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EN1120: Literature and Culture in English - 15 hp

Module 1: Form and Function 7,5 hp

This Module consists of the study of a selection of contemporary literary works from the
English-speaking world. Focusing on modern and contemporary English-speaking works of
prose, drama and poetry, the Module treats formal features such as narrative pace and
perspective, poetic structure, dramatic techniques and literary devices. In the Module we will
be asking questions such as what makes a literary work literary?, what distinguishes fiction
from non-fiction and in what ways is this distinction relevant?, what is the significance of
literary conventions?, and how can the usefulness of the “literary imagination” be understood,
for the individual and for society?” In addition, a number of basic critical terms and concepts
will be studied and applied to the literary texts in the form of seminar discussions and written
assignments. The Module also contains an introduction to the writing process and academic
writing.

SEMINARS & LECTURES:

Students are responsible for reading the assigned texts for each seminar, as explained in the
schedule and provided in the compendium. Discussion questions for the seminars are also
included in the compendium. These questions will provide the basis for forum and Connect
seminar discussions. It is expected that ALL STUDENTS will have prepared the questions so
as to be able to take an ACTIVE part in the discussions. The seminars are compulsory. Should
a student miss a seminar, not take part in the discussion or not have read the text, the written
answers to all the questions for the novel or poetry selections must be handed in to the
seminar teacher BEFORE the end of the course. No final grade will be given until all of the
seminar work is completed.

ASSESSMENT:
The course is examined through continuous assessment of active seminar participation and
written assignments, as well as through a final written exam.

Assignments which are turned in after the stated deadline cannot receive the grade Pass with
Distinction unless there are extenuating circumstances.

BOOKS TO PURCHASE:
Achebe, C. (2006) Things Fall Apart. New York: Penguin. (208 s).
Chbosky, S. (2009) The Perks of Being a Wallflower. New York: Pocket Books. (224 s).
Griffith, K. (2006) Writing essays about literature: a guide and style sheet. 7 uppl. Boston,
Mass.: Thomson Wadsworth. (430 s). [Senaste utgåvan/Latest edition]
Lahiri, J. (1999) Interpreter of Maladies. New York: Houghton. (198 s).
McGuinnes, F. (1986) Observe the Sons of Ulster Marching Towards the Somme. London:
Faber. (80 s).
Winterson, J. (2014) Oranges Are Not the Only Fruit. London: Vintage. (240 s).
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Week 4
LITERATURE SEMINAR 1: Poetry
See: Kelly Griffith’s Writing Essays About Literature: A Guide and Style Sheet. Chapter:
“Interpreting Poetry”.

“Harlem” (Langston Hughes)

“Mushrooms” (Sylvia Plath)
“Hawk Roosting” (Ted Hughes)
“Education for Leisure” (Carol Ann Duffy)

In 1883, British philosopher John Stuart Mills wrote: “the distinction between poetry and
what is not poetry, whether explained or not, is felt to be fundamental; and, where everyone
feels a difference, a difference there must be”. What is your definition of poetry and how
does it differ from other forms of writing?

Theme: Identify the theme in each poem. Identify the speaker of the poem. Describe the
speaker’s tone (note any changes of tone). Note any contrasts made in the poem by the use of
diction in each poem.

Characterisation, Point of View: Who is speaking in the poems? What is the tone of the
speaker’s voice? What is the emotional state of the speaker? What is the situation described
by the speaker?

Imagery: Identify the images in the poems? What senses do the poems appeal to? Do any of
the poems use similes or metaphors? What are they? Why do the poems use these particular
images? Is symbolism present in the poems? What are they?

Structure: How are the poems structured? Focus on stanza’s, number of lines, and
rhyming scheme. What kind of effect do the structures of the poems have in its
communication of theme, and characterisation?

Diction (choice of words) : For each poem, examine the words in them for variations and
shades of meaning and levels of meaning. How are these meanings combined to create an
overall effect? Do the poems contain any wordplay such as double meanings, puns or irony?
Describe the rhythm of each poem? How does the rhythm aid in the development of the
poem’s theme, point of view, etc?

