CLASSICS AND ENGLISH FINALS HANDBOOK MICHAELMAS 2007

This Handbook applies only to those taking the examination in the Final Honour School of Classics and English in 2009

UNIVERSITY OF OXFORD Board of the Faculty of Classics Board of the Faculty of English Language and Literature

HANDBOOK FOR CLASSICS AND ENGLISH OCTOBER 2007

This Handbook is for those taking Classics and English Finals in 2009 only. We have tried our best to make it accurate in all respects: comments and corrections should be addressed to the Administrative Secretary, English Faculty Office, St Cross Building, Manor Road.

CONTENTS
I. Structure of the Course ...................................................................................................1 A: English Papers................................................................................................................................................... 1 B: Classics Papers................................................................................................................................................... 3 C: Link Papers.4 D: Restrictions........................................................................................................................................................ 6 II. Practical Hints and Information.....................................................................................6 1. Choosing your Options.......................................................................................................................... 6 2. Tutors........................................................................................................................................................ 6 3. Tutorials, Classes and Collections ........................................................................................................ 7 4. Modes of Work and Examination Techniques .................................................................................. 8 Classics (i) Literary Commentary: Some Guidelines. ....................................................................... 8 (ii) Examination Essays in Classical Literature: Some Guidelines. .................................. 9 English (i) Essays: Presentation, Content and Style. ........................................................................ 9 Presentation... 11 Content..............................................................Error! Bookmark not defined. Style....................................................................Error! Bookmark not defined. (ii) Revision and Exams........................................................................................................14 5. Lectures ..................................................................................................................................................15 6. Joint Consultative Committees for Undergraduate Matters ..........................................................16 7. Complaints .............................................................................................................................................16 8. Illness ......................................................................................................................................................16 9. Where to get help..................................................................................................................................17 10. Vacations ................................................................................................................................................17 11. Theses .....................................................................................................................................................18 12. Examinations .........................................................................................................................................19 13. The Classics Centre ..............................................................................................................................20 14. The English Faculty Office .................................................................................................................20 15. Faculty Websites....................................................................................................................................21 16. The Administration...............................................................................................................................21 17. Libraries..................................................................................................................................................21 18. Bookshops..............................................................................................................................................22 19. Information Technology......................................................................................................................22 20. Museums ................................................................................................................................................23 21. Societies ..................................................................................................................................................23 22. Taking your Degree ..............................................................................................................................23 23. Afterwards: Careers ..............................................................................................................................24 24. Appendix A: More Detailed Information on Some Papers in English ........................................25 25. Appendix B: Detailed Prescriptions for Papers in the Final Honour School of Classics and English from Examination Regulations 2007........................................................................................34 26. Appendix C: Official Stylesheet and Guidelines for the Presentation of Extended Essays and Optional Theses in Classics and English ..........................................................................................40 27. Appendix D: Conventions for Classification in the Final Honour School of Classics and English....................................................................................................................................................42 28. Appendix E: University Rules Governing IT Use...............................................................................44 29. Appendix F: Disability Statement.49 30. Appendix G. Classical Greek and wordprocessing....... 50

Aims and Objectives of Classics and English

Aims
(i) (ii) (iii) (iv) (v) (vi) To build and encourage a properly grounded intellectual confidence in students, enabling them to work independently but in a guided framework. To use the study of key texts and issues systematically to compare classical and English-speaking cultures To provide for students a sustained, carefully-designed and progressivelystructured course which requires effort and rigour from them and which yields consistent intellectual reward and satisfaction. To train and encourage students in appropriate linguistic, analytical, research and presentational skills to the highest possible standards. To equip students to approach major issues in their own as well as other cultures with a thoughtful and critical attitude. To produce graduates who are able to deal with challenging intellectual problems systematically, analytically, and efficiently, and who are suitable for a wide range of demanding occupations and professions, including teaching our subjects in schools and higher education.

Objectives (i) (ii) (iii) (iv) (v) (vi) (vii) (viii) (ix) To provide expert guidance over a very wide range of options in challenging fields of study within the Greco-Roman world and within English and related literatures To help students to acquire the ability to read accurately and critically texts and documents in Latin and/or Greek as well as English and relevant related languages. To help students to acquire the skills to assess considerable amounts of material of diverse types, and to select, summarise and evaluate key aspects. To foster in students both the skills of clear and effective communication in written and oral discourse, and the organisational skills needed to plan work and meet demanding deadlines. To provide a teaching environment in which the key features are close and regular personal attention to students, constructive criticism and evaluation of their work, and continuous monitoring of their academic progress. To maintain and enhance the broadest possible base for student recruitment, and to maintain the highest intellectual standards at admission. To provide effective mechanisms through which able students of different levels of experience can rapidly acquire the linguistic and other skills needed to achieve their potential in the subject. To make full and effective use in our courses of the very wide range of research expertise in our faculties and the excellent specialist resources and collections available in the University. To offer courses which are kept under continuous review and scrutiny.

I.

Structure of the Course

This Joint Honour School pairs the study of Classical literature (Latin and/or Greek) with that of English literature, taking a broad comparative approach. Candidates normally enter the School after the preparatory year of Classics and English Moderations (two years for those beginning their classical language at Oxford), described in the relevant handbook, in which some basic texts are studied in both Classics and English; candidates can also enter the School from English Moderations, though they cannot do so from Classics Moderations. [From October 2008 there will be a new option to take a Second Classical Language as one of your Classical papers. For this option you will only have to offer two link papers and may also offer a further paper or thesis. You should consult your tutor on teaching.] Candidates are required to cover seven papers in the six terms (which are in effect five terms, the last term normally being occupied with revision). These seven comprise two papers in Classics, two in English, and three Link papers which combine both subjects. In addition, you may take an eighth paper in either English or Classical Literature (subject to various restrictions - see Section D below), or offer a thesis in one literature or both. What follows is a more up-to-date and more user-friendly account than the Examination Regulations, the official but formidably technical handbook which was given to you when you came to Oxford (the relevant pages from the most recent version are reprinted in Appendix B). Fuller accounts of the wide range of Classical papers in the course are to be found in the Handbook for Greats (Classics Finals); similar brief accounts of some English papers are given in Appendix A. The following pages list the papers available in three categories : English papers (A), Classics papers (B), and Link papers (C), with a final section on restrictions of choice (D). Section D should be read carefully by all candidates in order to avoid the (few) illegitimate combinations of papers. A: English Papers 1. 'Period' paper. Of the two English papers offered by candidates in the School, one must be one of the following periods of English literature, taken in a single paper unless otherwise noted: (a) (b) (c) (d) (e) (f) 1100-1509 1509-1642 1642-1740 1740-1832 1832-1900 1900-present day.

There are some restrictions on who may take papers (b), and (d - f) - see section D below. Candidates will be given an opportunity to show their knowledge of classical influence. 2. Second Paper. This is selected from a very wide range of papers in English and associated languages and literatures, more than forty in number, listed briefly below (some descriptions of papers are to be found in Appendix A, and the full regulations of the Examination Regulations are reprinted in Appendix B). These papers are usually examined by a three-hour written examination; but some use alternative methods of assessment: (c) The English Language is examined at the end of Trinity Term of the second year by a portfolio of two essays written on themes set by the examiners; (d) Special Authors are examined in Michaelmas Term of the third year by an Extended Essay written on a theme supplied by the examiners; (e) Special Topics are examined in Hilary Term of the third year by an Extended Essay on a title devised by the candidates and approved by the examiners; some of the options listed from (f) to (y) are also examined by Extended Essay (for full details on these alternatives see Appendix A below, and for the general regulations for pre-submitted essays see the relevant sections from the Examination Regulations, given in Appendix B below). The numeration of the papers is generally that used in the description of the Final Honour School of English Language and Literature in the Examination Regulations. Candidates must choose one of the following (for fuller details of most of these options see Appendix A below):

(a) (b) (c) (d)

a second 'period' paper from those listed above (subject to the restrictions in section D below) Shakespeare (Course I, Subject 2) The English Language (Course I, Subject 1) any of the Special Authors for the year concerned (Course I, Subject 7). Those available for examination in 2008 are as follows: (a) (b) (c) (d) (e) (f) (g) (h) (i) The Beowulf Poet, Alfred, The Exeter Book Chaucer, Langland, The N-Town Cycle Spenser, Milton, Jonson Marvell, Dryden, Eliza Haywood Wordsworth, Austen, Byron Tennyson, Dickens, Wilde Conrad, Yeats, Woolf Walcott, Roth, Friel Emerson, Dickinson, Faulkner

(e)

one of the following Special Topics (Course I, Subject 8): (a) Fiction in English (b) Drama in English, excluding Shakespeare (c) Prose in English (d) Poetry in English (e) American Literature from the beginnings to the present day (f) Women's Writing (g) Postcolonial literature (j) Any one of the centrally organized Special Topics for the year concerned. These options will be published in the University Gazette by the beginning of the fifth week of the Trinity Term one year before the examination. The History of the English Language to c.1750 (Course II, subject A.5) English Literature 600-1100 (Course II, subject A.1) Old English Philology (Course II, subject B.1) Middle English Dialectology (Course II, subject B.2) Modern English Philology (Course II, subject B.3) Linguistic Theory (Course II, subject B.4) The Archaeology of Anglo-Saxon England, seventh to ninth centuries (Course II, subject B.10) Gothic (Course II, subject B.11) Old Saxon (Course II, subject B.12) Old High German (Course II, subject B.13) Middle High German (Course II, subject B.14) Old Norse (Course II, subject B.15) Old Norse Texts (Course II, subject B.16) Old French Language 1150-1250 (Course II, subject B.18) Medieval French Literature 1100-1300 OR Medieval French Literature 1300-1500 (Course II, subjects B.19 and B.20) Medieval Welsh Language and Literature I OR Medieval Welsh Language and Literature (Course II, subjects B.21 and B.22) Old and Early Middle Irish Language and Literature (Course II, B23) The Latin Literature of the British Isles Before the Norman Conquest of England (Course II, subject B.25) Medieval and Renaissance Romance (Course II, Subject B.7(a)) Scottish Literature pre-1600 (Course II, Subject B.7 (b))

(f) (g) (h) (i) (j) (k) (l) (m) (n) (o) (p) (q) (r) (s) (t) (u) (v) (w) (x) (y)

B: Classics Papers
3. First Classics paper -'Core' paper. Of the two Classics papers offered by candidates in the School, one must be a 'core' paper, in either Greek or Latin; these papers can also be taken by candidates in Classics. The Greek core paper is 'Greek Literature of the Fifth Century B.C.' the Latin core paper is 'Latin Literature of the First Century B.C.'. Each of these studies six key texts in prose and verse from a key period of literary history. 4. Second Classics paper. The second paper can be selected from more than thirty options within a number of the disciplines of Classics (which include Ancient History, Philology and Linguistics, and Ancient Philosophy), subject to a few restrictions of combination connected with the Link Papers; those offering one of the below as an extra eighth paper are also subject to various restrictions of combination (see section D below). The full list of Classics papers is as follows (a fuller and more informative description of each paper is to be found in the Greats Handbook); the numeration of papers is generally that used for Classics in the Examination Regulations. FIRST CLASSICAL PAPER You must take as your first Classical paper EITHER: Greek Core: Greek Literature of the Fifth Century B.C OR Latin Core: Latin Literature of the First Century B.C. [An additional translation paper of one-and-a-half hours will be set on these subjects.] SECOND CLASSICAL PAPER Any one of the following subjects: LITERATURE The other core paper (with additional translation paper) Historiography Lyric Poetry Early Greek Hexameter Poetry Greek Tragedy Comedy Hellenistic Poetry Cicero Ovid Latin Didactic Neronian Literature Euripides, Orestes: Papyri, manuscripts, text EITHER: Seneca, Agamemnon: manuscripts, text, interpretation. OR Catullus: manuscripts, text, interpretation The Conversion of Augustine Byzantine Literature Modern Greek Poetry Greek Historical Linguistics Latin Historical Linguistics Comparative Philology: Indo-European, Greek and Latin General Linguistics and Comparative Philology (see below for restrictions)

 These subjects will be examined by an extended essay of 5,000-6,000 words. Essay topics will be released on Monday of Week 6 of Hilary Term immediately preceding the examination; essays should be submitted by Monday of Week 10. Only one of these subjects may be offered. All of them require an additional one-and-a-half hour paper of translation, of texts. PHILOSOPHY 130 131 132 133 134 135 Plato: Republic Plato: Theaetetus and Sophist Aristotle: Nicomachean Ethics Aristotle: Physics Sextus Empiricus: Outlines of Pyrrhonism Cicero: De Finibus III

For texts to be read in the original language in these philosophical options, see Regulations 2007 p. 427. ANCIENT HISTORY The Early Greek World and Herodotus Histories: 650 to 479 BC Thucydides and the Greek World :479 to 403 BC The End of the Peloponnesian War to the death of Phillip II of Macedon: 403 to 336 BC Polybius, Rome and the Mediterranean: 241-146 BC Republic in Crisis: 146-46 BC Rome, Italy and Empire from Caesar to Claudius: 46 BC to 54 AD Athenian Democracy in the Classical Age Alexander the Great and his early Successors The Hellenistic World: Societies and Culture c.300 100 BC Cicero: Politics and Thought in the Late Republic Politics, Society and Culture from Nero to Hadrian Religions in the Greek and Roman World Sexuality and Gender in Greece and Rome C: Link Papers The Link papers are one of the striking and most attractive features of the Final Honour School of Classics and English; relatively rarely for Oxford joint schools, they give an opportunity to study, contrast and compare the two parts of the school in the same paper, and in each paper it is obligatory to answer at least one essay question which relates Classical and English literature. This allows unrivalled opportunity for deep and broad consideration of ancient literary genres and texts in the context of their later reception in English literature, and over a long period of their histories. Of the Link papers listed below, you must take paper 5, Epic; you must then choose two further Link papers from papers 6,7 (a)-(g). In papers 5 and 6,7 (a)-(d) and (g), you will be expected to be familiar with the texts prescribed, but will be given the opportunity to show knowledge of other authors and texts; in each of these papers it is also obligatory to answer at least one essay question which relates Classical and English Literature. 5. Epic. Compulsory paper. Set authors : Homer, Virgil, Lucan, Milton, Dryden, Pope. There will be a compulsory passage for comment from Milton's Paradise Lost, and also a compulsory passage for comment involving direct comparison between Homer or Virgil and one or more English translations (five books of Homer, Odyssey 6 and 9-12, and three of Virgil, Aeneid 7, 8 and 12 are specified for this question).

6,7. Further link papers. TWO to be chosen, one of which must be taken from papers (a)-(d). a. Tragedy. Prescribed texts: Aeschylus, Agamemnon; Sophocles, Oedipus The King; Euripides, Medea and Hecuba; Seneca, Medea and Thyestes; Kyd, The Spanish Tragedy; Marlowe, Tamburlaine the Great (Parts 1 and 2), Edward II, Dr Faustus, Dido Queen of Carthage; Shakespeare; Jonson, Sejanus, Catiline; Webster, The White Devil, The Duchess of Malfi; Middleton, The Changeling, Women Beware Women; Ford, 'Tis Pity She's a Whore; Milton, Samson Agonistes. There will be an optional commentary question with passages from Aeschylus, Agamemnon and Seneca, Thyestes. Comedy. Prescribed texts: Aristophanes, Birds; Menander, Dyscolos; Plautus, Amphitryo and Menaechmi; Terence, Adelphoe; Gascoigne, Supposes; Lyly, Campaspe, Mother Bombie; Shakespeare's comedies; Jonson, Every Man in his Humour, Volpone, Epicoene, The Alchemist, Bartholomew Fair; Wycherley, The Country Wife; Vanbrugh, The Relapse; Congreve, The Double Dealer, The Way of the World; Sheridan, The Rivals, The School for Scandal, The Critic. There will be an optional commentary question with passages from Aristophanes, Birds and Terence, Adelphoe. Satire. Prescribed texts: Horace, Satires Book 1.1, 4-6, 9-10, and Book 2.1, 6; Persius Satires 1 and 5; Juvenal Satires 1, 3, 6, and 10; the satires of Wyatt, Donne, Marston, Dryden, Johnson and Pope. There will be an optional commentary question with passages from Juvenal, Satires 1, 3, 6, and 10. Pastoral. Prescribed texts: Theocritus, Idylls 1, 3, 4, 6, 7, 10, 11; Bion, Adonidis Epitaphium; [Moschus], Epitaphium Bionis; Virgil, Eclogues; Mantuan 1; Tasso, Aminta; Guarini, Il Pastor Fido; Spenser, Astrophel and The Shepheardes Calendar, Faerie Queen VI.ix-xii; Fletcher, The Faithful Shepherdess; Milton, Lycidas and Epitaphium Damonis; Pope, Windsor Forest, Pastorals; Shelley, Adonais; Arnold, Thyrsis. There will be an optional commentary question with passages from the prescribed texts of Theocritus and Virgil. Medieval and Renaissance Latin Hexameter Poetry: Prescribed Texts : ( ) Walter of Chtillon, Alexandreis 10, Petrarch, Africa 9; Bucolicum Carmen 1 and 3, Vida, Ars Poetica 3, Milton, In Quintum Novembris, Mansus, Epitaphium Damonis ( ) Walter, Alexandreis 1-9, Petrarch, Africa 1-8, Vida, Ars Poetica 1-2. This paper will be examined through an extended essay of 5,000-6,000 words in Hilary Term, and by a one and a half hour translation paper containing passages from all set texts, in Trinity Term. Essay topics set by the examiners will be released on Monday of 6th week of Hilary Term immediately preceding the examination and essays should be submitted to the Examination Schools by 12 noon on Monday of 10th week. f. g. Rhetoric and Literary Theory in Ancient and Modern Times. This paper includes elements from the English paper The History and Theory of Criticism, and cannot be combined with it. The Reception of Classical Literature in Twentieth-Century Poetry in English since 1900. This paper looks at the reception of classical literature in the English poetry of the twentieth century. Authors who are likely to feature include Hardy, Yeats, Frost, Eliot, Pound, H.D., Auden, MacNeice, Lowell, Hughes, Walcott, Carson, Harrison Longley and Heaney in English, and Homer, Aeschylus, Sophocles, Euripides, Aristophanes, Vergil, Horace and Ovid in Classics. This paper will be examined only by an extended essay of 5,000-6,000 words. Essay topics set by the examiners will be released on Monday of 6th week of Hilary Term and essays should be submitted to the Examination Schools by 12 noon on Monday of 10th week of the same term. Candidates will be required to use at least three authors in their essays, at least one of which must be a classical author.

b.

c.

d.

e.

