DURHAMUNIVERSITY
DEPARTMENT OF ENGLISH STUDIES
LECTURE MODULES
READING LIST
BOOKLET
2014/2015
CONTENTS
Reading Lists and Lecture Programmes
Theory and Practice of Literary Criticism / Page 2Shakespeare / Page 6
Restoration / Page 14
Post War Fiction and Poetry / Page 20
Literature of the Romantic Period / Page 27
Chaucer / Page 35
Old English / Page 44
Theory and Practice of Literary Criticism
Introductory Reading List
Module convenor: Dr Alastair Renfrew
Elvet Riverside A76
This introductory list covers texts that should
a. be acquired in advance of the course;
b. be consulted during the long vacation in preparation for the course.
*Please note that a full reading list covering each of the topics studied on the module, as well as additional general resources, will be available via DUO from the start of term.*
a. The set text for the course is:
The Norton Anthology of Theory and Criticism (2nd edition), ed. Vincent B. Leitch et al (Norton, 2010).
A wide-ranging collection of excerpts and essays from the long history of theory and criticism, from Plato to the present day, with particular emphasis on the past century. With essays on all of the theoretical strands covered on the course, this will be your primary resource for preparatory reading in advance of lectures and will also provide much of the set reading for tutorials (although individual lecturers and tutors may also prescribe supplementary material from other sources).The anthology also features brief introductions to individual critics and theorists, as well as a comprehensive bibliography and index.
b. It is advisable to read in advance one or more of the following introductionsto theory and criticism:
Jonathan Culler, A Very Short Introduction to Literary Theory (Oxford University Press, 1997).
As the title suggests, this is a very short, lucid and accessible introduction to some of the key issues involved in reading and using theory.
Patricia Waugh (ed.), Literary Theory and Criticism: an Oxford Guide (Oxford University Press, 2006).
A collection of some 40 essays, with a long introduction, covering the history of modern theory and criticism, including the theorists and movements covered on the course.
Andrew Bennett and Nicholas Royle (eds), An Introduction to Literature, Criticism and Theory (4th edition) (Routledge, 2009).
As much an introduction to literary studies in general as it is to theory and criticism, this book is organised thematically, rather than by theorists and movements, and is particularly helpful in encouraging theoretical reflection that is integrated with your existing habits as readers. Also contains a brief but helpful glossary of terms; links to additional chapters are available at
ENGL2011 –THEORY AND PRACTICE OF LITERARY CRITICISM
LECTURE LIST 2014–15
Lectures are every Monday from 10:00am to 11:00am in Elvet Riverside Room 140.
Michaelmas Term 2014
6 OctoberIntroduction: What is Theory?Dr Renfrew
13 OctoberCriticism, Canon and ValueDr Harding
20 OctoberFormalism(s)Dr Renfrew
27 OctoberStructuralism and NarratologyProfessor Herman
3 NovemberContemporary Narrative TheoryProfessor Herman
10 NovemberMarxism(s)Dr Renfrew
17 NovemberThe Frankfurt SchoolDr Thomas
24 November Psychoanalysis (i) Freud Professor James
1 DecemberPsychoanalysis (ii) Lacan Dr Thomas
8 DecemberDialogism: The Bakhtin SchoolDr Renfrew
Epiphany Term 2015
12 JanuaryDeconstruction Professor Clark
19 JanuaryNew Historicism Dr Grausam
26 JanuaryPostcolonialism (i)Professor Regan
2 FebruaryPostcolonialism (ii)Dr Terry
9 FebruaryREADING WEEK
16 FebruaryFeminism(s)Dr Wootton
23 FebruaryQueer TheoryDr Botha
2 MarchEcocriticismProfessor Clark
9 MarchAnimal StudiesProfessor Clark
Easter Term 2015
20 AprilPostmodernismDr Grausam
27 AprilPosthumanismDr Mack
4 MayThe Function of Criticism at the Present Time?Dr Grimble
Shakespeare
Michaelmas Term lectures will be on historical drama (Richard II, Henry IV parts 1 and 2), tragedies (Hamlet, Othello, Macbeth, and King Lear), and the comedy, A Midsummer Night’s Dream. You should read all of these works during the summer vacation. Epiphany and Easter Term lectures will continue with other forms of comedy (pastoral – As You Like It,The Comical History of the Merchant of Venice and the tragicomedy, All’s Well), followed bythe narrative poems (Venus and Adonis, and The Rape of Lucrece), the Roman plays (Antony and Cleopatra, Coriolanus), the Sonnets, as well as several later plays (including Cymbeline, Pericles and The Winter’s Tale). You need to engage with the full range of Shakespeare’s works, so it is important that you read as widely and as deeply as possible, rather than trying to rely on your A-Level knowledge.