Syntax: How are the words structured or combined. What kind of word order and sentence
structures are used in each of the poems? What about eccentric uses of punctuation? How
do they add to the rhythm and thematic development of the poems
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Langston Hughes (1902-1967)

Biography

Langston Hughes was one of the most important writers and

thinkers of the Harlem Renaissance, which was the African
American artistic movement in the 1920s that celebrated black
life and culture. Hughes's creative genius was influenced by
his life in New York City's Harlem, a primarily African
American neighborhood. His literary works helped shape
American literature and politics. Hughes, like others active in
the Harlem Renaissance, had a strong sense of racial pride.
Through his poetry, novels, plays, essays, and children's
books, he promoted equality, condemned racism and injustice,
and celebrated African American culture, humor, and
spirituality.
(http://www.americaslibrary.gov/aa/hughes/aa_hughes_subj.html)

Harlem

What happens to a dream deferred?

Does it dry up
Like a raisin in the sun?
Or fester like a sore –
And then run?
Does it stink like rotten meat?
Or crust and sugar over _
Like a syrupy sweet?

Maybe it just sags

Like a heavy load.

Or does it explode?

Hughes, Langston. “Harlem.” The Norton Introduction to Poetry. Eds. J. Paul Hunter et. al NY: W.W. Norton and Co., 2002.
383
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Sylvia Plath (1932-1963)

Born to middle class parents in Jamaica Plain, Massachusetts, Sylvia Plath published her first poem when she was eight. Sensitive,
intelligent, compelled toward perfection in everything she attempted, she was, on the surface, a model daughter, popular in school, earning
straight A's, winning the best prizes. By the time she entered Smith College on a scholarship in 1950 she already had an impressive list of
publications, and while at Smith she wrote over four hundred poems.

Sylvia's surface perfection was however underlain by grave personal discontinuities, some of which doubtless had their origin in the death of
her father (he was a college professor and an expert on bees) when she was eight. During the summer following her junior year at Smith,
having returned from a stay in New York City where she had been a student ``guest editor'' at Mademoiselle Magazine, Sylvia nearly
succeeded in killing herself by swallowing sleeping pills. She later described this experience in an autobiographical novel, The Bell Jar,
published in 1963. After a period of recovery involving electroshock and psychotherapy Sylvia resumed her pursuit of academic and literary
success, graduating from Smith summa cum laude in 1955 and winning a Fulbright scholarship to study at Cambridge, England.

In 1956 she married the English poet Ted Hughes , and in 1960, when she was 28, her first book, The Colossus, was published in England.
The poems in this book---formally precise, well wrought---show clearly the dedication with which Sylvia had served her apprenticeship; yet
they give only glimpses of what was to come in the poems she would begin writing early in 1961. She and Ted Hughes settled for a while in
an English country village in Devon, but less than two years after the birth of their first child the marriage broke apart.

The winter of 1962-63, one of the coldest in centuries, found Sylvia living in a small London flat, now with two children, ill with flu and low
on money. The hardness of her life seemed to increase her need to write, and she often worked between four and eight in the morning, before
the children woke, sometimes finishing a poem a day. In these last poems it is as if some deeper, powerful self has grabbed control; death is
given a cruel physical allure and psychic pain becomes almost tactile.
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Mushrooms

Overnight, very
Whitely, discreetly,
Very quietly

Our toes, our noses

Take hold on the loam,
Acquire the air.

Nobody sees us,

Stops us, betrays us;
The small grains make room.
Soft fists insist on
Heaving the needles,
The leafy bedding,

Even the paving.

Our hammers, our rams,
Earless and eyeless,

Perfectly voiceless,
Widen the crannies,
Shoulder through holes. We

Diet on water,
On crumbs of shadow,
Bland-mannered, asking

Little or nothing.
So many of us!
So many of us!

We are shelves, we are

Tables, we are meek,
We are edible,

Nudgers and shovers

In spite of ourselves.
Our kind multiplies:

We shall by morning
Inherit the earth.
Our foot's in the door.
Plath, Sylvia. “Mushrooms.” The Collossus. London: Faber and Faber, Ltd. 1967.
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Hawk Roosting

I sit in the top of the wood, my eyes closed.

Inaction, no falsifying dream
Between my hooked head and hooked feet:
Or in sleep rehearse perfect kills and eat.

The convenience of the high trees!

The air’s buoyancy and the sun’s ray
Are of advantage to me;
And the earth’s face upward for my inspection.

My feet are locked upon the rough bark.

It took the whole of Creation
To produce my foot, my each feather:
Now I hold Creation in my foot

Or fly up, and revolve it all slowly –

I kill where I please because it is all mine.
There is no sophistry in my body:
My manners are tearing off heads –

The allotment of death.

For the one path of my flight is direct
Through the bones of the living.
No arguments assert my right:

The sun is behind me.

Nothing has changed since I began.
My eye has permitted no change.
I am going to keep things like this.