D: Restrictions Eighth Paper. Candidates wishing to offer an optional eighth paper may offer only another paper from 2 (Second English Paper) or 4 (Second Classics Paper); no candidate may offer more than one option from either 2(d) [English Special Authors] or 2(e) [English Special Topics]. English Papers. Of the English period papers (A:1), Paper (b) may NOT be offered by those who have already taken that paper in Classics and English Mods; papers (e) and (f) may NOT be offered by those who have taken those papers in English Mods. Those who offer 2(b) Shakespeare or 2(d) Special Authors will not be permitted to answer questions on these authors in other papers specified under 2. Classics Papers Section (a) of Classics Paper V.3 General Linguistics and Comparative Philology may not be offered together with English Paper A.2(l) Linguistic Theory; those offering this section are further not permitted to answer a question from section A of English Paper A.2.(c), The History, Use and Theory of the English Language. See also above under Second Classical Paper: Literature. Link Papers. Link paper 6,7 (a) Tragedy cannot be offered together with Classics paper Greek Tragedy. Link paper 6,7 (b) Comedy cannot be offered together with Classics paper Comedy. General Candidates should not offer two options that are examined by extended essay at the same time; for example, The Reception of Classical Literature in Twentieth-Century Poetry in English since 1900 may not be offered with any of the English Special Topics (paper A.2e). Where an option is examined by an extended essay, the essay must be the work of the candidate alone, and he or she must not discuss with any tutor either his or her choice of theme or the method of handling it.

II.

Practical Hints and Information

1. Choosing your Options

In choosing your options in Finals, it is vital that you discuss the question with your tutors in both Classics and English before you take Mods at the end of year 1. The syllabus allows you a wide diversity of choice, and you need to choose your papers with care if you are to make the most of what is on offer. Your tutors, as well as having views about good combinations of papers and about your particular academic strengths, will know what the timetabling constraints are (some papers are taught in University Classes and so can only be taken in particular terms). Make sure you know before you go down for the summer vacation which two papers you will be working on during the Michaelmas Term so that you can start C&E adequately prepared. Whatever your choice of papers, C&E is a very challenging degree; and to ensure that it is exhilarating and not just gruelling, it is vital to get off to a flying start.

2. Tutors
Anybody to whom you go for tutorials or college classes counts as one of your tutors. Over the whole course there will certainly be two and probably several more. Some will be tutorial Fellows or Lecturers of your own college; some may be tutorial Fellows or Lecturers of other colleges, or Research Fellows, or graduate students. The overall responsibility for giving or arranging your tuition will lie with tutorial Fellows or Lecturers of your own college. Behind them stands the Senior Tutor (or in some

colleges Director of Undergraduate Studies), who carries final responsibility for seeing that proper arrangements are made if one of these people is absent through illness or on leave. It will probably be a rule of your college that you call on these in-college tutors at the beginning of term to arrange tuition, and at the end of term to arrange vacation reading and next terms subjects. In any case it is a very good idea to pay such calls, if necessary on your own initiative. Colleges have different rules about when term begins. The official start is Sunday of First Week of Full Term, but you will certainly be expected back before then, and you should try to ensure that by the Sunday you know who your tutors for the term will be, have met or corresponded with them, and have been set work and assigned tutorial times by them. If you would like a change of tutor, say so if it is not embarrassing; otherwise dont just do nothing, but take the problem to someone else in your college - your College Adviser, the Senior Tutor, the Womens Adviser, the Chaplain, or even the head of college, if your difficulty is serious. Most such problems arise from a personality-clash that has proved intractable; but since in a university of Oxfords size there are likely to be alternative tutors for nearly all your subjects, theres no point in putting up with a relationship which is impeding your academic progress. In these circumstances you can usually expect a change, but not necessarily to the particular tutor whom you would prefer. Most colleges have a system of feedback whereby you can comment on your tutorials (including your own performance within them) and your tutors: this is normally done by a written questionnaire, though the format varies considerably. Please do use these questionnaires: confidentiality can always be assured if you wish, and comments (even if made anonymously) are extremely useful both to the college and to the tutors themselves. At the end of each term you can expect a formal report, discussed perhaps with the Head of House and perhaps with your tutors. These are intended to be two-way exchanges: if you have concerns about your work or your tuition, do not hesitate to say so. Both University and colleges also have networks of welfare and pastoral care: details are given in the University of Oxford: Essential Information for Students, and in the literature which will have been given you by your college.

3. Tutorials, Classes and Collections

What you are expected to bring to a tutorial is an intelligent understanding of the reading which was set for it (or a variant on your own initiative if some book or article proves really inaccessible) and any written work demanded. What you have a right to expect is your tutors presence and scholarly attention throughout the hour agreed, plus guidance, e.g. a reading list, for next time. Beyond that styles differ, depending on how many students are sharing the tutorial, the nature of the topic, and the habits and personality of your tutor. You must not expect uniformity, and you will gain most if you succeed in adapting to differences. In C&E Finals it is necessary to cover seven subjects in five tutorial terms (the weeks before the examination being usually set aside for revision). This means that you will often be studying a Classics and an English paper together in the same term (though individual arrangements will vary according to paper and College), having more than one tutorial a week. You should not be writing more than twelve tutorial essays per term. The more you bring to a tutorial or class, the more you will gain from it. Tutorials are an opportunity for you to raise the issues and ask the questions which concern you, and to try out your own ideas in discussion with someone of greater experience; classes are an opportunity to explore issues together, and to get used to general discussion. Do not be afraid to speak up if something strikes you or if you are unsure of something : those who say least in class are seldom those who get most benefit. Missing a tutorial is a very serious matter. If you cannot attend your tutorial for a good reason (e.g. illness), you must let your tutor know in advance and make arrangements to catch up on the work missed. If you do miss a tutorial without good reason, immediately explain and apologise, and let your tutor have the work for that tutorial. Tutors have many other duties, so tutorials should not be rearranged or postponed except for the most serious reasons. For most tutorials, and for many classes, you will be asked to produce written work, and a good deal of your time will be spent writing and preparing essays on topics suggested by your tutors. They will normally direct you towards some secondary reading. However, you should be careful not to let the reading of bibliography detract from reading the text, or to allow other scholars' writings to dictate the

order of presentation of your own essays. The examination, and the course, is about the subjects and the works prescribed in the Regulations, not the books in bibliographies. Most colleges set at least one 'collection', i.e. examination, at the beginning of each term; many set two, and some expect a vacation essay as well, particularly in the long vacation. Collections will normally be on the reading which you will have covered over the vacation: on the importance of such vacation reading, see below, p. 17 It is reasonable to expect written comments on any work a tutor takes in; but many tutors do not put marks on written work, except for collections. If you are left uncertain of the general quality of your work, do not hesitate to ask.

4. Modes of Work and Examination Techniques CLASSICS (i) Literary Commentary: Some Guidelines.
Writing a literary commentary should not be the same as writing a short essay. A commentary is largely concerned with the explication of a single passage of text; an essay is directed towards a different goal making a more general argument or arguments on a set topic, using a wide range of primary and secondary evidence. Here are some guidelines on commentary-writing which may be of use. 1. 2. Identify the context (briefly but precisely), paying some attention to what follows as well as what precedes. If the passage is part of direct speech, identify the speaker. Say what you feel should be said about the passage as a whole. This will vary from author to author and passage to passage, but the following suggestions may be useful: (a) How the passage fits into the overall themes of the work from which it comes (for example in a play). Do cross-refer to other relevant passages, but do this fairly briefly (commentary, not essay!) (b) [In drama] general elements of stagecraft and scene-setting. (c) [In narrative works] the passage's place in the plot and narrative development (is this a crucial or a pivotal point? does it look forward or back to other points?) (d) In works written in the first person] tone - i.e. the presumed relationship between the persona/speaker and the addressee. (e) Logical and rhetorical structure (argument, coherence). (f) Intertextuality, i.e. significant relationship to other literature (e.g. Greek lyric model for a Horatian ode, Aeschylus used by Euripides). (g) Any relevant literary conventions which determine the overall character of the passage e.g. hymn-style, supplication scene, priamel, ekphrasis, locus amoenus, paraklausithyron, propemptikon (if any of these terms or others are unknown to you, look them up in (e.g.) the indices of Nisbet and Hubbard's commentaries on Horace's Odes or of Russell and Winterbottom's Ancient Literary Criticism, Liddell and Scott, or the Oxford Latin Dictionary). Say what you feel should be said about the details of the passage, going through it in order and indicating points of interest. You may find it useful to quote a few words of the original and then comment on them, or use line numbers to refer to the text. The following might be worth noting: (a) Significant names, periphrases and factual references (note significant: there may not be time to explain all, and some will be too obvious to bother with). (b) Detailed examples of the elements listed in 2 above (specifically keyed to the wording of the passage). (c) Rhetorical devices (e.g. anaphora, apostrophe, tricolon). (d) Metaphor and related figures (simile, personification, etymological play, metonymy). (e) Verbal style (general linguistic register, unusual/colourful vocabulary). (f) Word order (e.g. artistic rearrangement of natural order, esp. in poetry).

3.

4.

Use of metrical form in poetry (couplet, stanza, verse paragraph); particular metrical effects (enjambement, hypermetre, antilabe, stichomythia), sound effects (but not too fanciful 'sinister s-sounds', 'gloomy spondees' etc). Finally, if possible, explain as well as describe: it may be worth saying that grata compede (Horace, Odes 1.33.14) is an oxymoron, but you might also say why it is there, what its literary function is within the passage (partly humour, in that case).

(g)

(ii) Examination Essays in Classical Literature: Some Guidelines.

1. Selection. Examination essays of 40 or 60 minutes cannot hope to cover the wide territory often surveyed in tutorial essays written with full use of books over much longer periods. The key is selection: a successful examination essay needs to select the points crucial to the topic in hand, and not too many of them, and deal swiftly and methodically with each. Just going through the text summarising and commenting on it may be a useful preparation for tutorials, but it will cut little ice in examination essays. Choose the most important passages in your view, and use them in your answer. 2. Relevance. Read, think about, and answer the question on the paper not the one you would like to have been asked. Don't simply regurgitate material from a tutorial essay which was not quite on the same topic. Beginning the essay by defining the question, and ending it by returning to it to work out what kind of answer you have produced, can often be helpful in ensuring that what you write is relevant. 3. Personal Views. Don't be afraid to give your personal views; the examiner will be much more interested in what you think than in regurgitation of standard opinions, of which he or she has already read large numbers. Of course, personal views should be more than purely subjective comments; judgements should always be accompanied by justifying argument. But the whole point of reading classical literature at Oxford is to engage in and enjoy a personal encounter with a text, and this should be reflected as much in examination essays as in tutorial discussions. 4. Essay Structure. This may vary according to topic and taste, but the essay as a whole should have a clear and coherent argument, which should be reflected in its structure. The use of paragraphs in articulating material is particularly important: if possible, try to use a single paragraph for each crucial point, and ensure that there are logical connections between paragraphs. The writing of a short essay plan often helps to clarify structure. 5. Evidence. Do use textual evidence to back up your arguments and suggestions: ideas are much more persuasive when supported by passages of text without such evidence they become mere assertions. Textual evidence need not mean massive memorising of chunks of ancient languages: accurate paraphrase in English is much better than inaccurate quotation.

ENGLISH (i) Essays: Presentation, Content and Style.

Presentation Presentation is important, especially for your extended essays and your optional thesis if you choose to do one. You will find it much easier to meet the standards required for these if you have practised good essay presentation throughout your course. The scholarly procedures tutors and examiners will be looking for are really very straightforward. 1. Spelling and grammar. Take care to make these as accurate as possible. Invest in a decent dictionary. Most word-processing programmes also have grammar and spell-checking functions. 2. Critics. When you refer to the work of a critic, you should acknowledge that you have done so. Name the critical work in question (e.g. not ...recent critics have claimed that... but ...in Brownings Hatreds

(1993), Daniel Karlin claims that...), and of course include the page number. These works should be included in your list of works cited at the end of the essay. To do this you will of course need to take accurate notes of your critical reading in the first place. 3. Quotations. When you quote from a text, make sure you do it accurately: always check! Giving page numbers, or line references, will help you to locate the quotation when you come to revision, and is a requirement of the extended essays. Start all quotations of more than a few words on a line of their own, and always quote poetry with line breaks in the right places. 4. References. When you refer to a book, or a play, or a long poem, underline the title (Bleak House, Hamlet, Paradise Lost) or print it in italics if you are word-processing your work. Titles of short stories, essays, or shorter poems, should go in quotation marks (Amos Barton, The Function of Criticism at the Present Time, The Kraken). It is often useful, particularly for revision purposes, to note the date too (...Brownings Men and Women (1855)...). In order for you and others to find the quotation, at the end of your essay you should provide a short list of the works (both literary and critical) that you have consulted and/or cited in your essay. Include sufficient brief publication information for it to be clear which edition of a work you have used (e.g., Penguin, 1994; or, more fully, ed., Isobel Armstrong, Penguin, 1994). This may seem like a lot of work for a weekly essay, but you will be required to provide this information in your extended essays, it is good scholarly practice, and it will be useful for you to get into the habit now of including these details. 5. Electronic citations. You are referred to the MLA Handbook for Writers of Research Papers (6th edition, New York: Modern Language Association of America, 2003 pp. 207-235), for a generally recognized form of citation for electronic publications. You should further refine the distinction made there between the status of electronic publications on CD-ROM and diskette (portable databases) and that of online databases. While CD-ROM publications may be regularly updated, they nevertheless constitute products whose identity can be verified in many of the ways that operate for printed sources. Online databases, however, often have a far less stable and verifiable existence - they may be continually updated, altered, or may even disappear without notification to users. Because of the absence of many of the protocols that guarantee printed sources, online sources may lack further reliability as authoritative sources. Consequently, it is advised that you exercise considerable caution in their use, that you consider them as work-in-progress documents, and their availability as unique (i.e., not necessarily reclaimable on any other occasion). In the citation of online sources you should therefore, and in addition to the conventions of citation outlined in the MLA Handbook, in every case include the date of accessing the material and, where practical, print outs of the relevant sections cited. Where sources are available in printed and electronic versions, you should make every effort to cite the printed version in preference. Content 1. Dont try to include everything in your essay. If, for instance, youre writing on Shakespeares imagery, you are not going to be able to say all that there is to be said about Shakespeares stagecraft as well, though it might be relevant to say something brief about it. One of the things you have to learn as you practise the skill of writing a literary essay is to be selective - again, it is crucial both for extended essays and for Schools. 2. Always try to construct a coherent argument. Write with the aim of persuading your tutor or tutorial partner of your point of view. First, you need to be sure that you do in fact have a point of view, and that it is defensible - and, preferably, interesting. Theres no rule against being controversial. You might have changed your mind by the end of term (or indeed by the end of the tutorial), but that may be a good thing. 3. Be specific. Vague generalisations about an author or a topic never get you very far. This is true whether youre engaged on a piece of focused textual analysis, or discussing a large cultural issue. Always pin your argument down to specific texts, and specific evidence. Style

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1. Critical language is formal, and chatty colloquialisms are best avoided. But dont go to the other extreme and become pompous. A simple and direct style is usually most convincing. 2. Avoid clichs, always a sign of a brain off-duty (harsh reality, deep yearning, dark despair...). Make sure that every word you use earns its keep. 3. Avoid critical terms, either of commendation or condemnation, that have no real content. Effective language is a good example - effective in what way? Vague adjectives such as powerful, rich, striking also fall into this category (still more, phrases like incredibly rich, extremely striking, very powerful...). PLAGIARISM These are the Facultys agreed guidelines on plagiarism. They are particularly directed towards Finalists writing extended essays and optional thesis, but have relevance throughout your undergraduate career. 1. Plagiarism is the use of material appropriated from another source or from other sources with the intention of passing it off as ones own work, and may take the form of unacknowledged quotation or substantial paraphrase. Plagiarism can also be the unintended result of careless presentation, if extensive quoted material or close paraphrase are included without acknowledgement. This constitutes reckless plagiarism. Sources of material include all printed and electronically available publications in English or other languages, or unpublished materials, including theses, written by others. The Proctors regard plagiarism as a serious form of cheating for which offenders can expect to receive severe penalties. 2. Your essays will inevitably sometimes involve the use and discussion of critical material written by others with due acknowledgement and with references given. This is standard critical practice and can be clearly distinguished from appropriating without acknowledgement (and presenting as your own) material produced by others, which is what constitutes plagiarism. If you employ good working habits in preparing your weekly essays and extended essays, there is little danger that you will be accused of plagiarism unjustifiably. 3. An essay is essentially your view of the subject. While you will be expected to be familiar with critical views and debates in relation to the subject on which you are writing, and to discuss them as necessary, it is your particular response to the theme or question at issue that is required by tutors and examiners. 4. When you read the primary texts that you will be discussing in your essay, make sure that you find your own examples of episodes, themes, arguments, etc that you wish to discuss. Note these down, in the back of your own copy of the book, or elsewhere, and make sure that they form the basis of the material you will be discussing in the essay. If you work from your own examples, you will be much less likely to appropriate other peoples materials. Get to know your primary texts well before you embark on detailed secondary reading. 5. When you are taking notes from secondary sources: (a) always note author, title (of book or journal, and essay or article title as appropriate), place of publication (for books), and page numbers. (b) If you have time, it is a good idea to read the chapter or article through once quickly before you take notes on it. This will make the notes that you take on a second, slower reading, more discriminating, and will make you less likely simply to transcribe quantities of material without thinking it through. (c) If you do copy out material word for word from secondary sources, make sure that you identify it as quotation (by putting inverted commas round it) in your notes. This will ensure that you recognise it as such when you are reading it through in preparing your essay. (d) At the same time always note down page numbers of quoted material. This will make it easier for you to check back if you are in doubt about any aspect of a reference. It will also be a necessary part of citation (see 6 below).