Editions
Complete Works: The Oxford Shakespeare: The Complete Works, ed. Stanley Wells and Gary Taylor (Oxford: OUP, 1988, 2nd edn, 2005). This is the standard edition recommended by the Department and allowed for the open-book examination.
Other more copiously annotated Complete Works are listed below; these may, however, not be taken into the examination:
- The Norton Shakespeare, ed. Stephen Greenblatt et al. (New York: Norton, 1997)
- William Shakespeare: Complete Works, ed. Jonathan Bate and Eric Rasmussen (New York: Random House, 2007; pbk Basingstoke: Macmillan / The Royal Shakespeare Company, 2008) represents a modernized version of Shakespeare’s First Folio edn (1623)
- The Riverside Shakespeare, gen. ed. G. Blakemore Evans (Boston: Houghton Mifflin, 2nd edn, 1997)
- Complete Works [in original spelling], ed. Stanley Wells and Gary Taylor (Oxford: OUP, 1986)
- The Norton Facsimile: The First Folio, ed. Charlton Hinman, 1968 (2nd ed., intro. P. W. M. Blayney, 1996)
Editions of individual works: To prepare an individual text adequately for the exam, you should consult one of the following:
- The Arden Shakespeare, launched in 1899, provides copious introductions, annotation, and textual apparatus of the highest scholarly standard.
- New Cambridge series (Cambridge University Press)
- Oxford series (World’s Classics)
- The recommended edition for non-dramatic verse is Complete Sonnets and Poems, ed. Colin Burrow (OUP, 2002).
Editions suitable for the Shakespeare examination:
The Shakespeare examination is an ‘open book’ paper: candidates must take a copy of the collected works into the examination. No loose papers or photocopies of the works must be brought to the exam. The editon must be an unannotated text. It must not contain any commentary or glosses of difficult words in the margins. Introductions to individual plays should not exceed one page. Texts should include a line count.
Reference works and introductions
Armstrong, Katherine, and Graham Atkin.Studying Shakespeare: A Practical Introduction. London: Prentice Hall, 1998.
Bate, Jonathan, and Russell Jackson, Shakespeare: An Illustrated Stage History. Oxford: Oxford UP, 1996.
Bullough, Geoffrey, ed. Narrative and Dramatic Sources of Shakespeare. 8 vols. London: Routledge, 1957-75.
Dobson, Michael, and Stanley Wells, eds. The Oxford Companion to Shakespeare. Oxford: Oxford UP, 2001.
Findlay, Alison.Women in Shakespeare: A Dictionary. London: Continuum, 2010. An A-Z of over 350 entries on how women were represented on the stage.
Gurr, Andrew.The Shakespearean Stage, 1574-1642. CUP, 4th edn 2008.
Kastan, David Scott, ed. A Companion to Shakespeare. Oxford: Blackwell, 1999.
Muir, Kenneth, and Samuel Schoenbaum, eds. A New Companion to Shakespeare Studies. Cambridge: Cambridge UP, 1971.
Schoenbaum, Samuel. William Shakespeare: A Documentary Life. Oxford: Clarendon, 1975.
Smith, Emma, ed. Shakespeare’s Histories. Oxford: Blackwell, 2004.
Smith, Emma, ed. Shakespeare’s Tragedies. Oxford: Blackwell, 2004.
Smith, Emma, ed. Shakespeare’s Comedies. Oxford: Blackwell, 2003.
Wells, Stanley, ed. The Cambridge Companion to Shakespeare Studies. Cambridge: Cambridge UP, 1986.
Wells, Stanley, and Gary Taylor.William Shakespeare: A Textual Companion. Oxford: Clarendon, 1987.
Wells, Stanley, ed. Shakespeare: A Bibliographical Guide. Oxford: Clarendon, 1990.
Criticism
The following is a select list of the vast Shakespeare literature. Individual lecturers may recommend further specific works in tutorials and lectures.
Pre-Twentieth Century
Johnson, Samuel. Johnson on Shakespeare. Ed. A. Sherbo. New Haven: Yale UP, 1968 (The Works of Samuel Johnson, vols 7 and 8, 1958-85).
Foakes, R. A., ed. Coleridge’s Criticism of Shakespeare: A Selection. London: Athlone, 1989.
Bate, Jonathan, ed. The Romantics on Shakespeare. Harmondsworth: Penguin, 1992.
1900-1960
Bradley, A. C. Shakespearean Tragedy. London: Macmillan, 1904. New ed. Ed. John Russell Brown. Basingstoke: Macmillan, 1992.