Hughes, Ted. New Selected Poems 1957-1994. London: Faber, 1995.

Ted Hughes

Ted Hughes was born in Yorkshire in 1930 and died in 1998, after a long
and prolific career as a poet which began in the 50s. In 1985 he was
appointed poet laureate of the United Kingdom. He is famous for his
powerful and unsentimental nature poetry, in which different creatures
frequently represent either the raw forces of nature or the unconscious,
instinctive side of humankind as opposed to science and rationality. His
last collection, Birthday Letters, was published in 1998, and describes the
tragic drama of his marriage to the late American poet Sylvia Plath.
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Education for Leisure

Today I am going to kill something. Anything.

I have had enough of being ignored and today
I am going to play God. It is an ordinary day,
a sort of grey with boredom stirring in the streets.

I squash a fly against the window with my thumb.

We did that at school. Shakespeare. It was in
another language and now the fly is in another language.
I breathe out talent on the glass to write my name.

I am a genius. I could be anything at all, with half

the chance. But today I am going to change the world.
Something’s world. The cat avoids me. The cat
knows I am a genius, and has hidden itself.

I pour the goldfish down the bog. I pull the chain.

I see that it is good. The budgie is panicking.
Once a fortnight, I walk the two miles into town
for signing on. They don’t appreciate my autograph.

There is nothing left to kill. I dial the radio

and tell the man he’s talking to a superstar.
He cuts me off. I get our bread-knife and go out.
The pavements glitter suddenly. I touch your arm.

Duffy, Carol Ann. Selected Poems. London: Penguin, 1994.

Carol Ann Duffy

Carol Ann Duffy was born in Glasgow in 1955. Her poetry can
be divided into two main categories: dramatic monologues and
love poetry. Her dramatic monologues usually deal with
problems in contemporary Britain, such as unemployment,
gender issues, prejudice against minority groups, etc. She is one
of Britain’s most popular and outspoken poets, and in 1999 she
was a leading contender for the post as poet laureate. Prime
Minister Tony Blair, however, chose a less adventurous poet.
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Week 5
LITERATURE SEMINAR 2: Things Fall Apart (1958) by Chinua Achebe
Griffith: Genre and Style

This seminar addresses the form of the novel in relation to a mid-twentieth century African
text by Nigerian writer Chinua Achebe. Achebe is one of the first African authors who, in the
1950s, began to write self-consciously about an African society for a Western and an African
readership. According to literary critic Gikandi, Achebe’s work confronted the “linguistic and
historical problems of Africa writing in a colonial situation” (Gikandi in Booker 32). Among
other things, Gikandi here is referring to the complexities involved in developing the genre of
the novel for African literature. Prior to colonialism, and especially before the latter part of
the 19th century, African literature was predominantly oral and until recently large parts of the
population were illiterate, so the fact that Achebe chooses to write in a genre which is typical
of the West, that is of the colonial power, is significant. Likewise, Gikandi points to the
political and ethical complexities of writing in the former colonial language of English. On
the one hand, the use of English becomes a vehicle to reach a greater readership and – so
Achebe hoped – to change the image of Africa internationally, which had for centuries been
synonymous with savagery. On the other, English is a language which had served to describe
Africans as inferior, as children and beasts and so to justify their political and cultural
colonization as well as the brutal exploitation of African lands and their people. Achebe thus
illustrates an interesting set of questions relevant to the study of the novel form regarding
choices of genre and language.

Genre
In the West, the genre of the novel has been described as unique in its ability to depict the
inner workings of individuals and of society, and to provide detail and depth about these by
virtue of its very length as well as its narrative form. It is also a genre that in colonial times
helped cement a view of Africans as intellectually and morally inferior. What do you think is
the significance of Achebe’s choice to write his story of a collapsing Igbo society in this
genre? What does his choice suggest about how Achebe views the role of literature in
achieving social change?

Style
Why do you think Achebe choose his particular style in view of his theme and subject matter?
You can think about the apparent simplicity of the language and the effect of incorporating
Igbo expressions in the English text, for example. To what extent can these elements be seen
as an attempt to integrate written with oral forms of language? How does the style affect your
understanding of the story and your assessment of the events?

Plot
One conflict important to the novel arises between on the one hand the old firmly established
society and social structures, and new ideas imposed from outside. How does the novel
illustrate this conflict? What are the negative aspects and the positive aspects of this conflict?
How can Okonkwo be seen as an allegorical representative of his entire society?
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Are there other internal or external conflicts in the novel that you would like to point to? What
are the causes of the conflicts? What do you see as the climax of the plot?