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6. When you are writing your essay, always make sure that you identify material quoted from critics or ideas and arguments that are particularly influenced by them. There are various ways of doing this, in your text and in footnotes (see Essays: Presentation, Content and Style, pp. 26-7, and Guidelines for the Presentation of Extended Essays and Optional Theses, pp. 40-3). If you are substantially indebted to a particular critics arguments in the formulation of your materials, it may not be enough to cite his or her work once in a footnote at the start or the end of the essay. Make clear, if necessary in the body of your text, the extent of your dependence on these arguments in the generation of your own and, ideally, how your views develop or diverge from this influence. 7. You may wish to acknowledge ideas or material that you have obtained from lectures in the English Faculty. The best way to do this is to put in a footnote citing the lecturer, the lecture series and the term in question. 8. Example This is a passage from Barry Windeatts Troilus and Criseyde (The Oxford Guides to Chaucer; Oxford, 1992, p. 196): At the very centre of the poems structure Troilus is at last impelled inside the curtained bed of Criseyde, which stands inside the litel closet within Pandarus house in the walled and besieged city of Troy. The most intimate experience of Troilus lies not only at the centre of its structure as a poem but at the centre of a succession of containing and enclosing structures in the fabric of its setting at Troy, within which the physical union of Troilus and Criseyde is a climax not only intrinsically but also as the fulfilment and completion of a pattern. It is towards this central episode that the poem moves with a centrifugal energy which, once the centre is passed, becomes a centripetal force, and this is given form and shape through the setting and background of the action. Legitimate use of this passage: Like Sir Gawain and the Green Knight, or indeed Beowulf, Troilus and Criseyde is a poem susceptible to a number of different approaches to its structure. The move fro wo to wele, and after out of ioie (I, 4), announced at its opening, focuses on the fortunes of the poems main protagonist as a key element in its construction. The Troy ioye rhyme in this stanza (I, 2 and 4) is a recurrent one in the poem and draws attention to the central role that location also has in Troilus. As Barry Windeatt notes, as the poem approaches its structural centre, the Trojan locations narrow down to the curtained bed of Criseyde, which stands inside the litel closet within Pandarus house in the walled and besieged city of Troy.1 As he also observes, this central episode, in which the first physical union of Troilus and Criseyde takes place, is in fact part of a structural sequence, which places this union at the heart of the poem - and one might say, almost at the heart of Troy - and then moves after it to an increasing fragmentation of location and action. But it is arguable that the fact that Chaucer puts wele and human love at the structural centre of Troilus is as important as what he puts at its end. Windeatt, Troilus and Criseyde, Oxford Guides to Chaucer (Oxford, 1992), p. 196. This illustration both quotes from and paraphrases parts of the passage in question, but it acknowledges its debts, in footnote (for the quotation) and in the text (for the paraphrase). It also incorporates the material within a set of arguments that are either not dependent on Windeatts material or develop it in an original direction, and it adds in its own original examples or insights.
1 B.

Plagiarism: What Chaucer puts at the heart of his poem is worthy of note. At the very centre of Troilus and Criseyde Troilus is at last brought inside the curtained bed of Criseyde, which stands within the litel closet within Pandarus house in the walled and besieged city of Troy. The intimacy of this scene is further intensified by the fact that it completes a structural pattern in the poem in which what might be seen as centrifugal and centripetal elements are involved. The poem moves towards this central episode so that it forms a climax in the work; after this centre is passed, the centripetal movement takes over.

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This version is almost entirely derivative of Windeatts original passage. It quotes some of it directly or with minimal variation and puts other parts of it into close paraphrase. It contains no new material, nor does it add to the sum of the ideas in the original. It offers no acknowledgment of its source, and gives the impression that its author intends this argument and choice of illustrations to be taken as original to him or her. Every time you use anothers ideas, you must give them credit - even in your weekly essays. Certainly, should you be found guilty of plagiarism in any piece of work you submitted towards completion of the requirements for a degree of the University, you would be subject to disciplinary action. The Proctors regard plagiarism as a serious form of cheating for which offenders can expect to receive severe penalties. Extended Essays for papers 7 and 8 and Course II B papers and theses Extended essays for papers 7 and 8, and theses, must be presented in proper scholarly form. The approved stylesheet for presentation of these essays is given in Appendix C at the end of this booklet. Vacation Preparation Both papers are preceded by lengthy vacations (especially Paper 7 and some course II B papers). It is essential that you use these vacations as preparation for the 5/6 weeks of teaching you will be getting in term. For Paper 7 it is essential that youve at least read the major works of the author concerned. You should also have done some kind of survey of the critical reception of this author up to the present day. Most tutors will have issued you with a reading list to take away. Various critical introductions, which may of themselves not be either helpful or stimulating, are worth consulting for their bibliographies in this respect. Try to have the major critical bases covered. Paper 8 is rather different, as within the broad topics offered in the options you should already have started to define what youre going to work on. Indeed your College tutor will have almost certainly arranged your tuition on the basis of some indication on your part of where your particular interests lie - e.g. for the Novel paper the Gothic Novel or for Womens Writing criture feminine in contemporary fiction, etc. Often you will have met with your prospective tutor to discuss your options. It is important that you use the vacation to fine-tune your sense of your area of interest e.g. to decide within the Gothic novel that you wish to write on Radcliffe and Reeve and womens Gothic. That is not to say that you should know exactly what you intend to write on (either in terms of texts or issues), but you should at least come back to Oxford with enough knowledge to shape the course of the tutorials over the coming six weeks. Term Time Tutors teach the papers in different ways. For Paper 7, for instance, some tutors will cover the major texts of a writer week by week, raising broader issues, as they become relevant. Others may devote different weeks to different topics within the corpus of an authors work. Similarly with Paper 8, some authors will offer a survey of, say, the Gothic novel in relation to your expressed interests; others will seek to work closely with texts you and he or she have already identified. So, for instance, to revert to the Gothic novel example, you may begin with tutorials on Radcliffe and Reeve, but discover or be introduced to the work of Charlotte Dacre during the term, and decide you want to develop the extended essay to incorporate her work. Either way, for both papers the more you know when you come up the more you can shape the direction of these tutorials. It is also important that as the tutorials develop you begin to build up a sense of a thesis. Unlike a lot of your work so far, extended essays require you to invent an area in which to work. Writing the Essay Basically you have three weeks. Dont panic. Dont start writing without thinking. Choose a quotation which in general terms allows you to develop issues which youve already been thinking about. Then sit down and work out an argument. An extended essay needs an argument to underpin it. You cannot simply describe some books youve read in the context of the quotation. Dont start writing without some sort of plan. This plan may change. Most people work out or at least improve the definition of their ideas by writing. Dont leave this process until its too late. Dont start writing straight away, but equally dont leave writing until the end. It can be very helpful to produce a draft as early as possible. Working out an argument with only days to go is not a position you

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wish to be in. Of course you must be flexible, and not close your mind to new ideas or confine yourself to thoughts youve already written about in term-time essays, but you must leave yourself plenty of time to check your references and pay attention to the proper scholarly presentation of your material. When you are writing the essay always keep a back-up and up-to-date copy of your essay on a disk kept separately from your computer. TROUBLESHOOTING It is not uncommon to find it harder to write essays when you are in your second year than when you were in your first year. Treat this positively: its usually a sign that you have grown beyond the style that used to be sufficient for what you wanted to say. If you have major difficulties, discuss the problem with your tutor, and work at finding what techniques will enable you to survive until the phase passes (as it will). The important thing is to keep writing something, or else you may lose the habit and weaken your confidence further. Adrenalin may be a necessary adjunct to doing exams, but sleeplessness and panic are not. If you find yourself with unhelpful responses of that kind, try to make them helpful. If you panic when you look at a page, go for a walk, and keep walking until you have had three new ideas about the author in question. Keep primary texts by your bed: if you cant sleep, learn a poem or a dramatic speech by heart. This will give you an invaluable bank of detailed textual knowledge to draw on (you shouldnt quote at length in an exam, but you can pick the choicest items from what you know), and is very soporific at 3 a.m. If you still cant sleep, think about the words you have just learned and what new ideas you can derive from them, about the author, the period, or the state of the language at the time. Prevention, however, is better still: get some exercise during the day, and do whatever you find soothing before you go to bed - a bath, music, herbal tea. There are many resources both within individual colleges, and the University more widely, to help if you find yourself in trouble - emotionally or academically. Of course, your tutor may well be aware that you are having difficulties, but you may also wish to speak to someone else. If things look as if they are getting out of control, the college doctor or nurse can help. The Universitys Student Counselling Service, too, can provide support. Or you may want to speak to your college chaplain. Similarly, most colleges have Advisers or Moral or Personal Tutors who can often help sort out academic difficulties, and many colleges have student welfare officers and peer support groups to help with emotional, financial or academic problems. Of course, students most often turn to one another and friends can be a tremendous help. You need to make certain, though, that you take care of yourself as well as your friends and that your own work does not suffer because you have spent too much time and energy trying to help others. Remember, too, that there are many people within the University who are better able to be of real help in difficult times. If a friend is very stressed or otherwise troubled the best way to help them may well be to offer to accompany them to the college doctor or nurse or to the Student Counselling Service. Dont leave it until the last minute to seek help - intervention early can prevent worse trouble later.

(ii) Revision and Exams

Revision and writing three-hour exams require some different skills from your normal tutorial work. Practising these will not only enable you to do the exams better, but help to keep your stress levels manageable. Decide which topics and authors you are going to work up to exam standard you wont be able to re-do all your work. Do read through all your notes and essays to remind yourself briefly what you have done, though, so that you can make informed comparisons where they would help your argument. You should revise in detail at least four topics for a three-question paper, so that you can answer on your spare topic if you dont like the question on one of the others, and to help with broadening arguments. Make yourself a revision timetable so that you can see that you are getting through all the work you need to cover. Read some new work. You wont have time for much, but some of the less-known poems of a poet you are working on or an extra Jacobean play can help to give you new ideas and keep your mind fresh.

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Practise writing to time. An hour gives you very little space. Either do some timed essays, or, perhaps better, write first paragraphs and essay plans those need only take ten or fifteen minutes once you have learned the art, so you can practise adapting your thoughts to different questions on the same author without having to spend so much time on each as a full timed essay would take. Look at past papers (available in both Faculty Offices, college libraries and on the internet) to see the various kinds of issues that can be asked about. In the exam Read the questions carefully, both to understand just what they are asking, and to make sure that the ideal question for you does not appear somewhere else on the paper. Then divide out your time. If you are still writing your first answer after 75 minutes (80 as the absolute maximum), stop, and leave a space so that you can finish it later if you have time (you wont, in fact, but you will lose far fewer marks than if your other essays are only half there). You cant be marked on what isnt there. Examiners will penalise short weight answers. Conciseness and, in particular, relevance are virtues; length and writing down everything you know are not. Select what you need to say to answer the question that is set. Examiners will penalise answers that show clear signs of downloading or dumping rehearsed material that is of no relevance to the function you have selected. There is a world of difference between an ingenious and applied answer to a question and one that essentially ignores the demand of the question posed. Remember that examiners are human beings: your answers should be legible, and, if humanly possible, interesting. Troubleshooting. Adrenalin may be a necessary adjunct to doing exams, but sleeplessness and panic are not. If you find yourself with unhelpful responses of that kind, try to make them helpful. If you panic when you look at a page, go for a walk, and keep walking until you have had three new ideas about the author in question. Keep primary texts by your bed: if you cant sleep, learn a poem or a dramatic speech by heart. This will give you an invaluable bank of detailed textual knowledge to draw on (you shouldnt quote at length in an exam, but you can pick the choices items from what you know), and is very soporific at 3 a.m. If you still cant sleep, think about the words you have just learned and what new ideas you can derive from them, about the author, the period, or the state of the language at the time for Paper 1. Prevention, however, is better still: get some exercise during the day, and do whatever you find soothing before you go to bed a bath, music, herbal tea.

5. Lectures
(i) Lecture Lists Lecture lists for both Classics and English are published each term, covering all the lectures relevant to Classics and English Finals; lecture prospectuses, outlining the subject matter of each lecture course, are also issued for Classics lectures. You should get a copy of the list and the relevant prospectuses from your tutors when you meet before the beginning of term; your tutors will have advice on which lectures to attend. The Classics lecture list includes a provisional programme for lectures for the whole academic year, which will help you to plan for the future; this, along with the current Lecture List, can be found on the home page of the Oxford Classics website at http://www.classics.ox.ac.uk (these items, like the equivalents for English, to be found similarly on the home page of the Oxford English website at http://www.english.ox.ac.uk, are too long to republish in this booklet). Do not expect lectures on a subject always to coincide with the term in which you are writing essays on that subject. Important lectures may come a term or two before your tutorials, and in the case of some less popular options they may come in one year and not be repeated in the following year: consult your tutors early about this risk. The importance of lectures varies from subject to subject within Classics. Some lectures provide an interesting alternative view of a subject. Others provide the last word on a fast developing topic, or the only satisfactory conspectus on a large subject. For some Special Subjects lectures may be the main teaching provided. It is perilous to cut the core lectures on your chosen options: although in Oxfords system lecturers do not necessarily set the University examinations that relate to the subjects they have been lecturing on, they may be consulted by those who do, and the lecture prospectuses inform examiners as well as undergraduates of the content of lectures. (ii) Lecture Questionnaires

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In Classics, a questionnaire is circulated each term by the JCC (see below) for you to fill in with your comments on the course and on all the lectures you have attended; In English, lecturers hand out questionnaires on each lecture course to attenders, and further copies are available from the English Faculty Office. It is important to fill these forms in because lecturers (who are given an indication of the comments), and indeed the Faculty as a whole, like to know whether they are providing what people need; and also because it strengthens the arm of the JCC in seeking changes and innovations. The comments made will remain totally anonymous.

6. Joint Consultative Committees for Undergraduate Matters

There are Undergraduate Joint Consultative Committees on Faculty Matters (JCCs), one for ancient history and classical literature combined, and one for English. Under their constitutions these committees contain about half a dozen Senior Members, and an undergraduate representative from every college whose students care to appoint one. The committees meet once or twice a term, and may make recommendations to their respective sub-faculties, or through them to the faculty board. They appoint two of their undergraduate members to attend sub-faculty meetings as observers. Undergraduate representation on these committees is often patchy, and it is to be hoped that circulation of this handbook will help to advertise the existence of the JCCs.

7. Complaints
Complaints about the course can be made to your tutor or to JCC representatives. Over major issues it might be worth making contact with the convener of the Joint Standing Committee for Classics and English. The Classics Faculty appoints two people each year to whom complaints about harassment of any kind may be referred. Occasionally undergraduates have complaints about their tutors. If you simply want a change because of a personality clash, see above, section 3. Many complaints can be dealt with inside the college: the Senior Tutor (or Director of Undergraduate Studies) or the Head of House are obvious people to approach, but there may well be other possibilities (e.g. another tutor with whom you have contact). If discussion within college has not resolved difficulties, then an approach might be made to a senior member of the relevant JCC. It is always possible to address complaints about any matter to the Proctors and Assessor: please see theUniversity of Oxford, Essential Information for Students.

8. Illness
If illness interferes seriously with your academic work, make sure that your tutors know the fact. If at all possible choose a Fellow or Lecturer of your college in whom to confide; otherwise it will be difficult for the college to be aware and therefore help. Help may involve: excusing you tutorials for a period; sending you home; asking the University to grant you dispensation from that terms residence (to qualify for the BA you must reside and study in Oxford for nine terms - or six if you have Senior Status - and a term for that purpose means forty-two nights); or permitting you to go out of residence for a number of terms, with consequent negotiations with your funding body. If illness has interfered with preparation for a University examination, or has affected you during the exam itself, your college must report the fact to the Vice-Chancellor and Proctors, who will pass the information to your examiners if, in their opinion, it is likely to assist the examiners in the performance of their duties. Your college also reports to the Proctors if illness or disability has prevented you from attending part of a University examination, or makes it desirable that you should be examined in a special place or at a special time. The college officer concerned is the Senior Tutor. You, therefore, must deal with your Senior Tutor, never with the examiners. Give the Senior Tutor as much notice as possible; in particular, examinations specially invigilated in a separate place (usually your college) take a lot of organising. If you anticipate difficulties (e.g. in the case of dyslexia), you should inform your tutor at the beginning of the term of the examination. Probably you will need a medical certificate; college doctors have the right University forms.

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9. Where to get help

If you find yourself in real difficulties with your work, or any other difficulties, do not hesitate to contact your tutor (or any other tutor, especially your Moral Tutor if your college appoints one). They may look busy, but they will not be too busy to discuss your problems, many of which may get miraculously better just by being discussed with someone sympathetic. Being a student these days can be difficult in non-academic ways too. Financial difficulties are widespread, and many students find themselves under stress at some time during their academic career. You may be worrying about money, you may be stressed-out at the prospect of formal examinations, or you may have other personal or academic difficulties. Dont be too embarrassed to talk about them to somebody. Oxford is full of sympathetic ears, and most problems you are likely to encounter will have been experienced by many students before you. Dont suffer in silence! College tutors are traditionally the first port of call for students with problems. Many colleges also assign you a Moral or Personal Tutor; there are likely to be Advisers or Counsellors who are available for consultation, including a Tutor for Women Students, and College Deans, Chaplains and Senior Tutors can also help. College Doctors and Nurses can be very helpful with a range of problems, including study-related difficulties. The University Counselling Service ( 70300) is very experienced in handling the problems that beset students, as is the student-run Nightline service ( 270270), and Oxford Samaritans ( 722122) are not just there as a last resort. Harassment: the University has a clear policy on inappropriate behaviour which is enshrined in a Code of Practice, part of which states: Harassment may be broadly understood to consist of unwarranted behaviour towards another person, so as to disrupt the work or reduce the quality of life of that person, by such means as single or successive acts of bullying, verbally or physically abusing, or ill-treating him or her, or other wise creating or maintaining a hostile or offensive studying, working or social environment for him or her. Unacceptable forms of behaviour can include sexual harassment, racial or religious abuse, and comments about sexual orientation. Harassment can be a disciplinary offence. The abuse of a position of authority (for example that of a tutor) is an aggravating feature of harassment. The Faculties of Classics and of English seek to provide a supportive and positive work environment for all its members and is fully committed to the implementation of the University Code. Both Faculties have appointed two Confidential Advisers who can give advice to its members and may be able to resolve the problem. The adviser for Classics is Professor Matthew Leigh, St Annes College. Those for English are Dr Helen Barr, Lady Margaret Hall, and Dr Glenn Black, Oriel College. Most colleges have similar posts. Whatever your problem, somebody in the University will know how to help you. Dont let difficulties build up: talk to someone.