Granville-Barker, Harley. Prefaces to Shakespeare. 5 vols. London: Sidgwick & Jackson, 1927-47.
Knight, G. Wilson.The Wheel of Fire: Interpretations of Shakespearian Tragedy. Oxford: Oxford UP, 1930. 4th ed., 1960.
Wilson, John Dover. What Happens in “Hamlet.” Cambridge: Cambridge UP, 1935 (3rd ed., 1956).
Traversi, Derek. An Approach to Shakespeare.London: Hollis & Carter, 1938. 3rd ed. London, 1968-9.
Tillyard, E. M. W. Shakespeare’s History Plays. London: Chatto & Windus, 1944.
Barber, C. L. Shakespeare’s Festive Comedy. Princeton: Princeton UP, 1959.
Knights, L. C. Some Shakespearean Themes (1959) and An Approach to “Hamlet” (1960). Stanford: Stanford UP, 1966.
1960-2013
Kott, Jan. Shakespeare Our Contemporary. London: Methuen, 1964.
Frye, Northrop. A Natural Perspective: The Development of Shakespearean Comedy and Romance. New York: Columbia UP, 1965.
Jones, Emrys. Scenic Form in Shakespeare. Oxford: Clarendon, 1971.
Lenz, Carolyn, Gayle Greene, and Carol Neely, eds. The Woman’s Part: Feminist Criticism of Shakespeare. Urbana: U of Illinois P, 1980.
Bayley, John. Shakespeare and Tragedy. London: Routledge, 1981.
French, Marilyn. Shakespeare’s Division of Experience. London: Cape, 1982.
Thomson, Peter. Shakespeare’s Theatre. London: Routledge, 1983; 2nd ed., London: Routledge, 1992.
Empson, William. Essays on Shakespeare.Ed. David B. Pirie. Cambridge: CUP, 1985.
Dollimore, Jonathan, and Alan Sinfield, eds. Political Shakespeare: Essays in Cultural Materialism. Manchester: Manchester UP, 1985; 2nd ed., 1993.
Barton, Anne. Essays, Mainly Shakespearean. Cambridge: Cambridge UP, 1994.
Drakakis, John, ed. Alternative Shakespeares. Vol. 1. London: Methuen, 1985.
Hawkes, Terence, ed. Alternative Shakespeares. Vol. 2. London: Routledge, 1996.
Barber, C. L., and Richard Wheeler. The Whole Journey: Shakespeare’s Power of Development. Berkeley: U of California P, 1986.
Greenblatt, Stephen. Shakespearean Negotiations. Berkeley: U of California P, 1988.
Bradshaw, Graham. Shakespeare’s Scepticism. Ithaca: Cornell UP, 1990.
Hughes, Ted. Shakespeare and the Goddess of Complete Being. London: Faber, 1992.
Olson, Paul A., Beyond a Common Joy: An Introduction to Shakespearean Comedy (U of Nebraska P, 2009).
Traub, Valerie. Desire and Anxiety: Circulations of Sexuality in Shakespearean Drama. London: Routledge, 1992.
Vickers, Brian. Appropriating Shakespeare: Contemporary Critical Quarrels. New Haven: Yale UP, 1994.
Jones, John. Shakespeare at Work. Oxford: Clarendon, 1995.
Bate, Jonathan. The Genius of Shakespeare. London: Picador, 1997.
Kermode, Frank. Shakespeare’s Language. London: Allen Lane, 2000.
Loomba, Ania. Shakespeare, Race and Colonialism.Oxford UP, 2002.
Vickers, Brian. Shakespeare, Co-Author: A Historical Study of Five Collaborative Plays.Oxford UP, 2002.
Erne, Lukas. Shakespeare as Literary Dramatist. Cambridge: Cambridge UP, 2003.
Lopez, Jeremy. Theatrical Convention and Audience Response in Early Modern Drama.Cambridge: Cambridge UP, 2003.
Edmondson, Paul, and Stanley Wells.Shakespeare’s Sonnets.Oxford UP, 2004.Essential reading for candidates preparing the Sonnets for the exam.
Rackin, Phyllis, Shakespeare and Women.Oxford UP, 2005.
Nelsen, Paul, and June Schlueter, eds, Acts of Criticism: Performance Matters in Shakespeare and His Contemporaries. Madison, NJ: Farleigh Dickinson P, 2006.
Nuttall, AD, Shakespeare the Thinker. New Haven: Yale UP, 2007.
Jowett, John.Shakespeare and Text.OUP, 2007.
Stewart, Alan.Shakespeare’s Letters.OUP, 2008. Shows how and why Shakespeare put letters on stage in virtually all of his plays.