Does the novel end with a sense of resolution?

Characterization
Who narrates the story? Whose consciousness do we have access to? How do these
influence your interpretation of what happens? Do we have any reason to doubt the
narrator’s perspective? How do you think the author’s perspective differs from that of the
narrator’s?
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Week 6
LITERATURE SEMINAR 3: Essay Writing Lecture/Workshop

For this lecture/workshop, read the two assigned sample essays on Learn, and watch the two
short lectures on Academic Writing. When studying the essay please consider the following
questions:
 What is the topic of the essays?
 Identify the thesis statement. How are they different? Which is stronger, and why?
 Look at paragraphing, is it clear? Does each paragraph have a claim in its so-called
Topic Sentence as its first sentence?
 Look at the Conclusion, does it sum up the essay, does it add new information, does it
remind the reader of the topic and the Thesis Statement?
 Which essay would be considered stronger, and for which reasons?
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Week 7
LITERATURE SEMINAR 4: Oranges Are Not the Only Fruit by Jeanette
Winterson (1985)
In preparation for this seminar, also watch the TED-talk: “Chimamanda Adichie: The Danger
of a Single Story” https://www.youtube.com/watch?v=D9Ihs241zeg
For the Postmodern features in the novel, please consult Nicol, Bran. The Cambridge
Introduction to Postmodern Fiction. Cambridge UP, 2009, which you can find online in our
Library’s eBrary.

Griffith: Narrator & Point of View

This novel is written by Jeanette Winterson, and the protagonist is also called Jeanette.
However, in literary studies we differentiate between the flesh and blood author and
narrator, a textual phenomenon. What’s the point in differentiating author and narrator? Why
do we? What do we gain?

In the light of this, in the “Introduction” we can read: “Is Oranges an autobiographical novel?
No not at all and yes of course.” What can this mean? How are we to understand such a
statement?

Consider from whose point of view the story is told, and who/where the moral center is. Do
you trust the narrator? What effect does this chosen point of view have on other elements of
the story – theme (see below), characterization, setting, language?

Sometimes, when discussing the narrator, we also differentiate between who sees and who
tells; this perspective is sometimes referred to as “focalization,” (Shlomith Rimmon-Kenan).
What do we gain from differentiating the two? Does this way of studying the narrator make
sense in Oranges Are Not the Only Fruit? Is the novel always ‘‘told” from the same point of
view that it is ‘‘seen”? Look at the comments made on Jeanette’s teacher Mrs. Virtue on p
44? Why does it become ironic (Griffith, 66-69)?
How would the story change if it were told from another character’s point of view?
How does the choice of narrator determine the tone of the novel?

Plot

The plot of the novel is structured according to a number of books in the Bible. What is the
significance of that? What do we gain? What is the effect? How does this influence the
reading of the novel?

This novel mixes various forms and genres; there are different forms to emphasize different
themes. We have names and chapters from the Bible, there are fairy stories, the plot is built up
like the Bildungsroman etc. In other words, we have high and low literature. Is any privileged
over another? If not, how is that connected to the message? What is the effect of this mixing?
What does the novel say about the idea of history and/vs. fiction?

To use other texts and let your text be built up by those is called intertextuality; there is no
true original, and everything is just a copy of a copy. How is intertextuality being used in the
novel? What is the effect?
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What do you think is the main internal conflict in the novel? What is the main external
conflict? What are the causes of the conflicts? What do you see as the climax of the plot?
What is the unstable situation? Does the novel end with a sense of resolution?
Who/what is the protagonist? Who/what is the antagonist?
Theme
Explore the various meanings of the title in relation to the theme(s). One of the concerns of
postmodern fiction, of which Winterson’s novel is a good example, is the whole question of
whether there is one stable idea of Truth, History and Time. In what way is Winterson
concerned with these themes? (See especially the chapter ‘‘Deuteronomy”). The narrative is
often interrupted by ‘‘interludes and digressions.” Can you find examples of this in the text?
What purpose do you think these interruptions serve for theme and plot? Human nature? The
nature of society? Human freedom? Ethics?