10. Vacations
British degree courses are among the shortest in the world. They hold their own in international competition because they are full-time courses, covering vacation as well as term. This is perhaps particularly true of Oxford, where the official terms occupy less than half the year. Vacations have to include holiday time too; and everyone recognises that for very many students they also have to include money-earning time, which is sometimes educational in itself, but often cant be. Nevertheless vacation study is vital. You are said to read for an Oxford degree, and Classics and English is certainly a reading course: its study is to a great extent the study of books. In term you will mostly rush from one article or chapter to another, pick their bones, and write out your reactions. Vacations are the time for less hectic

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attention to complete books. Tutorials break a subject up, vacations allow consolidation. They give depth and time for serious thought, and they are also vital for reading texts for the following terms tutorial work.

11. Theses
You may offer one thesis as an optional eighth subject in C&E, as well as the possibility of one extended essay under Papers 7 or 8 in English (see I.A above). A thesis is potentially a most exciting option, but it is important to get the choice of topic right: it is all too easy to pick a subject which has interested you in a weekly essay, but proves too vast to handle profitably within the word limit. Do discuss this with your tutor at an early stage. It may well be that your first ideas will need to be refined considerably before you are in a position to submit a topic for approval. For C&E the subject of the thesis must fall in the area of Classics or English or of both and be approved by either the Faculty Board of Classics or by the Faculty Board of English. You then need to submit a title and a 100-word outline, with a letter of support from your tutor, to either the chairman of the Faculty Board of Classics or to the Deputy Chairman of the Faculty Board of English. The latest date for doing this is Wednesday of the second week of the Michaelmas Term preceding your examination; but you may wish to obtain approval before you start work on the thesis in earnest, and for many people that will mean making the application earlier, so that you can spend time in the long vacation reading widely and developing your ideas. The word limit is 6,000, excluding bibliography but including notes and appendices. In the case of a commentary on a text, any substantial quoting of that text need not be included in the word limit. You may discuss with your tutor the field of study, the sources available, and the method of presentation. The plan and the ideas must be yours, but the tutor can help you make sure it is clear, coherent, and feasible, and give advice on reading. But bear in mind that much of your reading will be material discovered by yourself. The tutor may also read and comment on a first draft. However, you have to write the finished version on your own. Make sure you allow plenty of time: almost certainly, it will take longer than you expect. Some general points: 1. 2. 3. The examiners cannot read your mind: explain in your introduction what you are going to do, and in what follows present your argument, step by step, in as sharp a focus as you can achieve. Examiners will notice if you try to fudge issues or sweep difficulties aside; it is much better to be candid about them, and to show that you appreciate the force of counter-arguments. Bad spelling and bad grammar do not help to convey an overall impression of clarity and competence; and word-processing carries dangers of its own to the inexperienced, such as halfrevised sentences leaving gibberish, sections continually re-edited rather than re-written, and spell-checks leaving errors which happen to generate new words. Your bibliography should list all works to which you refer, plus any others which you have found particularly valuable. The style for references can be modelled on any recent book in your subject.The rules for submission are reproduced in Appendix B of this Handbook; some guidance as to format is given in Appendix C. In the Finals examination, remember that you should avoid repetition in papers of material used in your thesis.If for any reason you expect to submit your thesis late, consult your Senior Tutor in good time. The Vice-Chancellor and Proctors may grant permission on payment of a late-presentation fee which they determine, but they may at the same time give permission to the examiners to reduce the mark on the thesis by up to one class. If permission is not sought, or is refused, the thesis may be rejected, or its mark may be reduced by up to one class.

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12. Examinations
Each year a board of examiners, mostly drawn from the faculties of Classics and English but including some external members, is appointed to examine Classics and English Finals. The Finals examiners are assisted by a number of assessors, also members of the faculties, who spread the load and deal with some of the specialised subjects. It is chance whether any of your own tutors examines you. If that happens, the convention is that the tutor takes no part knowingly in deciding your result; but since scripts are anonymous, the convention is rarely operative. It is your personal responsibility to enter for University examinations, and if you enter, or change your options, after the due date, you must pay a late fee and gain the examiners consent. Entry is through colleges. The forms are kept in college offices, which usually tell you when you need to apply. The deadline for Classics and English is normally in October. The starting dates of examinations dont often vary in relation to weeks of term. The examiners issue a timetable a month or two before each examination; it is posted in the Examination Schools, and probably also in your college lodge. About a month before Finals the examiners send a document to all candidates about the conduct of the examination, check this carefully and see your tutor in the event of any errors. When planning your examination strategy, it is sensible to keep before your mind the nature of the examination method which the University uses (the conventional method in British higher education over the last two centuries). If the examiners allowed you to set the questions, you could prepare good answers in a few months; by setting the questions themselves, they ensure that a candidate cannot be adequately prepared without study over the whole course. They will therefore not be interested in answers which in any way are off the point, and they will severely penalise short weight - too few properly written out answers. The examiners are looking for your own ideas and convictions, and you mustnt be shy of presenting them as your own. When you have selected a question, work out what it means and decide what you think is the answer to it. Then, putting pen to paper, state the answer and defend it; or, if you think there is no answer, explain why not. Abstain from excessive background material. Dont write too much: many of those who run out of time have themselves to blame for being distracted into irrelevance. Good examinees emerge from the examination room with most of their knowledge undisplayed. [Some further advice on answering essays and gobbet-questions is given above in Section 4] Some weeks after the written part of Finals, when scripts have been marked, the examiners may summon you to a viva voce examination. A timetable is published before the end of the written examination. Vivas are rare. Nevertheless they are part of the Finals examination, and if you are summoned and fail to appear, you are considered to have withdrawn from the entire examination unless you can satisfy the Vice-Chancellor and Proctors that the reason for [your] non-attendance was illness or some other urgent and reasonable cause'. At University examinations, including vivas, you must wear academic dress with sub-fusc clothing. Academic dress is a gown, and a regulation cap or mortar board (must be mortar board for men). Sub-fusc clothing is: for women, a dark skirt or trousers, a white blouse, black tie, black tights or stockings and shoes, and, if desired, a dark coat; for men, a dark suit and socks, black shoes, a white bow tie, and plain white shirt and collar. There are special University regulations on the typing of illegible scripts (NB: the cost of typing and invigilation shall not be a charge on university funds), on the use of typewriters in examinations, on blind, dyslexic and disabled candidates, on Jewish candidates unable to take papers on certain days, on the use (where permitted) of calculators in examinations, and on the use (where permitted) of computers in examinations; see Examination Regulations. If your native language is not English, you may request to use your own bilingual dictionary during examinations. The request must go to the Proctors through your college, usually your Senior Tutor and should be made at least a term in advance. The conventions for marking and for assigning classes will be circulated to you some time before the examination. Once the examination is over, it normally takes a little over a month for the examiners to mark and to assign classes; after the list is posted the examiners report your marks to your college, which will normally pass them on to you. If you have any problems connected with University examinations which you want to take further, never approach the examiners directly: always communicate through your Senior Tutor. This

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applies to complaints too (although every student has a statutory right to consult the Proctors directly on any matter at any time in their Oxford career). There are established conventions for the awarding of classes in the Final Honour School of Classics and English. This important information is separately listed in Appendix D. Do read this as it gives you the criteria by which your examination performance is likely to be judged.

13. The Classics Centre

The Classics Centre is at The Ioannou Centre for Classical and Byzantine Studies, 66 St Giles, OX1 3LU. Several research projects are based in the building as well as the administrative staff, including the staff of the Classics Office: Anne Smith - Classics Administrator, Marie Foster-Ali Administrative Officer (Finance), Erica Clarke - Administrative Officer (Research), Helen McGregor Administrative Officer (Academic), Ghislaine Rowe - Graduate Administrator, Susan McCann Administrative Assistant, Rachel Chapman - Examinations Secretary. The Classics Office is open from 9 a.m. to 1 p.m. and from 2 p.m. to 5 p.m., Monday to Friday. There are also seminar rooms and a lecture theatre and common room. To enter the Classics Centre you can either use the bell or the operate the swipe card access with your University card. Before you use it, you will need to have your University card registered at the Classics Centre. Please contact Susan McCann on 288391 or email susan.mccann@classics.ox.ac.uk to register your card.

14. The English Faculty Office

The English Faculty Office is in Room 9 on the ground floor, underneath the Library on the left-hand side as you go towards the seminar rooms down there. The staff (Administrative Secretary: Joan Arthur, Exams Secretary: Angie Johnson, Undergraduate Studies Officer: Francesca Heffernan, and Administrative Assistant: Charlotte Heavens) are happy to be consulted on matters of general faculty business. The Faculty noticeboards alongside the stairs down from the Library carry details of seminars, dates of examinations, and advertisements for one-off lectures in the University, conferences in other universities, and so on. It is important to keep an eye on these noticeboards. You will already be familiar with the location of the main lecture and seminar rooms in the Faculty, but a number of other rooms and facilities elsewhere in the St Cross Building are used by the English Faculty. These are described as follows: On the ground floor, to the right of Lecture Theatre 2, is a single door. This leads along a corridor, off which are several offices, numbered 1-13. These rooms provide offices for some of the English Facultys professors and university lecturers; they are also offices for members of the Faculty carrying out specific jobs, such as Chair of the Faculty Board and the Director of Undergraduate Studies.. The corridor leads (through three glass doors) into a large lobby (the Manor Road lobby). At the far side at the bottom of the stairs are two rooms. The one on the left is the History of the Book room and the one on the right is the Law and English IT Training room, which provides computing facilities for undergraduates reading these two subjects and their joint schools (see p. 21). On the next floor up, you will find the English graduate work area, where computer terminals are available, some of which may be used by undergraduates if not in demand by graduates. You need your university card in order to gain swipe-through access to this room, which can be found by taking the stairs to the right of the IT Teaching room, turning right at the top and going through the fourth door on your right. The History of the Book room, the IT Training room and the video viewing room can all also be accessed via the main entrance to the Faculty building (the one with the porters lodge). From here take the large flight of stairs down into the lecture theatre area. At the foot of the stairs you will be facing the Law Facultys Gulbenkian lecture theatre. To the right of this is a single door: go through this, down the small flight of steps: do not take the first left turn but go through the fire doors and follow the corridor to the left which will take you to the History of the Book room and the IT Training room. The stairs facing you will take you up to the video viewing room and the English graduate work area. If you have any difficulty in finding rooms, do call into the Faculty Office (see above): the staff there will be happy to help you. Alternatively, ask for directions at the porters lodge.

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15. Faculty Websites

The fullest and most up-to-date information on most features of Oxford academic life is now to be found on the faculty websites of Classics (http://www.classics.ox.ac.uk ) and English (http://www.english.ox.ac.uk). The Classics website has a link to the database of downloadable recent FHS examination papers (http://www.oxam.ox.ac.uk).

16. The Administration

The administration of Classics and of English lie with the relevant Faculty Boards - those of the Faculty of Classics and of the Faculty of English Language and Literature. These bodies are elected, like the other fifteen faculty boards in the University, by and from members of their associated faculties. The Classics faculty comprises the sub-faculties of Ancient History and Classical Languages and Literature. There is also a sub-faculty of Archaeology, which includes classical archaeology. The members of the faculties and sub-faculties are, roughly, those employed in teaching or research within the University, plus some academic-related staff : the total membership for Classics is around 70, for English around 120. The English and Classics Boards meet twice each term, the English Faculty once each term, and the constituent sub-faculties of Classics meet once or twice each term. The Classics Board and the English Board jointly make regulations concerning the examination of Classics and English, normally through the advice of the Standing Committee on Classics and English.

17. Libraries
In comparison with most universities library provision at Oxford is generous. OLIS, the Universitys on-line library information service, contains catalogues of many University and some college libraries. It is accessible from any workstation on the University network. Your college library will probably have a wide range of borrowable books and a narrow range of unborrowable periodicals. Find out how to suggest new purchases - specially important if you are studying a subject not taught by the in-college tutors. You have no access to college libraries other than your own. The English Faculty Library holds more than 100,000 books, subscribes to 200 current journals, and also has a substantial audio-visual collection. A wide range of networked databases and online services are also accessible from the library. Most of the books may be borrowed, but the library also keeps reference copies of all heavily used texts. The library has a wide range of journals. Most are catalogued onto OLIS (Oxford Libraries Information System), though the issue desk retains a printed list which can be consulted. Many are available electronically (by means of links from OLIS). You may borrow up to 8 books for a week at a time. The library is open 9.30-7.00 Monday to Friday in term and 10-1 on Saturdays (9.30-5.00 out of term, and closed on Saturdays). It is a pleasant place to work, with lots of desk space, and photocopying facilities. To register as a borrower you will need to present your university card. For full details of the services offered by the library, please consult the website at http://www.ouls.ox.ac.uk/English. The Sackler Library is a new institution which was formally opened in September 2001. It is located at 1 St John Street, close to the Ashmolean Museum: the entrance is through a doorway in a rotunda almost immediately on your right as you enter St John Street from Beaumont Street. Within its walls have been gathered a massive collection of books originally housed separately in several different libraries. It is an open-shelf lending library indispensable to anyone studying Ancient History, Archaeology and Art; it is also extremely useful to those studying Literature or Philology. The Library also houses the Classics Lending Library, specifically intended to provide for the coursework needs of undergraduates in Classical Literature, Ancient History and Archaeology. The Sackler Library hours are 9.00 a.m. - 10.00 p.m. on Mondays to Fridays, 10.00 a.m. - 5.00 p.m. on Saturdays. To be admitted to the Sackler Library you must register by producing your University Card. Self-service photocopiers are available. You may borrow up to nine items at a time from the combined collections but no more than

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six from each category/collection. The loan period for books and articles is one week and for periodicals is two days. From the Thursday of Eighth Week, books and articles from the Classics Lending Library may be borrowed for the following vacation. The Bodleian Library. In order to use the Bodleian, you must be admitted: admission is through your college office, normally on your first arrival. Much of what you want will be on the open shelves, primarily in the Lower and Upper Reading Rooms of the Old Bodleian and the Radcliffe Camera. Both are open Monday to Friday 09.00 - 22.00 ( till 19.00 in vacations) and Saturday 10.00 - 16.00 (including vacations except August and September), except for closed periods of about ten days at Christmas, four days at Easter, the day of Encaenia, and a week at the end of August. There are, too, numerous other reading rooms, each with a selection of books and periodicals on open shelves. Most of Bodleys holdings, however, are kept in stacks. Works may be ordered from stack to any reading room, but delivery time is likely to be two to three hours; so advance planning is recommended. Most of what you want will probably be on OLIS, which covers - besides other libraries - all the Bodleians accessions from 1988 and a number (especially on open shelves) from before that date. Do remember, though, that a nil from OLIS for works published - and works in a series that started - before 1988 means only that you must consult the pre-1988 catalogues in the Lower Reading Room of the Old Bodleian. You must show your University Card to gain access to any part of the Bodleian. No material may be borrowed from the holdings described in this paragraph. University-wide library information is on the World Wide Web at http://www.lib.ox.ac.uk

18. Bookshops
The main bookshops are Blackwells and Waterstones in Broad Street, and for Classics, Oxbow Books (10 Hythe Bridge Street): they all have second-hand departments. The Classics Bookshop is now in Burford (http://www.classicsbookshop.co.uk). It also may be possible to buy texts from those students in the years above you.

19. Information Technology

The English Faculty Library has several terminals which can be used for accessing resources, and the staff will help you get started. In the English Faculty building there is also a 26-seater computer room (the Law and English PC Training Room), shared with the Law Faculty, which is used for teaching but is also available for individual use at other times. (Available times are posted on the door). When it is not free you may also make use of the English graduate student working area upstairs on the first floor, with a further 20 terminals (some of which are reserved for graduate student use). On these terminals you will find a variety of word-processing packages, email, web browsers, etc. There is a swipe-card access to these areas and you will need your university card to get in. You also have the option of using the computers in your college. Most colleges have a student computer room and an IT officer who will be able to assist you with any technical questions that you might have. In some cases the IT officer will be able to assist with research questions also, i.e. how to access and use OxLIP. Most college libraries have terminals for consulting catalogues and other resources, and again staff are usually pleased to help. Again, it is important to recognise that every college will have different polices regarding computer use and assistance. If you have a computing problem, the Oxford University Computing Services (OUCS) Help Centre, located at 13 Banbury Road, provides a single point of contact for all-front line user support. It is open Monday to Friday 8.30 a.m. 8.30 p.m (Tel: 273200, email: help@oucs.ox.ac.uk). You may also wish to brush up your computing skills on some of the free training courses OUCS offers. For current information, check the website at http://www.oucs.ox.ac.uk. Any large questions must be addressed to your College IT support staff.

Registration

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To use the computers in the Faculty building, key in the user name you were given by OUCS (e.g. abcd1234) and your University ID barcode number. Further details will be posted in the relevant areas. University Rules on IT Use These are set out in Appendix D.

20. Museums
The Ashmolean Museum in Beaumont Street is second in the UK only to the British Museum in its collections of Classical vases, sculpture (including a famous Cast Gallery), coins and other objects: these are well worth getting to know whether or not you are doing one of the special subjects for which they are essential.

21. Societies
There is a University Classical Society, and details of its meetings will be sent to members each term; details of various groups connected with the study of English can be found on the English Faculty noticeboards (see p. 20 above). The Classical Drama Society also has meetings and puts on plays in the original languages and in English; there are also many societies and groups engaged in the production of English plays at all times in the Oxford year.

22. Taking your Degree

Once your name has appeared on the Classics and English Class List or Pass List, you may supplicate for the degree of Bachelor of Arts, that is, ask to be presented to the Vice-Chancellor or the Vice-Chancellors deputy, either in person or in absentia as you choose. Your college presents you, and you must apply through it. If you wish to be presented in person, you must apply many months in advance: there are about a dozen ceremonies each year (usually in the Sheldonian), but they are heavily booked. Your college will supply you with up to three tickets which admit guests to a degree ceremony, and will probably invite you, and possibly your guests, to lunch on the day. Dress is sub-fusc, and you must also make sure that you have, perhaps by loan from your college, an undergraduate gown, mortar board or cap, and also a BA gown and hood. The same procedure applies to the degree of MA, for which you may supplicate - together with or after your BA - in or after your twenty-first term from matriculation.