Hammond, Paul.The Strangeness of Tragedy.OUP, 2009.Covering classical to neo-classical literature, including Sophocles, Seneca, Shakespeare and Racine.
Findlay, Alison.Illegitimate Power: Bastards in Renaissance Drama. Manchester UP, 2009.
Meek, Richard, Jane Rickard and Richard Wilson, eds.Shakespeare’s Book: Essays in Reading, Writing and Reception. Manchester UP, 2009.
Gurr, Andrew.Shakespeare’s Opposites: The Admiral’s Company, 1594-1625. CUP, 2009.
Lerner, Ralph.Playing the Fool: Subversive Laughter in Troubled Times. U of Chicago P, 2010.
Shapiro, James.Contested Will: Who Wrote Shakespeare? London: Faber, 2010.
Burt, Stephen, and David Mikics.The Art of the Sonnet.Harvard: Belknap, 2010.
Jackson, Ken, and Arthur F. Marotti, eds.Shakespeare and Religion: Early Modern and Postmodern Perspectives. Notre Dame: U of Notre Dame P, 2011.
Craig, Hugh, and Arthur Kinney, eds.Shakespeare, Computers, and the Mystery of Authorship.CUP, 2011.
Tanner, Tony, Prefaces to Shakespeare. Cambridge, MA: Harvard UP, 2012.
Alexander, Michael, Reading Shakespeare. Basingstoke: Palgrave, 2013.
Maguire, Laurie, and Emma Smith, Thirty Great Myths about Shakespeare. Oxford: Wiley-Blackwell, 2013.
Academic Journals:
A host of excellent journals iswarmly recommended for exam purposes. You will find browsing the following very rewarding, as they offer a perfect alternative to oversubscribed books recommended in lectures:
Shakespeare Quarterly (New York, 1950–present)
Shakespeare Studies (Cincinnati, 1965–present)
Shakespeare Survey (Cambridge, 1948–present)
Shakespeare Jahrbuch (Heidelberg, 1965–present)
English Literary Renaissance
English Literary History
Audio-Visual Material
The Library and the Department have all of the plays of Shakespeare in BBC performances. Departmental copies can be borrowed from the Secretary, Mrs Anne Watts (Hallgarth House).
Further Library holdings include:
Tragedies:
Titus (Titus Andronicus), dir. Julie Taymor, with Anthony Hopkins and Jessica Lange (2000).
Romeo and Juliet, dir. Franco Zeffirelli (1968); Romeo and Juliet, dir. Baz Luhrmann, with Leonardo DiCaprio (1996).
Julius Caesar, dir. Joseph Mankiewicz, with Marlon Brando, James Mason, and John Gielgud (1953); Julius Caesar, dir. Stuart Burge, with John Gielgud, Jason Robards, and Charlton Heston (1969).
Hamlet,dir. Laurence Olivier (1948); Hamlet, dir. John Gielgud, with Richard Burton (1964); Hamlet, dir. Grigori Kozintsev (1964, in Russian); Hamlet, dir. Tony Richardson, with Nicol Williamson as Hamlet and Marianne Faithful as Ophelia (1969); Hamlet,dir. Franco Zeffirelli, with Mel Gibson (1990); Hamlet,dir. Kenneth Branagh (1996).
Othello, dir. Orson Welles. (1952); Othello,dir. Stuart Burge, with Laurence Olivier (1965); Othello, dir. Trevor Nunn, with Ian McKellen as Iago (1989); Othello, with Laurence Fishburne as Othello and Kenneth Branagh as Iago (1995).
King Lear,dir. Peter Brook, with Paul Scofield (1969); King Lear, dir. Grigori Kozintsev (1970, in Russian; screenplay by Boris Pasternak); a television production of King Lear, with Laurence Olivier (1984); and King Lear, dir. Brian Blessed (1999).
Macbeth, dir. Orson Welles (1946); Macbeth, dir. Roman Polanski (1971); Macbeth, dir. Trevor Nunn, with Ian McKellen and Judi Dench (1979); Macbeth, dir. Jeremy Freeston, with Jason Connery and Helen Baxendale.
Antony and Cleopatra, dir. Trevor Nunn, with Richard Johnson and Janet Suzman (1972).
Comedies:
The Taming of the Shrew, dir. Franco Zeffirelli, with Richard Burton and Elizabeth Taylor (1966).
Love’s Labour’s Lost, dir. Kenneth Branagh (1999).
A Midsummer Night’s Dream, dir. Adrian Noble (Royal Shakespeare Company, 1995); Midsummer Night’s Dream, dir. Michael Hoffman, with Kevin Kline and Michelle Pfeiffer (1999).