Also Week 7 - Watch the lectures on Essay Writing and upload your Thesis
Statement in the appropriate place on Learn

Literature essay 1:1

The topics to choose from are as follows:

1 – How one (or more) of the poem(s) studied works with form to express its (their) theme(s)
2 – The tension between oral literature and the novel in Things Fall Apart
3 – The role of the narrator in Oranges Are Not the Only Fruit

Formulate a claim based on one of the above topics, analyse the text(s) and argue for your
interpretation. Your essay should be around 1000 words and be organised in the following
manner:

Introduction

Paragraph 1: Introduce your topic, and have a clear Thesis Statement at the end, and the
points that will be discussed to develop the thesis statement. Write the Thesis Statement in
bold letters.

Main body

Paragraph 2: Claim #1 Work with one aspect of your Thesis Statement, express a claim in the
form of a Topic Sentence, develop it, support with textual material in the form of quotations,
analyse, draw conclusions etc, and link up to the next paragraph. Write the Topic Sentence
Statement in bold letters.

Paragraph 3: Claim #2 Work with one aspect of your Thesis Statement, express a claim in the
form of a Topic Sentence, develop it, support with textual material in the form of quotations,
analyse, draw conclusions etc, and link up to the next paragraph. Write the Topic Sentence
Statement in bold letters.

Etc.
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Conclusion

Paragraph ?: Summarise the main points of your essay, tie to your Thesis Statement

NB! This is an interpretative and argumentative essay: you are expected to argue for your
interpretation using textual support in an organized manner. Do not merely re-tell the story;
that is called a book report.
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Week 8
LITERATURE SEMINAR 5: Interpreter of Maladies, Jhumpa Lahiri (1999)
Read: “Interpreter of Maladies,” “Sexy,” and “The Third and Final Continent”

Griffith: Theme and Symbolism

Short Story – When reading short stories we can see that there are differences from novels;
what do we as readers have to do in contrast to reading a novel? What, apart from the length,
is different in terms of form when discussing the short story and the novel? Take, say,
“Interpreter of Maladies” – what is it we don’t know? What would you like to know? What
would the story be like if it were a novel? How does this affect the reading?

Consider conventions when reading these short stories. Which conventions are being
followed, and which not? What is the effect of following conventions and/or to defeat our
expectations of what a short story should be like?

1. Plot
Which are the main conflicts in these stories? Do they dramatize similar conflicts? Are the
characters aware of the causes to their conflicts? Does Lahiri suggest any type of solution to
these conflicts? How can they be solved? Are there any clear protagonists and antagonists in
these stories?

2. Characterization

Describe the main characters in the stories. What are their main character traits, and how are
they assigned these traits, directly by the narrator or indirectly through their behavior? Are
there round and more developed characters, or are they all flat? Can the characters be
described as typically Indian or American? Do any of the characters experience a kind of
epiphany, that is, a sudden revelation of truth? (Griffith,55). What is the “truth” that they see?

3. Theme
Many of Lahiri’s stories deal with contacts and sometimes clashes between different cultures.
Describe these cultural differences and how they are represented in the text. What do you
think Lahiri is trying to say about these culture clashes? How could they be avoided or
overcome? What other themes do the stories bring up? Think about what they say about such
subjects as love, loneliness, and guilt. How are the titles related to the themes? Are there any
ethical or moral messages that can be drawn from the text?

4. Setting
What is the importance of the setting in these stories (time, place, and general environment)?
How is the setting related to the theme(s)? What picture of America and Americans does
Lahiri depict in her collection of short stories? Mark instances where the characters feel lost in
a foreign setting? What are the different strategies for coping with a new and foreign setting?
Compare how the Americans cope in India and the Indians in America.

Symbolism
What symbols do the short stories seem to have? Why do you interpret them as symbols?
What does the symbol mean?
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Also Week 8
Literature essay 1:1

Upload your essay in the appropriate hand-in folder on Learn

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Week 9
LITERATURE SEMINAR 6: The Perks of Being a Wallflower by Stephen
Chbosky

Epistolary Novels
This novel is written in the form of diary entries. Novels in this genre, written as a series of
documents are often referred to as epistolary novels (from latin epistolē, meaning a letter).
What other types of novels in this genre can you think of? Have you read any such? How is
this genre being explored in modern media?

Studying form means studying strategies; after all, the author has chosen a certain form for
the text. Thus, when reading The Perks of Being a Wallflower what happens to the text due to
this form of letters written to an unknown friend? What types of relations are thus established
in contrast to other types of novels? What expectations do we have? What conventions are
followed, and which are broken?

The narrator, Charlie, writes to an unknown friend, the narratee. Consider their relation; what
can we infer from what Charlie tells and does not tell the “Dear Friend”? What information is
the reader missing, but that Charlie assumes the friend knows, feels, shares with Charlie? Can
we, thus, start to draw a picture of who the “Dear Friend” is (like)?