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23. Afterwards: Careers

The summer of your penultimate year is probably a good time to start thinking about what you will do next after Finals. This is the time when all undergraduates are normally contacted by the O.U. Careers Service. Their centre at 56 Banbury Road, Oxford OX2 6PA (tel 274646, fax 274653), with its excellent documentation and library, is at the disposal of all students, while studying and for four years after they leave Oxford. It is open from 10.00 to 17.00 on Mondays to Fridays, termtime and vacations. It has a very useful website (http://www.careers.ox.ac.uk). Some big employers recruit in the University and offer open evenings and presentations to explain their work. This can help decide if accountancy is the line for you! There are also Careers Conventions and Alternative Careers Conventions. Again a wide range of information on these events is available from the Careers Service. If you are thinking of further study, mention it to your tutors by the beginning of your final year at the latest. Most postgraduate applications (to the northern hemisphere) have to be submitted by December or January. Overseas fellowships and scholarships may have closing dates as early as November. Applications for Arts and Humanities Research Council have to be delivered by 1 May, complete with references from your Oxford tutors and evidence of at least provisional acceptance on to a named course at a named UK university: you should therefore apply to the university concerned early in the New Year - even in the case of Oxford, where faculties, not colleges, control graduate admission; and you should collect and complete an application form for the award as soon as the forms arrive in your college office, usually during February. Your initiatives are the beginning of an elaborate process which fails if not completed by 1 May.

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24. Appendix A: More Detailed Information on Some Papers in English

[For more detailed descriptions of Classics papers see the Greats Handbook, issued to all Classics and English candidates] 1. The English Language This paper is designed to develop in students, who may have no previous experience of formal language study, a critical knowledge and understanding of the English language, with particular reference to its historical development, its use as a literary medium, and the influence of cultural and social factors on its development and use. The periods covered are those from Chaucer to the present day, but you may include material from earlier periods if it is of particular relevance to your answer. The material for examination is a portfolio of work comprising two pieces of writing (each no fewer than 2000 and no more than 2500 words long, excluding bibliographies and appendices [see below]) on themes set by the examiners. This is submitted at the end of the second year but will be marked in the following year, together with the candidates other Finals papers. The themes will be issued on Tuesday of Week 6 in Trinity term and the work must be submitted to the Examination Schools by noon on Thursday of Week 8 in the same term. There are two separate sections, A (essay questions) and B (linguistic commentary and analysis). Candidates are required to choose one item from each section. A: Essay questions Questions in this section are quite broadly framed, allowing individual candidates to deal with something of particular interest to them rather than prescribing the focus too narrowly. However, in general the questions relate to two main areas of inquiry as outlined below. (Note that candidates choose one topic only to write on: the examples given below are indicative of the range of topics covered by the Paper, but not every specific topic listed here will necessarily be the subject of a separate question in Section A every year). (1) Social and cultural aspects of the development and use of English (e.g. the development and codification of a standard variety, the effects of contact with other languages, the spread of English as an international language, variation in English related to class, region, ethnicity and gender, changing attitudes to English and cultural controversies regarding its proper use). (2) Issues relating to the use of English as a literary language (e.g. definitions of literariness in language, changing conventions regarding verse form and poetic diction, theories of rhetoric and of figurative language, linguistic accounts of genre, debates on the significance of differences between speech and writing, literary uses of dialect). Candidates are expected to produce answers which include both exposition and argument, and to make reference, where appropriate and useful, to primary and secondary sources (they should provide a bibliography of the sources they have used). It should be noted however that candidates will not be judged on the quantity of their reading, and that no special credit will be given for lengthy lists of sources consulted or for extensive quotation from published sources. B: Linguistic commentary and analysis In this section candidates will be directed to make their own choice of two or more texts or passages of text (up to a maximum of 100 lines of verse or prose in all), and to comment in detail on specified aspects of the language of their chosen material. Generally the task will involve commenting on (both describing and giving reasons for) the linguistic similarities and differences between different texts or passages. Some questions will invite you to choose texts of the same kind from different periods (e.g. two sonnets or two poems on the same subject written 200 years apart); others will invite you to choose texts from different genres or registers, which may include non-literary examples (e.g. a poem and an advertisement; a text message and a letter; an eyewitness account and a news report of the same event). You will be assessed not only on the quality of your analysis, but also on your selection of materials for analysis. Though the textual material chosen for analysis may total up to 100 lines, candidates will find it possible to produce a good analysis using texts of far less than this length. 100 lines should therefore be regarded only as a maximum, and not as a norm. To enable the examiners to make a full and fair assessment of your work, copies of each text or passage analysed must be included in an appendix to your portfolio. If secondary sources have been used, a bibliography should also be provided.

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In the commentary and analysis section you are expected to demonstrate your ability to apply relevant linguistic knowledge and skills (i.e. the task is not to produce a piece of purely literary criticism). While exactly what is relevant will vary depending on the task and the texts you have chosen, and while very detailed technical linguistic knowledge is not required, it is expected that you will draw as appropriate on some knowledge of the following: The grammatical structure of the English language (and the terminology generally used to describe this, including basic expressions like noun, verb, subject, tense, inflection). The history of the English language: an understanding of how and why English vocabulary, word meanings, spelling and grammar (morphology and syntax) have changed over time. Variation in English: an understanding of the characteristics of different geographical and social dialects, registers, media, genres and styles. Since the assessment format allows you to consult library and electronic materials, it is also expected that your commentary will show you have made appropriate use of key reference sources and tools for the study of the English language: for instance if you are dealing with issues of word origins, word meaning and/or semantic change you should know how to make effective use of the Oxford English Dictionary. Presentation The guidelines on the style and format of Paper 1 portfolios (e.g. what kind of paper and spacing to use, how to set out bibliographies) are the same as those for extended essays and optional theses (see Annexe 1 of this handbook). You are also advised to read and take note of the Facultys policy on plagiarism (p. 27). Note that portfolios must be typed/word processed, and that the exact word length of each piece of writing must be indicated. Teaching Teaching for Paper 1 is a mixture of college-based tutorials and classes in Trinity term (the same term in which the portfolio is submitted) and lectures provided by the Faculty, most of which are in the preceding Hilary term. Lectures address both general issues (e.g. how to tackle analysis and commentary questions, how to use reference sources) and more specific topics in the history, structure and use of English. Students are strongly advised to make use of these lectures, which are intended to ensure that before they begin preparing to write on specific topics they have developed some general knowledge and skills. 2. Shakespeare. Shakespeare has often been singled out as the greatest writer ever to have worked with the English language, yet the exact scale and nature of his achievement have been intensely debated from his lifetime onward. Paper 2 gives students an opportunity to think critically about the whole range of his output and about his reception, from the earliest history plays through to his last known (and collaborative) work, The Two Noble Kinsmen. Candidates are encouraged to demonstrate knowledge both of the range of Shakespeares writings and of the detail of specific plays. Often students will choose to make at least one of their examination answers broadly comparative, and another or others more narrowly focused. (The examination paper requires that at least two answers deal with more than one work.) The style of the paper enables a wide variety of approaches. Candidates may be invited to think in terms of genres and modes (comedies, histories, tragedies, and their complex intermixings; the sonnets and the other non-dramatic poems; classical plays; romances; problem and late plays; and so on). Alternatively, they may be prompted to pursue a more topic-based approach. A by-no-means exhaustive list of issues regularly addressed is: the nature of history; whether certain of the history plays support or implicitly subvert the Tudor myth; how, and how far, the classical plays are indicative of contemporary Elizabethan and Jacobean political concerns rather than those of ancient Rome or Greece; Shakespeares engagements with classical and later literary models; the relation of his writings to works by contemporary dramatists and poets; cross-dressing and disguise; kingship and republicanism; justice and the law; the role of the fool; music; masques; plays within plays; Englishness and foreignness; religion; gender; kinship; love; lust; revenge; madness; death. The paper also generally provides opportunities to think critically about the history of performance (stage, film, and/or television), about specific interpretative approaches to Shakespeare, and about questions of disputed authorship, collaboration, textual variance, and revision. 3. English Literature from 1100-1509: Two papers, 3(a), Medieval English Literature, enables you to study British texts and authors from the early Middle Ages to the early Tudor period. You will study

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Chaucer and other major fourteenth-century writers such as Langland, the Gawain-poet and Gower, but it is also a good idea to study early texts such as the Owl and the Nightingale or Ancrene Wisse, and late medieval writers such as Malory and the Older Scots poets (e.g. Henryson and Dunbar) in order to gain a deeper sense of the different types of writing produced during changing cultural and historical circumstances. The paper also contains a rich range of genres in verse and prose, including the lyric, ballad, romance, devotional and mystical writing, and drama. The examination paper includes both questions on specific texts or authors and more generally phrased questions. Most colleges teach this paper in the first two terms of your second year. 3 (b) is a separate two-hour commentary paper, designed to ensure that your study of Middle English literature is accompanied by a good acquaintance with its language and registers. So alongside tutorial essays for 3 (a) you will be doing commentary work on various set texts. In the exam you have to write one commentary on a choice of two passages set from Chaucers Troilus and Criseyde (ed. Benson), and a second from any one of Ancrene Wisse Books 6 and 7 (ed. Shepherd) Langland, Piers Plowman, B text, Passus XVI-XX (ed. Schmidt); Pearl (ed. Gordon); Malory, Morte Darthur, Books XVIII-XXI (ed. Vinaver); and Henryson, Fables (ed. Fox). Commentaries should be written as consecutive prose (with paragraph divisions, of course), and not as a set of comments in annotated form. You may wish to treat issues of content and style separately or in an integrated discussion, but remember that the style of a passage will often have a significant relation to its subject matter. Bear in mind too that a commentary is not a miniature essay, but a different kind of exercise in which you need to demonstrate both the capacity to see the passage whole and to deal with its detail in a discriminating way. While you will be expected to place the passage in context, you should do this in a focussed manner, not using this as an opportunity to write on matters extraneous to the passage in front of you. Always approach your commentary by asking yourself the best way of organising the discussion of your material, as passages will vary greatly in kind. In the exams, you may write on Troilus and your other commentary author on paper 3(a) as well as on 3(b), but if you do, you should be very careful to avoid duplication of material. 4. English Literature from 1509 to 1642. This paper spans the period from the accession of Henry VIII to the start of the Civil War: it includes Skelton at the beginning and Miltons early poems (but not his prose) at the end. This period is rich in many famous authors: poets include Spenser, Sidney and Donne, dramatists such as Webster and Jonson are popular and prose writers include Nashe, More and Bacon. Students also have the opportunity to study lesser known authors: a wealth of seventeenthcentury poets among others, can be studied on this paper and in recent years womens writing has commanded increasing critical attention. You may not write answers primarily or exclusively on Shakespeare in this paper. The examination paper includes author-specific questions and themed questions which allow students to write on more than one author or to address issues of broad literary interest in the period. Students have ample opportunity to relate their study of literature to its historical and cultural context, and to pay attention to matters of form and genre. Colleges generally teach this paper in the first or second terms of the second year, and there is lecture provision for this paper throughout both those terms. 5. English Literature from 1642 to 1740. In this paper you may address the writings of the period 1642 to 1740 by author, theme or genre. Teaching is designed to give you a broad sense of the major forms and styles of the period and to introduce you to key texts, as well as enabling you to explore less wellknown materials. The period band of the paper covers Miltons prose and later poems (including Paradise Lost, Paradise Regained, and Samson Agonistes), Behn, Marvell, Rochester, Dryden, drama of the Restoration (1660-88), Bunyan, Defoe, Swift, Pope; the boundaries include Davenant, Hobbes, Herrick, Waller, Crashwaw and Lovelace at the beginning and Lady Mary Wortley Montagu and James Thomson at the end. Eliza Haywood may be written about on this paper or on paper 6, depending on the dates of the works by her that receive your main focus. Colleges tend to teach this paper in the second or third term of the second year, and there are regular lecture series covering politics and literature in the period, womens writing and the drama, as well as the special authors for paper 7 that fall within the period boundaries. 6. English Literature from 1740 to 1832. In this paper you may study texts from the period 1740 to 1832 by author, theme, genre, or historical context. Teaching is designed to give you a sense of the major literary and cultural developments, as well as an opportunity to explore both well-known and less

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well-known materials in a very diverse period. In terms of the better-known figures the period covers novelists such as Richardson, Fielding, Sterne, Burney, Austen, Edgworth, and Mary Shelley; poets such as Blake, Wordsworth, Coleridge, Byron, Percy Shelley, Keats; and non-fiction prose writers such as Hazlitt and De Quincey. Mid-century writers such as Samuel Johnson and the poets Gray, Goldsmith, and Smart are also represented, but work on any of the myriad other writers in the period is very much encouraged. Genres such as the Gothic novel or the fiction of sensibility are other popular subjects. Themes such as the sublime, ideas of national identity, and the sense of the past, or historical issues such as the literary response to the French Revolution, or even the exchanges between political writers such as Burke and Paine are also taught for this paper. The chronological boundaries are loosely set at Fielding at the beginning and Clare at the end. Colleges usually teach this paper in the last term of the second year. Regular lectures covering different aspects of the literature of the period take place in this term as well as sometimes in earlier terms. 7. Special Authors: You pick one author from one of the groups below. The authors for study will rotate (starting 3 years after the new list begins to be taught), The list for a given examination year will be published in the Gazette two years before the authors on it are to be available for examination so that everyone will know by the beginning of their second year which authors will be available for study in their final year. (a) The Beowulf Poet, Alfred, The Exeter Book (b) Chaucer, Langland, The N-Town Cycle (c) Spenser, Milton, Jonson (d) Marvell, Dryden, Eliza Haywood (e) Wordsworth, Austen, Byron (f) Tennyson, Dickens, Wilde (g) Conrad, Yeats, Woolf (h) Walcott, Roth, Friel (i) Emerson, Dickinson, Faulkner You can't answer questions on your chosen author(s) in the examinations for the period papers. The work is assessed by an extended essay of between 5,000 and 6,000 words written late in Michaelmas Term of the third year which will be due at noon, at the Examination Schools, on Thursday of 8th Week, Michaelmas Term (see above), so teaching is normally done in the first five weeks of that term. Reading lists for Special Authors are available on the English Faculty web-site. 8. Special Topics The different options give you the chance to explore a particular interest or to develop in more detail work on genres that you have studied in your tutorials for the period papers, or to do something completely new (like American Literature). Do note, however, that you need to avoid duplication when it comes to examinations: you mustnt write in the period papers on authors you have chosen for this paper. Your work for this paper must (to quote the Regulations) 'show such historical and/or contextual knowledge as is necessary for the profitable study of the periods, genres, or authors concerned', and you must show knowledge of more than one writer. The Finals examiners will penalise anyone who writes only on a single author, or text, on this paper. The options are generally taught in the second term of the third year. Most are assessed by means of a 5000-6000 word extended essay written at the end of that term (the exceptions may be for the 'syndicated options' offered and for special options available from the Course II list). You yourself devise the title of the essay, though you must submit it to the Chair of Examiners for approval, by 5 p.m. on Thursday of fourth week of Hilary Term of your third year The essays will be due on the Tuesday of 9th Week, Hilary Term, at noon in the Examination Schools. (a) Fiction in English: This paper covers prose fiction in English in the period from the origins and rise of the novel to the present day. In addition to writing about the novel, you may also write about related forms of fictional prose writing, such as the novella and short story. You may write on more than one form of fiction, and you must write on the work of at least two authors. (b) Drama in English: You may if you wish choose to concentrate on the drama of a particular period. You must write on the work of at least two playwrights. You may not answer on Shakespeare on this paper. You may choose this option even if you did critical theory in Mods.

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(c) Prose in English: This paper covers prose in English from the Old English period until the present day. Candidates may, if they wish, concentrate on a particular historical period, but their essay must show knowledge of more than one author. The main focus of the paper is intended to be non-fictional prose. Examples of the kinds of prose on which candidates will be expected to write include: religious; historical; philosophical; scientific; essays; instructional or exemplary texts; periodical literature or journalism; travel writing; biography and autobiography; letters; diaries; translations, including Biblical translation. (d) Poetry in English: This paper is intended to foster the study of poetry in English primarily in generic contexts. Examples of genres you may study include the following: lyric, epic, romance, pastoral, satire, elegy, ballad, dramatic monologue, ode, debate poetry, epyllion, nonsense verse, prose poetry. You may also argue for the significance of other generic terms: monodrama, for example, as distinct from dramatic monologue, or eclogue as distinct from pastoral. Conversely, you may propose the essential identity of what might usually be thought of as two distinct genres (for instance, lyric and dramatic monologue). Your essay should, however, concentrate on one chosen genre, unless you are undertaking comparative work of the kind indicated above. You may write on works from the Old English period until the present day. While you may decide to concentrate on the use of a genre in a particular historical period, your essay should show substantial awareness of the persistence of the genre beyond that period. You should focus on poetry in English, but you may if you wish bring into consideration examples of your chosen genre in other languages. (e) American Literature from its beginnings to the present day: There are no specified authors, but you do need to develop an awareness of the American cultural and historical context for your chosen writers. Remember in choosing the writers you want to work on that you will need to write a coherent extended essay at the end; it helps therefore to limit your work to, for example, a particular genre or period or to a topical or gendered grouping of writers. (f) Women's Writing: This paper covers both writing by women from the early Middle Ages until the present day in feminist theory. You may concentrate on a particular period, but you must show knowledge of at least two women writers. If you are working on medieval literature you may discuss writers using European languages other than English and you may cite their works in translation. In the post-medieval period you may discuss American womens writing or post-colonial womens writing in English. Again in the post-medieval period up to one-third of your essay may deal with womens writing in languages other than English or in translation. As well as novels, drama, and poetry you may also write about other types of writing, such as letters and journals, adopting whatever theoretical approach seems to you most appropriate. Just as in the American literature option, you are expected to be cognizant of the American-ness of the writers, here you are expected to have considered these writers status as women writers. If you wish, you can concentrate on feminist theoretical writing, focusing on subjects such as women and language, feminism and psychoanalysis, women as reader, transmission and canonicity in relation to womens writing, constructions of femininity, gender and genre, the relation of gender to race, ethnicity, sexuality, and class. Again, you should show knowledge of at least two feminist theorists. (h) Postcolonial Literature: This paper provides an introduction to postcolonial studies and seeks to cover major topics of postcolonial literature, examples being: oppositional (anti-colonial) discourse; colonial discourse analysis; questions of gender in relation to empire, nation, and globalisation; diaspora, cosmopolitanism and identity; the problems of decolonisation. Topics will be addressed through a combination of literary and other kinds of texts, including a component of some of the major postcolonial theoretical texts. (j) Any one of the Syndicated Options. These will be published in the University Gazette by the beginning of the fifth week of the Trinity term one year before the exam. Details of the content and format of all syndicated options are available from the Faculty Office.