The Merchant of Venice, dir. Jonathan Miller, with Laurence Olivier and Joan Plowright (National Theatre, 1969).
Much Ado About Nothing, dir. Kenneth Branagh (1993).
Twelfth Night, with Alec Guiness, Ralph Richardson, Joan Plowright and Tommy Steele (1969); a television production of Twelfth Night, dir. Kenneth Branagh (1988); Twelfth Night, dir. Trevor Nunn, with Helena Bonham-Carter and Ben Kingsley (1996).
The Tempest, dir. George Schaefer, with Richard Burton as Caliban (1960).
Histories:
The Hollow Crown: BBC adaptations of Richard II,Henry IV, 1/2,and Henry V (2012).
Henry VI, dir. Michael Bogdanov (English Shakespeare Company, 1990; the three plays cut to form two: The House of York, The House of Lancaster).
Richard III, dir. Laurence Olivier (1955); Richard III, dir. Richard Loncraine, with Ian McKellen (1995).
Henry V, dir. Laurence Olivier (1944); Henry V, dir. Kenneth Branagh (1989); Henry V, dir. Michael Bogdanov, with Michael Pennington (English Shakespeare Company, 1990).
Adaptations:
British Film Institute, Silent Shakespeares (films 1899-1911).
Akira Kurosawa (dir.): Throne of Blood (1957, a version of Macbeth); The Bad Sleep Well (1960, which draws loosely on Hamlet); and Ran (1984, a free version of King Lear).
Celestino Coronado (dir.), Hamlet, with David and Anthony Meyers as Hamlet (and Laertes) and Helen Mirren as Ophelia (and Gertrude) (1976, ‘the naked Hamlet’); and A Midsummer Night’s Dream, with the Lindsay Kemp dance company.
Derek Jarman (dir.), The Angelic Conversation (1985, fourteen of Shakespeare’s Sonnets, read by Judi Dench).
Peter Greenaway (dir.), Prospero’s Books (1991, a version of The Tempest with John Gielgud).
Michael Almereyda (dir.), Hamlet, with Ethan Hawke (2000).
Performances on CD:
These include Marlowe Society and Caedmon recordings of most of the plays; Renaissance Theatre Company recordings of a few [Kenneth Branagh in Romeo and Juliet and Hamlet, Sir John Gielgud in King Lear, CD 825.5 SHA]). Also BBC CDs: Romeo and Juliet, A Midsummer Night’s Dream, 1 Henry IV, Julius Caesar, Twelfth Night, The Taming of the Shrew,and Hamlet (disc 825.5 SHA). Also Great Shakespeareans (audio recordings, 1890-1950: Disc 825.5 SHA/GRE); and Great Historical Shakespeare Recordings (audio recordings, 1890-1950).
CD-ROMs, Websites and Online Collections
- CD-ROM: Shakespeare: His Life, Times, and Works. (undergraduate office, Hallgarth House).
- CD-ROM: the Norton Shakespeare Workshop, ed. Mark Rose – on MND, Merchant of Venice, 1Henry IV, Hamlet,Othello, and The Tempest (University Library).
- The Cambridge King Lear CD-ROM: Text and Performance (University Library).
- The Internet Shakespeare Editions: with a section on Shakespeare’s life and times, play texts, commentaries, critical material, and materials from performance archives:
- ‘Hamlet on the Ramparts’, on Hamlet, includes annotated texts, production materials and films from 1913 (Forbes-Robertson), 1920 (Svend Gade), and 1964 (Burton-Gielgud):
- lists, gives access to, or describes other Shakespeare websites. (First time users are required to log on, and will be given a code name and password.)
- Blackwell Companions are now freely available online from Durham:
.If prompted for a login, give your Durham user id and password.
Finding further criticism:
MLA database: accessible via Library Catalogue > databases
SHAKESPEARE
LECTURE LIST 2014-2015
Lectures will be every Tuesday from 12 noon to 1:00pm in Elvet Riverside, room 201
Michaelmas Term 2014
7 OctoberIntroduction Dr Green
Histories
14 OctoberRichard IIDr Green
21 OctoberHenry IV Parts 1 and 2Prof. Fuller
Tragedies
28 OctoberTheories of TragedyDr Carver
4 NovemberHamletProf. O’Neill
11 NovemberOthello Dr Sugg
18 NovemberMacbethProf. O’Neill
25 NovemberKing LearDr Sugg
Comedies
2 DecemberTheories of ComedyDr Carver
9 DecemberA Midsummer Night’s DreamDr Carver
Epiphany Term 2015
13 JanuaryShakespeare and Pastoral: As You Like ItDr Gray