In the novel there are no replies to Charlie’s letters. Why the silence? What is the effect?

What other “blanks and gaps” (Wolgang Iser) can you identify in the novel? What
information is missing, and how have you filled that information in? What is the effect of
leaving certain events, passages, etc out?

Compare this novel to the Victorian novel, where everything is told, for example George Eliot
– How does this differ? In other words, how does the form affect the reading of the text?

Charlie talks about a bad place where he had been before. This is done in the form of
flashbacks. What is the function of flashbacks, and how are they being used in this novel?
Looking at those, what can we know about Charlie’s past? Which stages in the past does he
frequently return to? Why does he return to those in his letters? What is it he has to come to
terms with?
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Week 10
LITERATURE SEMINAR 7: Tutorial
Meet your seminar teacher for a tutorial on your Essay
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Week 11
LITERATURE SEMINAR 8: Observe the Sons of Ulster Marching Towards
the Somme by Frank McGuinness,

Upload your Essay 1:2 (the Final Draft) of your Literature Essay in the
appropriate Hand-in folder on Learn
Griffith: Interpreting Drama

Plot/Setting
The plot of this play revolves around two major historical conflicts (one was averted because
of the other), so explain the historical backdrop to the play: In which historical period is the
play set? What are the main physical settings in the play?
There are also many conflicts between the characters in this play, identify and discuss what
you agree to be the main conflicts within the play, identifying in which parts (acts) and scenes
they take place. Then discuss the following questions: Are the conflicts internal or external?
Does the form of the play affect the type of conflict presented to the reader/audience? In other
words, are the conflicts presented in the play generally external - physical and based on
dialogue? Do we have access to internal conflicts? If so, how?

Characterisation
Below is a list of the characters of the play. Write down a brief description of each character,
and emphasise how the characters are presented and developed. Each character has a name for
example, which makes it easier for a reader to follow dialogue. But a member of the audience
watching this play being performed would not necessarily have the same access to names, in
order to distinguish between this all-male cast. Therefore, how does McGuinness achieve
these character distinctions? Is it through dress (clothing), actions, dialects, repeated speech
patterns? Do the characters have easily recognisable traits, e.g., Roulston is a former religious
minister?

Kenneth Pyper – as an old man

Kenneth Pyper – in his thirties
David Craig - in his late twenties
John Millen - in his thirties
William Moore - in his thirties
Christopher Roulston - in his thirties
Martin Crawford – in his early twenties
George Anderson - in his thirties
Nat McIlwaine - in his thirties

Theme
Griffith says that theme in drama is developed in much the same way as in fiction. Although
according to Griffith, a playwright will often use three characteristic methods in drama -
“repetitions, symbols, and contrasts” - in order to reveal themes in the play (Griffith, 76).
What are the main themes of Observe the Sons of Ulster? Once you have established some of
the main themes through discussion, find at least one example from the play that show how
repetition, symbolism, and contrasts are used to suggest or support a theme, or themes.

Griffith, Kelley. Writing Essays about Literature. 6th ed. Boston: Thomson Heinle, 2002.
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Week 11
Friday, March 19, 09:00-14:00: Literature Open-Book Exam (A re-sit exam
will be offered Friday week 16 (April 23), 9-14, as well, should anyone need it)

The exam consists of three essay questions, as in the exam example under Course Materials.
You will answer one question. You answer will be in an essay format, that is, you will need to
have an introduction stating the aim and topic of the essay, a main body treating distinct
aspects of your argument, and a conclusion. You will need to use textual evidence in support
of your claims. The essay should be 600-800 words long, double spaced, Times New Roman,
font size 12. The text should be in a Word-format and should use the title page template.

What? The texts that the questions deal with will be a selection from the literary works we
have read in the course. The exam texts will be announced on Learn a few weeks before the
exam.

When? Between 9 and 2 pm, Swedish time. Check your schedule for the date.

Where? The exam is a take-home exam, and you will have access to the course material. You
will be able to download the exam on Learn and upload your response there when you are
finished.

How? A folder with the exam will appear in our Learn room under "Course Materials" at 9
am on the day of the exam, where you also submit your exam as soon as you are finished.
Remember that no late submissions are accepted after 2 pm. It might be a good idea to start
uploading a little bit before the exact due time, just in case.

NB! No sources beyond the textbooks and seminar notes for this course are to be used, and
the essay must be your individual work.