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COURSE II PAPERS FROM ENGLISH A1 English Literature 600-1100 This paper will expect you to have covered a wide range of Old English literature in prose and verse, and to be able to locate it within its historical and cultural contexts. You can work in more detail on texts or authors you have already studied in Mods, but there are many other new works to be studied too. The paper will include both general questions which you can answer with reference to one or more authors or texts, and questions on specific authors or texts. A5 The History of the English Language to c. 1750 This paper covers the development of the written language from the earliest records to c. 1750, with particular attention to the emergence of a standard form. The aim of the paper is to trace the gradual evolution of an agreed written standard, rather than to require detailed linguistic knowledge of specific texts. The structure at all periods of the phonological and morphological systems (though not details of individual texts), vocabulary, syntax and word order will be covered. In all periods a general understanding of the dialectal diversity will be regarded as a necessary background to comprehension of the formation of the language publicised by the early printers. The modifications of this language, particularly in regard to the elimination of variants and the establishment of the modern English inflexional and verbal systems, in the sixteenth and seventeenth centuries, will be included. The paper will require you to write two commentary passages and two essays. You can choose your commentaries from either i) passages of biblical translation from a) the West Saxon Gospels, ed. Liuzza; b) the later version of the Wycliffite Bible, ed. Forshall and Madden; c) Tyndale's New Testament, original spelling edition, ed.W. Cooper) and d) the King James version.; or ii) passages from four of the following authors or texts: lfric; the twelfth-century continuations of the Peterborough Chronicle; Chaucer; Caxton; Bacon; Johnson. You will be expected to comment on changing inflexions, syntax, vocabulary, word order, semantics, orthography, phonology. The essay questions will provide an opportunity for study of a wide range of issues in the development of the written language before 1750 (and in the case of lexicography up to Johnson's Dictionary). B1 Old English Philology (2 extended essays of 3,000 words each in MT; or examination) B2. Middle English Dialectology (2 extended essays of 3,000 words each in HT; or examination) B3 Modern English Philology (2 extended essays of 3,000 words each in MT; or examination) B4 Linguistic Theory (examination) B7 (a)Medieval and Renaissance Romance (one extended essay of 5,000-6,000 as described for Course I Paper 8 above) B7 (b)Scottish Literature pre-1600 (one extended essay of 5,000-6,000 as described for Course I Paper 8 above) B10 The Archaeology of Anglo-Saxon England (examination) B11 Gothic (examination) This paper requires translations and two essays; translation will be required from three passages; literary comment is not required, but some linguistic commentary may be asked for, depending on the passages set. B12 Old Saxon (examination) This paper requires translation and comment work and two essays: translation will be required from two passages and comment will be required from one further passage. B13 Old High German (examination) This paper requires translation and comment work from three passages, and two essays. B14 Middle High German (examination) This paper requires translation and comment work from three passages, and two essays. B15 Old Norse (examination) This paper requires translation and comment work from three passages, and two essays. B16 Old Norse Texts (examination) This paper may only be offered by those who sit the Old Norse paper. It requires translation and comment work from three passages, and two essays. B18 Old French Language 1150-1250 (examination) This paper requires translation and comment work from three passages, and two essays.

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B19 Medieval French Literature 1100-1300 (examination) The paper will be in three sections, and you must answer one question from each section. Translation is not required. (a) Commentary; (b) an essay on one of the three set texts; (c) thematic and generic questions requiring knowledge of the other texts. B20 Medieval French Literature 1300-1500 (examination) The paper will be in three sections, and you must answer one question from each section. Translation is not required. (a) Commentary; (b) an essay on one of the three set texts; (c) thematic and generic questions requiring knowledge of the other texts. B21 Medieval Welsh Language and Literature I (examination) The paper requires translation and comment work on three passages, and two essays. You can't take both this paper and B22. B22 Medieval Welsh Language and Literature (examination). The paper requires translation and commentary work on three passages, and two essays. This paper is intended for candidates who have taken Welsh A level or equivalent papers in Scottish Highers or the International Baccalaureate. B23 Old and Early Middle Irish Language and Literature (examination) The paper requires translation and comment work on three passages, and two essays. B25 The Latin Literature of the British Isles Before the Norman Conquest of England (examination)

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Recommended and set editions for specific course II papers B1 Old English Philology. No texts are prescribed, but those in Sweet's Anglo-Saxon Reader (rev. Whitelock, 1967), nos ii , vi-viii, xiv, xvi, xxxii-xxxviii, indicate the range of dialects to be covered. B2 Middle English Dialectology . No texts are prescribed, but those in Burrow and Turville-Petre (eds), A Book of Middle English, nos 2-4, 8-9, 11, 14, and Sisam (ed.), Fourteenth-Century Verse and Prose no. 10, indicate the range of dialects to be covered. B3 Modern English Philology No texts are prescribed. M. Grlach, Introduction to Early Modern English (1991) and Nineteenth-Century English D. Burnley, The History of the Language: A Sourcebook (1992), and B. Cusack (ed.), Everyday English 1500-1700 (1998) provide useful selections of primary materials. B11 Gothic Three questions must be answered, including a compulsory translation set from passages from the surviving parts of the translation of St Mark's gospel and of II Timothy, as printed in J. Wright, Grammar of the Gothic Language (2nd edn, rev. O.L. Sayce, 1954); linguistic commentary may be required. B12 Old Saxon You will be expected to have made special study of the language of the Heliand, and to show detailed knowledge of its text from l. 3516 to the end (l. 5983) as edited by O. Behagel (9th edn. rev. B. Taeger, 1984), and of the Genesis fragments, as edited by A.N. Doane (1991). B13 Old High German The prescribed texts are W. Braune, Althochdeutsches Lesebuch (17th edn. by E.A. Ebbinghaus): V Gesprche, VIII Isidor, cap. iii; XX Tatian, subsections 2, 4, and 7; XXIII Notker, subsections I and 13; XXVIII Hildebrandslied; XXIX Wessobrunner Gebet; XXX Muspilli; XXXII Otfrid, subsections 7 (Missus est Gabrihel angelus) and 21 (De die judicii); XXXVI Ludwigslied; XLIII Ezzos Gesang. Strasbourg version only. B14 Middle High German . The prescribed texts are Hartmann von Aue, Iwein, ll. 945-2445, 55418166. Walter von der Vogelweide, Lieder, ed. F. Maurer, UTB 167 (Munich, 1982) nos 2, 5, 8, 14-18, 21, 23, 26-8, 30, 32-41, 52, 54, 58-60, 62, 68, 79, 84, 89. Gottfried von Strassburg, Tristan. No edition is prescribed. Since line numbering varies, the lines prescribed for detailed study are given first according to ed. Bechstein/Ganz, followed in brackets by the equivalent numbering in Reclam: l. l-242 (1-244); 2757-3754 (2759-3756); 4545-5066 (4547-5068); 11371-878 (11367-874); 15051-768 (15047-764); 1668317662 (16679-17658). Johannes von Tepl, Der Ackermann aus Bhmen (Reclam edn.). B15 Old Norse Set texts are slendingabk; Hrafnkels saga Freysgoa; Skrnisml; Hamisml; Snorri's Edda (ed. Faulkes, Oxford, 1982): Gylfaginning, ch. 43 to end. B16 Old Norse Texts You will be expected to have made a special study of the following: Auunar ttr; Vga Glms saga; Vlundarkvia; Atlakvia. You will be expected to have read but not to have studied in detail, Fstbrra saga; Gsla saga Srssonar; Hervarar saga; Gylfaginning; Vlusp; Hvaml. B18 Old French Language Three questions must be answered, including one compulsory translation and commentary question on passages set from La Vie de S. Alexis, ed. C. Storey; La Chanson de Roland, ll. 1-660, ed. F. Whitehead; Piramus et Tisb, ed. C. de Boer; La Folie Tristan d'Oxford, ed. E. Hoepffner (2nd edn.), Aucassin et Nicolette, ed. M. Roques; La Seinte Resureccion (ANTS 4). B19 Medieval French Literature 1100-1300 The following editions are recommended: La Chanson de Roland, ed. F. Whitehead, rev. T. Hemming (Bristol, 1993); Yvain, ed. T.J.B. Reid (Manchester, 1942); La Mort le roi Artu, ed. J. Frappier (Paris, 1954); Le Roman de la Rose, ed. M. Roques (Paris, 1970); Broul, Tristan, ed. A. Ewert (1939-70); Marie de France, Lais, ed. L. Harf (Paris, 1990); Charroi de Nmes, ed. D. McMillan (Paris, 1978); Aucassin et Nicolette, ed. J. Dufournet (Paris, 1984); Renart, Le Lai de l'ombre, ed. S. Mjean-Thiolier, in Nouvelles courtoises (Paris: Lettres Gothiques, 1997) ; Wace, Brut, ed. I.D.O. Arnold (Paris, 1938-40); Bodel, Le Jeu de Saint Nicolas, ed. A. Henry (Geneva, 1981); Villehardouin, La Conqute de Constantinople, ed. J. Dufournet (Paris, 1969); Le Roman de Renart, ed. M. Roques (Paris, 1967).

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B20 Medieval French Literature 1300-1500 The following editions are recommended: Le Jugement du roy de Behaigne, ed. J Wimsatt and W. Kibler (Atlanta, 1988); de Pisan, Epistre au dieu d'amours, ed. T. Fenster (Binghampton NY, 1995); Villon, Le Testament, ed. C. Thiry (Paris: Lettres Gothiques, 1991); Machaut, La Fontaine amoureuse, ed. J. Cerquiglini (Paris, 1993); Machaut, Le Livre du Voir-Dit, ed. P. Paris (Paris, 1875); Chartier, La Belle Dame sans Mercy, in Poetical Works. ed. J. Laidlaw (Cambridge, 1974); Chartier, La Quadrilogue invectif, ed. E. Droz (Paris, 1923); Charles d'Orlans, ed. P. Champion (Paris, 1923); Les Quinze Joies de mariage, ed. J. Rychner (Geneva, 1963). B21 Medieval Welsh Language and Literature 1 Three questions must be answered, including one compulsory translation and commentary question from passages from Pwyll Pendeuic Dyuet , ed. R.L. Thomson ( 1957, repr. 1972), Branwen uerch Lyr , ed. D. S. Thompson (1961, repr. 1968), Poems of the Cywyddwyr, ed. E.I. Rowlands (1976) nos 1, 2, 4, 7, 13, 19, 21-4, Gwaith Dafydd ap Gwilym, ed. T. Parry (1979), nos 2, 23, 26, 27, 42, 48, 84, 87, 114, 117, 122, 124. This paper may not be taken by candidates offering B22 Medieval Welsh Language and Literature II. B22 Medieval Welsh Language and Literature 2 Three question must be answered, including one compulsory translation and commentary question from passages from Pedeir Keinc y Mabinogi, ed. I. Williams (1930), Culhwch and Olwen, ed. R Bromwich and D.S. Evans (1992), 'The Juvencus Poems', ed. I. Williams, The Beginnings of Welsh Poetry (1980, 1990) Gwaith Llywelyn Fardd I ac Eraill o Feirdd y Ddeuddegfed Ganrif, ed. M.E. Owen et al. (1994), nos. 6-15, 18-21, Poems of the Cywyddwyr, ed E.I. Rowlands (1976), nos. 1, 2, 4, 7, 13, 19, 21-4, Gwaith Dafydd ap Gwilym, ed. T. Parry (1979), nos 2. 13, 23, 36, 27, 28, 42, 48, 84, 87, 114, 117, 122, 124. They will be expected to have read but not to have studied in detail Breudwyt Ronabwy, ed M. Richards (1948), Peredur, ed. G. Goetinck (1976), Gwaith Iolo Goch, ed. D. R. Johnston (1988). This paper may not be taken by candidates offering B21 Medieval Welsh Language and Literature I. B23 Old and Early Middle Irish Language and Literature Three questions must be answered, including one compulsory translation and commentary question from passages from Stories from the Tin, ed. J. Strachan and O. Bergin (1944), Scla Mucce Meic Dath, ed. R. Thurneysen (1951), Longes mac nUislenn, ed. V. Hull (1949), Early Irish Lyrics, ed. G. Murphy (1956), nos 1-3, 5. B25 The Latin Literature of the British Isles before the Norman conquest of England Texts are fully set out in the Regulations.

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25. Appendix B: Detailed Prescriptions for Papers in the Final Honour School of Classics and English from Examination Regulations 2007 School of Classics and English from Examination Regulations 2007
SPECIAL REGULATIONS FOR THE HONOUR SCHOOL OF CLASSICS AND ENGLISH A 1. The Honour School of Classics and English shall be under the joint supervision of the Boards of the Faculties of Classics and English Language and Literature and shall consist of such subjects as they shall jointly by regulation prescribe. The boards shall establish a joint committee consisting of three representatives of each faculty, of whom at least one on each side shall be a member of the respective faculty board, to advise them as necessary in respect of the examination and of Honour Moderations and of the Preliminary Examination in Classics and English. 2. No candidate shall be admitted to the examination in this school unless he has either passed or been exempted from the First Public Examination. 3. Candidates who have been adjudged worthy of Honours or who have satisfied the moderators in Honour Moderations in Classics will not be permitted to enter their names for the examination. 4. The Chairman of the Examiners for the Honour School of English Language and Literature shall designate such of the number of the examiners as may be required for the English subjects of the examination for the Honour School of Classics and English, and the nominating committee for examiners appointed by the Boardof the Faculty of Classics shall nominate such of the number of examiners as may be required for the Classics subjects of the examination. When these appointments shall have been made the number of examiners shall be deemed to be complete. Candidates who have been adjudged worthy of Honours or have satisfied the examiners in Honour Moderations in Classics will not be permitted to offer the course. NB With the exception of those taking Paper 4. (xvii), all candidates must take seven papers: A, two in English, B, two in Classics; and C, three linking both sides of the School. (Candidates taking paper 4. (xvii) must take two papers in English, two in Classics, and two linking both sides of the School.) They may offer in addition either an eighth paper selected from papers 2 and 4, or a thesis, provided that a candidate may not offer more than one option from either 2 (d) or 2 (e). Each paper will be of three hours duration except where otherwise indicated. [Note that paper 4. (xvii) should be (xxii); it refers to Second Classical Language.] A. ENGLISH I. One of the following periods of English literature (periods between 1100 and 1832 are as specified for the Honour School of English Language and Literature; the periods 1832 1900 and 1900 present day are available as a three hour paper to candidates for the Honour Schools of Classics and English and English and Modern Languages only): 1100 1509 (one paper of three hours and one paper of two hours), 1509 1642, 1642 1740, 1740 1832, 1832 1900, 1900 present day, provided that candidates who have passed Honour Moderations in Classics and English may not offer the period 1509 1642 and candidates who have passed the First Public Examination in English Language and Literature, or any subject and English, may not offer whichever of the periods 1832 1900 or 1900 present day they have already offered in that examination. Candidates will be given opportunity to show their knowledge of classical influence. 2. One of the following as specified for the Honour School of English Language and Literature: (a) a second of the periods specified in I above (b) Shakespeare (Course I, Subject 2) (c) the English Language (Course I, Subject 1) (d) any of the Special Authors from the list for the year concerned which will be published in the

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University Gazette by the beginning of the fifth week of the Trinity Term two years before the examination (Course I, Subject 7) (extended essay) (e) Special topics subjects (a), (b), (c), (d), (e), (f), (h), (j) (Course I, Subject 8) (extended essay). (f) The History of the English Language to c.1750 (Course II, A.5) (g) English Literature, 600-1100 (Course II, A1) (h) Old English Philology (Course II, B1) (i) Middle English Dialectology (Course II, B2) (j) Modern English Philology (Course II, B3) (k) Linguistic Theory (Course II, B4) (l) The Archaeology of Anglo-Saxon England, seventh to ninth centuries AD (Course II, B10) (m) Gothic (Course II, B11) (n) Old Saxon (Course II, B12) (o) Old High German (Course II, B13) (p) Middle High German (Course II, B14) (q) Old Norse (Course II, B15) (r) Old Norse Texts (Course II, B16) (s) Old French Language I150-1250 (Course II, B18) (t) Medieval French Literature 1100-1300 (Course II, B19) or Medieval French Literature 1300-1500 (Course II, B20) (u) Medieval Welsh Language and Literature I (Course II, B21) or Medieval Welsh Language and Literature II (Course II, B22) (v) Old and Early Middle Irish Language and Literature (Course II, B23) (w) The Latin Literature of the British Isles before the Norman conquest of England (Course II, B25) (x) Medieval and Renaissance Romance (Course II, B7(a)) (y) Scottish Literature pre-1600 (Course II, B7(b)) (Restrictions: Candidates who offer Shakespeare or Special Authors will not be permitted to answer in other papers questions on the authors chosen). B. CLASSICS 3. Either (a) Greek Literature of the Fifth Century BC (one paper of three hours (commentary and essay) with an additional paper (one-and-a-half hours) of translation) [Honour School of Literae Humaniores, subject III. 1] or (b) Latin Literature of the First Century BC (one paper of three hours (commentary and essay) with anadditional paper (one-and-a-half hours) of translation) [Honour School of Literae Humaniores, subject III. 2]. 4. One of the following. (It cannot be guaranteed that university lectures or classes or college teaching will be available on all subjects in every academic year. Candidates are advised to consult their tutors about the availability of teaching when selecting their subjects.) (i) Either (a) Greek Literature of the Fifth Century BC or (b) Latin Literature of the First Century BC (whichever is not offered under 3 above). (ii) (iii) (iv) (v) (vi) (vii) (viii) (ix) (x) (xi) [Honour School of Literae Humaniores, subject III. 3] Historiography [Honour School of Literae Humaniores, subject III.4] Lyric Poetry [Honour School of Literae Humaniores, subject III.5] Early Greek Hexameter Poetry [Honour School of Literae Humaniores, subject III.6] Greek Tragedy [Honour School of Literae Humaniores, subject III.7] Comedy [Honour School of Literae Humaniores, subject III 8] Hellenistic Poetry [Honour School of Literae Humaniores, subject III.9] Cicero [Honour School of Literae Humaniores, subject III.10] Ovid [Honour School of Literae Humaniores, subject III.11] Latin Didactic [Honour School of Literae Humaniores, subject III 12] Neronian Literature

