why is Milton’s Christian vision so important for Mary Shelley’s novel?? Compare and contrast the comic and satirical elements of Northanger Abbey with the mock-heroism of Fielding’s Tom Jones.? How is epistolary writing used to create suspense in Frankenstein and Dracula? Unit SummaryThis unit explores the rise of the novel in the 18th and 19th centuries with special attention to the emergence of Gothic and Romantic conventions. ................
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