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(xii) [Honour School of Literae Humaniores, subject III.13] Euripides, Orestes: papyri, manuscripts, text. (xiii) [Honour School of Literae Humaniores, subject III 14]. Either (a) Seneca, Agamemnon: manuscripts, text, interpretation Or (b) Catullus: manuscripts, text, interpretation. Note: University classes will be given for only one of these options each year. (xiv) [Honour School of Literae Humaniores, subject III.15] One of the following: (a) The Conversion of Augustine (b) Byzantine Literature (c) Modern Greek Poetry (xv) [Honour School of Literae Humaniores, subject III.16] Thesis in Literature (xvi) [Honour School of Literae Humaniores, subject V.1]. Greek Historical Linguistics (xvii) [Honour School of Literae Humaniores, subject V.2]. Latin Historical Linguistics (xviii) [Honour School of Literae Humaniores, subject V.4] Comparative Philology: Indo-European, Greek, and Latin. (xix) [Honour School of Literae Humaniores, subject V.3]. General Linguistics and Comparative Philology (Candidates offering section (a), General Linguistics, may not also offer the English subject Linguistic Theory and may not answer a question from Section A of the English subject The English Language.) (xx) Any one of the subjects 130, 131, 132, 133, 134, 135, as specified in Regulations for Philosophy in some of the Honour Schools. (xxi) Either (a) The Early Greek World and Herodotus' Histories: 650 to 479 BC [Honour School of Literae Humaniores, subject I. 1]. or (b) Thucydides and the Greek World: 479 to 403 BC [Honour School of Literae Humaniores, subject I. 2]. or (c) The End of the Peloponnesian War to the Death of Philip II of Macedon: 403 336 BC [Honour School of Literae Humaniores, subject I. 3]. or (d) Polybius, Rome and the Mediterranean: 241 146 BC [Honour School of Literae Humaniores, subject I. 4]. or (e) Republic in Crisis: 146 46 BC [Honour School of Literae Humaniores, subject I. 5]. or (f) Rome, Italy and Empire from Caesar to Claudius, 46 BC 54 AD [Honour School of Literae Humaniores, subject I. 6]. or (g) Athenian Democracy in the Classical Age [Honour School of Literae Humaniores, subject I. 7]. or (h) Alexander the Great and his Early Successors [Honour School of Literae Humaniores, subject I. 8]. or (i) The Hellenistic World: Societies and Cultures c. 300 100 BC [Honour School of Literae Humaniores, subject I. 9]. or (j) Cicero: Politics and Thought in the Late Republic [Honour School of Literae Humaniores, subject I. 10].. or (k) Politics, Society and Culture from Nero to Hadrian [Honour School of Literae Humaniores, subject I. 11] or (l) Religions in the Greek and Roman World, c. 31 BC AD 312 [Honour School of Literae Humaniores, subject I. 12]. or (m) Sexuality and Gender in Greece and Rome [Honour School of Literae Humaniores, subject I. 13]. Note: Candidates offering any of subjects (xxi) (a)-(f) must also offer the associated translation paper set in the Honour School of Literae Humaniores. NB (xvii) Second Classical Language [please note: this number should be xxii] As specified for the Honour School of Literae Humaniores (VI). Candidates who offer a Second Classical Language must offer either both subjects in Greek or both subjects in Latin, and may not offer either subject in the same language as that in which they satisfied the Moderators in Honour Moderations in Classics and English or the Preliminary Examination in Classics and English.

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C. LINK PAPERS For Paper 5 Epic and Papers 6, 7 (a), (b), (c), and (d) Tragedy, Comedy, Satire, and Pastoral: Candidates will be expected to be familiar with the texts specified. Opportunities will, however, be given to show knowledge of authors and texts beyond those prescribed. Candidates must answer at least one question that relates Classical and English Literature. 5. Epic With special reference to Homer, Virgil, Lucan, Milton, Dryden, Pope. There will be a compulsory question requiring candidates to comment on and bring out points of comparison between either (a) a passage of Homer and one or more English translations or (b) a passage of Virgil and one or more English translations. The passages will be drawn from (a) Odyssey, Books 6 and 9-12, (b) Aeneid, Books 7, 8 and 12. There will also be a passage for compulsory comment from Milton, Paradise Lost. 6, 7. Two of the following papers of which at least one must be from (a), (b), (c), and (d). Course II candidates may not offer a paper which they have previously offered in their first year of study. (a) Tragedy [Candidates who offer paper B.4(v) Greek Tragedy may not also offer this paper] With special reference to: Aeschylus, Agamemnon. Sophocles, Oedipus the King. Euripides, Medea, Hecuba. Seneca, Medea, Thyestes. .Kyd, The Spanish Tragedy. Marlowe, Tamburlaine the Great (Parts I and II), Edward II, Dr Faustus, Dido Queen of Carthage . Shakespeare. Jonson, Sejanus, Catiline. Webster, The White Devil. The Duchess of Malfi. Middleton, The Changeling, Women Beware Women. Ford, 'Tis Pity She's a Whore. Milton, Samson Agonistes. There will be an optional commentary question with passages drawn from Aeschylus, Agamemnon, and Seneca, Thyestes. (b) Comedy [Candidates who offer paper B.4(vi) Comedy may not also offer this paper] With special reference to: Aristophanes, Birds. Menander, Dyscolus. Plautus, Amphitryo and Menaechmi. Terence, Adelphoe. Gascoigne, Supposes. Lyly, Campaspe, Mother Bombie. Shakespeare. Jonson, Every Man in his Humour, Volpone. Epicoene, The Alchemist, Bartholomew Fair. Wycherley, The Country Wife. Vanbrugh, The Relapse. Congreve, The Double Dealer, The Way of the World. Sheridan, The Rivals, The School for Scandal, The Critic. There will be an optional commentary question with passages drawn from Aristophanes, Birds, and Terence, Adelphoe. (c) Satire With special reference to Horace, Satires, Book I, 1, 4-6, 9- 10, and Book II, 1, 6; Persius I and 5; Juvenal 1, 3, 6, and 10; and the satires of Wyatt, Donne, Marston, Dryden, Johnson, Pope. There will be an optional commentary question with passages drawn from Juvenal, Satires, 1, 3, 6, 10. (d) Pastoral With special reference to Theocritus, Idylls, 1, 3, 4, 6, 7, 10, 11; Bion, Adonidis Epitaphium; [Moschus], Epitaphium Bionis; Virgil, Eclogues; Mantuan I; Tasso, Aminta; Guarini, Il Pastor Fido; Spenser, Astrophel and The Shepheardes Calendar, Faerie Queen VI ix-xii; Fletcher, The Faithful Shepherdess; Milton,

37

Lycidas and Epitaphium Damonis; Pope, Windsor Forest, Pastorals; Shelley, Adonais; Arnold, Thyrsis. There will be an optional commentary question with passages drawn from Theocritus, Idylls 1,3,4, 6, 7, 10, 11, and Virgil, Eclogues. (e) Medieval and Renaissance Hexameter PoetryAs specified for the Honour School of Literae Humaniores (III. 15(b)) (f) Rhetoric and literary theory in ancient and modern times (g) The Reception of Classical Literature in Poetry in English since 1900 Authors in English for study will include Auden, H. D., Eliot, Frost, Longley, Lowell, MacNeice, Carson, Harrison, Heaney, Hughes and Walcott. This paper will be examined only by extended essay of 5,000 6,000 words. Essay topics set by the examiners will be released on Monday of week 6 of Hilary Term and essays should be submitted by Monday of week 10 of the same term (12 noon) to the Examination Schools. Candidates will be required to use at least three authors in their essays, at least one of which must be a classical author. This subject may NOT be combined with any of the specified Special Topics subjects in Engilsh (paper A.2(e)). Thesis 1. Any candidate who does not offer an eighth paper may offer a thesis, subject to the following provisions: (i) The subject of an optional thesis must be substantially connected with any subject area currently available in those parts of the Honour School of Literae Humaniores and Course I or Course II of the Honour School of English Language and Literature which are available to candidates for the Honour Schoo1. (ii) The subject of the thesis may, but need not, overlap any subject or period on which the candidates offer papers. But candidates are warned that they must avoid repetition in their papers of material used in their theses, and that they will not be given credit for material extensively repeated. (iii) Candidates proposing to offer a thesis must submit, through their college, to the Chair of the Joint Standing Committee for Classics and English (care of the English Faculty Office), the title of the proposed thesis, together with (a) a synopsis of the subject in about 100 words; and (b) a letter of support from a tutor, between Monday of the second week of the Trinity Term of the year preceding that in which the examination is held and Wednesday of the fifth week ofthe Michaelmas Full Term preceding the examination. (iv) The Chair of the Joint Standing Committee for Classics and English will decide as soon as possible, and in every case by the end of the fifth week of the Michaelmas Full Term preceding the examination, whether or not to approve the title, and will advise candidates of its decision forthwith. (v) Candidates must give notice of withdrawal of submission of a thesis to the chairman of examiners not later than the end of the eighth week of the Hilary Full Term preceding the examination. 2. Every thesis must be the candidate's own work. Tutors may, however, advise on the choice and scope of the subject, provide a reading list, and read and comment on a first draft. Candidates must sign a certificate stating that the thesis is their own work, and that the candidate has read the Joint School guidelines on plagiarism. This certificate must be placed in a sealed envelope bearing the candidate's examination number and presented together with the thesis. 3. No thesis will be accepted if it has already been submitted, wholly or substantially, for a degree of this or any other university; and the certificate must also contain confirmation that the thesis has not already been so submitted.

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4. No thesis shall be ineligible because it has been submitted, in whole or in part, for any scholarship or prize of this University advertised in the Oxford University Gazette. 5. The thesis shall not exceed 6,000 words in length. In the case of a commentary on a text, and at the discretion of the chairman of the examiners, any substantial quoting of that text need not be included in the word limit. Where appropriate, there must be a se1ect bibliography and a list of sources. All theses must be typed in double-spacing on one side only of quarto or A4 paper, and must be bound or held firmly in a stiff cover. The top copy must be submitted to the chairman of the examiners, and a second copy must be retained by the candidate. 6. Any candidate proposing to submit a thesis shall give notice of this to the Registrar on the examination entry form not later than Friday of the fourth week of the Michaelmas Full Term preceding the examination (this in addition to seeking approval for the thesis as stipulated in clause I (iii) above). The thesis itself, identified by the candidate's examination number only, must be sent, not later than noon on the first Monday of the Trinity Full Term in which the examination will be held, to the Chairman of the Examiners, Honour School of Classics and English, Examination Schools, High Street, Oxford. Texts of Greek and Latin authors: Passages from Aristophanes, Birds will be set from the edition of N. Dunbar (Oxford, Student Edition).) Passages from Terence, Adelphoe will be set from the edition of R. H. Martin (Cambridge University Press). The texts of other Greek and Latin authors used in the examination will be as prescribed for the Honour School of Literae Humaniores. See http://weblearn.ox.ac.uk/site/human/classics/degrees/handbooks/lithum/greats/.

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26. Appendix C: Official Stylesheet and Guidelines for the Presentation of Extended Essays and Optional Theses in Classics and English
This stylesheet is not compulsory. It is compulsory, however, to present your work in a form that complies with academic standards of precision, clarity, and fullness and unambiguousness of reference. If you fail to satisfy this requirement and neglect to adopt either this stylesheet or an equivalent, you run the risk of being penalised. (Graduates using this stylesheet should note that individual publishers and periodicals will have their own requirements which may well differ from those given below. To cover all such requirements, they should make a habit of noting publishers names as well as places and dates of publication; but this is not a requirement of undergraduate essays.) 1. Presentation Your essay should be printed on one side only of good quality, opaque paper. The body of your essay should be one and a half or double-spaced. Short quotations of a sentence or less should not be set in a paragraph by themselves. Longer quotations should be set in a separate paragraph, indented and singlespaced. Dont indent the first line of the first paragraph, or the first paragraph of a new section of the essay. Indent all subsequent paragraphs. Please remember to number the pages of your essay. 2. References and Bibliography There are two main possibilities for referencing (1) Author/title system and (2) Date system. The systems set out here are not mandatory. The most important thing is that the referencing system you adopt is clear and consistent. (1) Author/title system: primary references You can save yourself a lot of space in the extended essay, by incorporating references to your main primary (but not secondary) sources into the body of your essay. This should be your preferred mode of practice with your principal primary texts. If, for example, Chaucer is the main author you are writing about, you would put a footnote for your first reference to a citation from (e.g.) Troilus and Criseyde, as follows: 1Geoffrey Chaucer, Troilus and Criseyde, ed. B. Windeatt (London, 1984), III, 11. 1817-20, p. 344; all subsequent references are to this edition, incorporated in the text. [If you wish, you may omit the page number, providing you have indicated the line reference. The same applies to the following examples.] And all following references would simply be included in your essay in brackets following the quotation, e.g. Tendre herted, slydynge of corage (V, 1. 826, p. 490). Your bibliographical entry would read: Chaucer, Geoffrey, Troilus and Criseyde, ed. B. Windeatt (London, 1984) Primary works in notes and bibliography (a) Edition of single author: first reference The Lion and the Mouse, The Poems of Robert Henryson, ed. D. Fox (Oxford, 1981), 11. 1468-74, p. 59. Further references (if not incorporated in body of text) e.g: The Sheep and the Dog, Poems of Henryson, 1. 1194, p. 49. Entry in main bibliography: Henryson, Robert, The Poems of Robert Henryson, ed. D. Fox, (Oxford, 1981) NB if you are using a later edition or a reprint, say so, eg. The Poems of Robert Henryson, ed D. Fox (p/b edn, Oxford, 1987) (b) Two or multi-volume edition: first reference

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Off Februar the fyiftene nycht, The Poems of William Dunbar, ed. P. Bawcutt, 2 vols, Association for Scottish Literary Studies (Glasgow, 1998) I, pp. 149-56. [This refers to the whole poem; line numbers would need to be distinguished separately.] Further references (if not incorporated in body of text); I that in heill wes and gladnes, Poems of Dunbar, I, pp. 94-7. Entry in main bibliography: Dunbar, William, The Poems of William Dunbar, ed. P. Bawcutt, 2 vols, Association for Scottish Literary Studies (Glasgow, 1998) Secondary references in notes and bibliography: Within this two types of reference are accommodated, depending on the nature of the work you are citing. (c) Book by single author: first reference J. Mann, Chaucer and Medieval Estates Satire (Cambridge, 1973), p. 44. [or if several pages are referenced pp. 44-8.] Further references, e.g. Mann, pp. 94-5. UNLESS any further works by Mann are referred to in the course of the essay. If so, give each work in its full title from on the first occasion, eg. J. Mann, Geoffrey Chaucer (London, 1991), p. 82, and in subsequent references, include an abbreviated form of the title referenced, eg. Mann, Geoffrey Chaucer, pp. 32-3. Entries in main bibliography would be: Mann, J., Chaucer and Medieval Estates Satire (Cambridge, 1973) Mann, J., Geoffrey Chaucer (London, 1991) (d) Essay in collection (most commonly an essay by one author in a collection of essays edited by another or others): first reference: P. Godman, Chaucer and Boccaccios Latin Works, in Chaucer and the Italian Trecento, ed. P. Boitani (Cambridge, 1983), pp. 269-75 (274). [Note that 269-75 refers to the page numbers of the whole essay; 274 to the specific page referred to.] Further references: Godman, p. 269 [Unless your essay refers to other works by Godman, in which case, follow the same rules as in (c) above.] Entries in bibliography: Godman, P., Chaucer and Boccaccios Latin Works, in Boitani, ed. Chaucer and the Italian Trecento, pp. 269-75 AND Boitani, P. ed., Chaucer and the Italian Trecento (Cambridge, 1983) (e) Journal article: first reference: L.Patterson, On the Margin: Postmodernism, Ironic History, and Medieval Studies, Speculum, 65 (1990), 87-108 (88-9). [Note that 87-108 refers to the page numbers of the whole essay; 88-9 to the specific pages referred to. Note that pp. is not used here. This enables a distinction to be made between essays in books, as in (d) and articles in journals. If you would find this too confusing use p/pp. for all types of reference; a less satisfactory, but simplifying, option is to omit p/pp. altogether.] Further references: Patterson, 90-1. Unless your essay refers to other works by Patterson in which case follow the same rules as in (c) above.) Entry in main bibliography: Patterson, L., On the Margin: Postmodernism, Ironic History, and Medieval Studies, Speculum, 65 (1990), 87-108 (2) Date System: Primary References This system can be more economical in notes than (1), as it reduces references down to author/editor and year of publication, leaving the full statement of the bibliographical details of the bibliography. As under (1) it is possible to save space by incorporating references to your main primary sources in the course of your text, E.g. if Chaucer is your main author, your first reference to him would be footnoted as follows:

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ed. (1984), III, ll. 1817-20, p. 344; all subsequent references are to this edition, incorporated in the text. And all following references would simply be included in your essay in brackets following the quotation, eg. Tendre herted, slydynge of corage (V, 1. 826, p. 490). Your bibliographical entry would read: Windeatt, B. ed. (1984), Geoffrey Chaucer, Troilus and Criseyde, Oxford Primary references in footnotes: (a) Edition of single author: reference The Lion and the Mouse, in Fox, ed. (1981), 11. 1468-74, p. 59. Entry in main bibliography: Fox, D. ed. (1981), The Poems of Robert Henryson, Oxford (b) Two or multi-volume editions: Reference: Off Februar the fyiftene nycht, in Bawcutt, ed. (1998), I, pp. 149-56 [Line numbers, if referenced, would need to be added separately.] Entry in main bibliography Bawcutt, P. ed (1998), The Poems of William Dunbar, 2 vols, Association for Scottish Literary Studies, Glasgow Secondary References (c) Book by single author Mann (1973), p. 44. [or if several pages are referenced pp. 44-8.] Entry in main bibliography would be: Mann, J. (1973), Chaucer and Medieval Estates Satire, Cambridge NB: if an author has published TWO works in the same year, distinguish them by (a) and (b), eg. Mann (1973a), p. 44, and include this distinction in the bibliography too. (d) Essay in collection: reference: Goldman (1983), pp. 269-75 (274) [(Note that 269-75 refers to the page numbers of the whole essay; 274 to the specific page referred to).] Entries in bibliography: Goldman, P. (1983), Chaucer and Bacchics Latin Works, in Baden, ed. (1983) pp. 269-75 AND Baden, P. ed. (1983), Chaucer and the Italian Trecento, Cambridge. (e) Journal article: reference: Patterson (1990), 87-108 (88-9). [Note that 87-108 refers to the page numbers of the whole essay; 88-9 to the specific pages referred to. On page numbers see under 1 (e) above.] Entry in main bibliography: Patterson, L (1990), On the Margin: Postmodernism, Ironic History, and Medieval Studies, Speculum, 65, 87-108 Bibliography The organisation of your Bibliography will vary depending which system you use, but you should always divide your material into primary and secondary sources. It is entirely legitimate to list material that you have not explicitly cited in your essay, but which has been influential on your thinking. You should list place of publication; it is not essential to list publishers.

1Windeatt,

27. Appendix D: Conventions for Classification in the Final Honour School of Classics and English

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The following are the general principles by which the Examiners will be guided in classifying candidates. They are subject to adjustments of detail, if necessary, in the interests of equity. (a) General Classification depends upon the marks gained on the seven required papers and on the optional eighth paper or thesis, if either of these is offered. The mark gained by an optional eighth paper or thesis will be allowed to replace the lowest mark obtained on the seven required papers if it is to the candidate's advantage and if the mark being replaced is 50 or above. (b) Weighting within papers With the exception of the following, all questions will count equally: Greek Literature of the Fifth Century BC and Latin Literature of the First Century BC are each examined by two papers and in each case one mark is given, essays providing 50%, comment providing 25% and translation providing 25% of that one mark. In the Epic paper the sections will be weighted as follows: question 1(a) 20%, question 1(b) 20%, and the two essay questions 30% each. In question 1(a) candidates will be required to compare a short classical passage with ONE or TWO English translations. In the Medieval Latin paper (III.11(b)) the weight given to the various components will be as follows: Question 1 (3 passages) 50%; essays (2) 50%. (c) Marking scale and criteria for allocating marks All scripts and theses are double-marked, and an agreed mark is then decided. Examiners have been given the following guidelines for marking and grading by the Humanities Division. CLASS I II.1 11.2 III Pass Fail 100-70 69-60 59-50 49-40 39-30 Below 30 The following are the criteria used in marking: First-Class script. 86+: Truly outstanding script. Work showing truly remarkable originality of mind and depth of analysis and understanding. 80-85: Work which consistently exceeds expectations and challenges received views. An outstanding performance, which shows remarkable knowledge and understanding of the material. 70-79: Work which is excellent both in the range and command of the material and in the argument and analysis brought to bear. The answer engages closely with the question. There should be some originality of approach, although originality alone does not guarantee First-Class marks. Upper Second-Class script. 69-60: Work showing good understanding of the question and of relevant material; organised in a clearly-argued and well-illustrated manner. Essays at the top of this class usually display high intelligence, some sophistication of argument, and an impressive range of relevant knowledge, and occasional originality. At the lower end essays may show a competent survey of received ideas. Lower Second-Class script. 59-50: Work which, though competent and broadly relevant, is lacking in focus, organisation or breadth of reference. Essays may show lack of judgement, lack of relevance and may contain recycled or "prepared" material. The presentation may also be clumsy. Third-Class script. 49-40: Work which shows some knowledge of the subject but lacks understanding and breadth of reference. The essay may have missed the point of the question, be too short, contain irrelevant material, or fail to respect the rubric. Pass script. 39-30: Largely irrelevant material which only superficially addresses the question. Fail script. 29 or less: Completely irrelevant and superficial work which shows no understanding of the material.

(d) Contribution of translation marks to total results For subjects in Classical Literature, marks for translation count directly towards the overall mark for the relevant paper. A mark of 20 or below on a compulsory translation question can have serious consequences; it may lead to a pass mark only or even a fail mark on the relevant main paper.

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Translation papers or elements cannot score more than 85. The following are the criteria for the marking of translations : Elegant and resourceful use of English will be rewarded, as will accuracy in detail and effectiveness in conveying the spirit of the original; incorrect and unduly clumsy or literal English will be penalized. 80-85 (High first class): outstanding and memorable, showing all first class qualities to a remarkable degree. Sense, register and ambiguity of the passage all admirably handled. The odd failing may be allowed. 70-79 (First class): candidate has got the passage mostly right, with only minor errors or very few errors. Deals intelligently with difficulties. Handles the stylistic variations of the passage well, and achieves a natural English style. 60-69 (Upper second class): candidate has grasped the general sense and drift of the passage well, though with quite a number of errors. 50-59 (Lower second class): candidate has essentially grasped the drift of the passage, but has made more, or more serious, errors than in a II.1 script. 40-49 (Third class): candidate has not grasped much of what is happening in the passage and has made numerous and grave mistakes, but has shown some knowledge and understanding. 30-39 (Pass): very poor quality work, showing little knowledge of the language. Below 30 (Fail): work of still lower standard. (e) Conventions for classification: Classification is based on the seven main papers (adjusted as appropriate for the eighth paper or thesis). First Class: A First will be given to a candidate whose average mark is 68.5 or greater, with at least two marks of 70 or above, and no mark below 50. Upper Second Class: An Upper Second will be given to a candidate not getting a First whose average mark is 59 or above, with at least two marks of 60 or above and no mark below 40. Lower Second Class: A Lower Second will be given to candidate not getting a First or an Upper Second whose average mark is 49.5 or greater, with at least two marks of 50 or above and no mark below 30. Third Class: A Third will be given to a candidate not getting a Lower Second or better will be given a Third whose average mark is 40 or above, with not more than one mark below 30. Pass: A Pass will be given to a candidate not getting a Third or better whose average mark is 30 or greater, with not more than two marks below 30. An overall average for translations of less than 30 may also prevent a candidate from obtaining more than a Pass. Fail: A fail will be awarded to any candidate not achieving a Pass or better. The mark gained by an optional eighth paper or thesis will be allowed to replace the lowest mark obtained on the seven required papers only if that mark is 50 or above. The eighth paper cannot replace a mark lower than 50.

Appendix E: University Rules Governing IT Use

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1. In these regulations, unless the context requires otherwise, 'college' means any college, society, or Permanent Private Hall or any other institution designated by Council by regulation as being permitted to present candidates for matriculation. 2. University IT and network facilities are provided for use in accordance with the following policy set by Council: (1) The University provides computer facilities and access to its computer networks only for purposes directly connected with the work of the University and the colleges and with the normal academic activities of their members. (2) Individuals have no right to use university facilities for any other purpose. (3) The University reserves the right to exercise control over all activities employing its computer facilities, including examining the content of users' data, such as e-mail, where that is necessary: (a) for the proper regulation of the University's facilities; (b) in connection with properly authorised investigations in relation to breaches or alleged breaches of provisions in the University's statutes and regulations, including these regulations; or (c) to meet legal requirements. (4) Such action will be undertaken only in accordance with these regulations. 3. These regulations govern all use of university IT and network facilities, whether accessed by university property or otherwise. 4. Use is subject at all times to such monitoring as may be necessary for the proper management of the network, or as may be specifically authorised in accordance with these regulations. 5. (1) Persons may make use of university facilities only with proper authorisation. (2) 'Proper authorisation' in this context means prior authorisation by the appropriate officer, who shall be the Director of Oxford University Computing Services ('OUCS') or his or her nominated deputy in the case of services under the supervision of OUCS, or the nominated college or departmental officer in the case of services provided by a college or department. (3) Any authorisation is subject to compliance with the University's statutes and regulations, including these regulations, and will be considered to be terminated by any breach or attempted breach of these regulations. (1) Authorisation will be specific to an individual. (2) Any password, authorisation code, etc. given to a user will be for his or her use only, and must be kept secure and not disclosed to or used by any other person.

6.

7. Users are not permitted to use university IT or network facilities for any of the following: (1) any unlawful activity; (2) the creation, transmission, storage, downloading, or display of any offensive, obscene, indecent, or menacing images, data, or other material, or any data capable of being resolved into such images or material, except in the case of the use of the facilities for properly supervised research purposes when that use is lawful and when the user has obtained prior written authority for the particular activity from the head of his or her department or the chairman of his or her faculty board (or, if the user is the head of a department or the chairman of a faculty board, from the head of his or her division); (3) the creation, transmission, or display of material which is designed or likely to harass another person in breach of the University's Code of Practice on Harassment; (4) the creation or transmission of defamatory material about any individual or organisation; (5) the sending of any e-mail that does not correctly identify the sender of that e-mail or attempts to disguise the identity of the computer from which it was sent; (6) the sending of any message appearing to originate from another person, or otherwise attempting to impersonate another person;

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(7) the transmission, without proper authorisation, of e-mail to a large number of recipients, unless those recipients have indicated an interest in receiving such e-mail, or the sending or forwarding of e-mail which is intended to encourage the propagation of copies of itself; (8) the creation or transmission of or access to material in such a way as to infringe a copyright, moral right, trade mark, or other intellectual property right; (9) private profit, except to the extent authorised under the user's conditions of employment or other agreement with the University or a college; or commercial purposes without specific authorisation; (10) gaining or attempting to gain unauthorised access to any facility or service within or outside the University, or making any attempt to disrupt or impair such a service; (11) the deliberate or reckless undertaking of activities such as may result in any of the following: (a) the waste of staff effort or network resources, including time on any system accessible via the university network; (b) the corruption or disruption of other users' data; (c) the violation of the privacy of other users; (d) the disruption of the work of other users; (e) the introduction or transmission of a virus into the network; (12) activities not directly connected with employment, study, or research in the University or the colleges (excluding reasonable and limited use for social and recreational purposes where not in breach of these regulations or otherwise forbidden) without proper authorisation. 8. Software and computer-readable datasets made available on the university network may be used only subject to the relevant licensing conditions, and, where applicable, to the Code of Conduct published by the Combined Higher Education Software Team ('CHEST'). 9. Users shall treat as confidential any information which may become available to them through the use of such facilities and which is not clearly intended for unrestricted dissemination; such information shall not be copied, modified, disseminated, or used either in whole or in part without the permission of the person or body entitled to give it. 10. (1) No user may use IT facilities to hold or process data relating to a living individual save in accordance with the provisions of current data protection legislation (which in most cases will require the prior consent of the individual or individuals whose data are to be processed). (2) Any person wishing to use IT facilities for such processing is required to inform the University Data Protection Officer in advance and to comply with any guidance given concerning the manner in which the processing may be carried out. 11. Any person responsible for the administration of any university or college computer or network system, or otherwise having access to data on such a system, shall comply with the provisions of the 'Statement of IT Security and Privacy Policy', as published by the ICT Committee from time to time. 12. Users shall at all times endeavour to comply with guidance issued from time to time by OUCS to assist with the management and efficient use of the network. 13. Connection of computers, whether college, departmental, or privately owned, to the university network is subject to the following additional conditions: (1) (a) Computers connected to the university network may use only network identifiers which follow the University's naming convention, and are registered with OUCS. (b) In particular all such names must be within the domain .ox.ac.uk. (c) Any exception to this must be authorised by the Director of OUCS, and may be subject to payment of a licence fee. (2) (a) Owners and administrators of computers connected to the university network are responsible for ensuring their security against unauthorised access, participation in 'denial of service' attacks, etc. In particular they are responsible for ensuring that anti-virus software is installed and regularly updated, and that rules and guidelines on security and anti-virus policy, as issued from time to time by the ICTC, are followed.

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(b) The University may temporarily bar access to any computer or sub-network that appears to pose a danger to the security or integrity of any system or network, either within or outside Oxford, or which, through a security breach, may bring disrepute to the University. (3) (a) Providers of any service must take all reasonable steps to ensure that that service does not cause an excessive amount of traffic on the University's internal network or its external network links. (b) The University may bar access at any time to computers which appear to cause unreasonable consumption of network resources. (4) (a) Hosting Web pages on computers connected to the university network is permitted subject to the knowledge and consent of the department or college responsible for the local resources, but providers of any such Web pages must endeavour to comply with guidelines published by OUCS or other relevant authorities. (b) It is not permitted to offer commercial services through Web pages supported through the university network, or to provide 'home-page' facilities for any commercial organisation, except with the permission of the Director of OUCS; this permission may require the payment of a licence fee. (5) Participation in distributed file-sharing networks is not permitted, except in the case of the use of the facilities for properly authorised academic purposes when that use is lawful and when the user: (a) in the case of services under the supervision of OUCS, has demonstrated to the satisfaction of the Director of OUCS or his or her nominated deputy that the user has obtained prior written authority for the particular activity from the head of his or her department or the chairman of his or her faculty board; or (b) in the case of services provided by a college or department, has demonstrated to the satisfaction of the nominated college or departmental officer that the user has obtained prior written authority for the particular activity from the head of that college or department. (6) (a) No computer connected to the university network may be used to give any person who is not a member or employee of the University or its colleges access to any network services outside the department or college where that computer is situated. (b) Certain exceptions may be made, for example, for members of other UK universities, official visitors to a department or college, or those paying a licence fee. (c) Areas of doubt should be discussed with the Registration Manager at OUCS. (7) Providing external access to University network resources for use as part of any shared activity or project is permitted only if authorised by the ICTC, and will be subject to any conditions that the ICTC may specify. (8) If any computer connected to the network or a sub-network does not comply with the requirements of this section, it may be disconnected immediately by the Network Administrator or any other member of staff duly authorised by the head of the college, section or department concerned. 14. (1) If a user is thought to be in breach of any of the University's statutes or regulations, including these regulations, he or she shall be reported to the appropriate officer who may recommend to the appropriate university or college authority that proceedings be instituted under either or both of university and college disciplinary procedures. (2) Access to facilities may be withdrawn under section 42 of Statute XI pending a determination, or may be made subject to such conditions as the Proctors or the Registrar (as the case may be) shall think proper in the circumstances.

Examining Users' Data

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15. All staff of an IT facility who are given privileged access to information available through that facility must respect the privacy and security of any information, not clearly intended for unrestricted dissemination, that becomes known to them by any means, deliberate or accidental. 16. (1) System Administrators (i.e. those responsible for the management, operation, or maintenance of computer systems) have the right to access users' files and examine network traffic, but only if necessary in pursuit of their role as System Administrators. (2) They must endeavour to avoid specifically examining the contents of users' files without proper authorisation. 17. (1) If it is necessary for a System Administrator to inspect the contents of a user's files, the procedure set out in paragraphs (2)-(5) below must be followed. (2) Normally, the user's permission should be sought. (3) Should such access be necessary without seeking the user's permission, it should, wherever possible, be approved by an appropriate authority prior to inspection. (4) If it has not been possible to obtain prior permission, any access should be reported to the user or to an appropriate authority as soon as possible. (5) For the purposes of these regulations 'appropriate authority' is defined as follows: (a) in the case of any university-owned system, whether central or departmental: if the files belong to a student member, the Proctors; if the files belong to any member of the University other than a student member, the Registrar or his or her nominee; or, if the files belong to an employee who is not a member of the University, the head of the department, college, or other unit to which the employee is responsible, or the head's delegated representative; (b) in the case of a departmental system, either those named in (a) above, or, in all circumstances, the head of department or his or her delegated representative; (c) in the case of a college system, the head of the college or his or her delegated representative.

Appendix F: Disability Statement

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The Faculties of English and Classics are committed to ensuring that disabled students are not treated less favourably than other students, and to provide reasonable adjustment to provision where disabled students might otherwise be at a substantial disadvantage. For students who have declared a disability on entry to the University, the Faculty will have been informed if any special arrangements have to be made. Students who think that adjustments in Faculty teaching, learning facilities or assessment may need to be made should raise the matter first with their college tutor, who will ensure that the appropriate people in the Faculty are informed. Details of accessibility of the different premises of the Faculties are available from the Faculty Administration (Classics: Classics Disability Officer Helen.mcgregor@classics.ox.ac.uk English: George.Newman@admin.ox.ac.uk). General advice about provision for students with disabilities at Oxford University and how best to ensure that all appropriate bodies are informed, can be found on the University's Disability Services website at www.admin.ox.ac./eop.

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Appendix G: Classical Greek and word-processing

Word-processing and handling electronic documents are essential skills for all classicists today. However, classicists face a particular challenge when it comes to keying in Classical Greek. While for years undergraduates have been content to leave blanks in their work and write in by hand Greek characters with breathings and accents, because of the difficulty of including them, this is no longer an acceptable excuse Greek is now easy to incorporate into essays and this is a skill which all students should acquire. The precise method depends on what kind of computer you are using: Apple Macintosh computers function very differently from PCs. Because of this the faculty recommends that students use the international standard method of incorporating Greek into documents, namely Unicode, which is a cross-platform standard (making your documents equally readable on both PCs and Macs). This standard is supported by most modern word-processing packages, including recent versions of MS Word, and operating systems (for PCs from Windows 98 onwards, and now at last for Macs too, from OS X onwards). In order to use unicode Greek on your own computer, you need two things. The first is a font, so that you can actually view the Greek. Not many fonts include a complete set of Greek characters including accents and breathings, but some common fonts do (e.g. Palatino Linotype, Arial Unicode and Lucida Grande). There are also freeware fonts you can find online that contain the necessary characters, one popular such font is Gentium (which has an alternative version GentiumAlt with proper circumflex accents). Any of these fonts will be able to display Greek and you can change the format of text between these fonts and they remain the same. [This is the great advantage of the Unicode standard, since in older encodings, changing the font usually scrambled the text entirely and left it as unreadable nonsense.] The second thing you need is some easy method to enter the Greek characters. You could of course use the character map or insert symbol commands of your word-processor to do it, but this is timeconsuming and inefficient even for a single word. Instead, there are various keyboard utilities available which allow you to use your normal keyboard as if it were a Greek keyboard (e.g. so that you type [a] and you get an alpha). These also allow you access the accents and breathings, usually by typing a key before the vowel in question (e.g. so that typing [2] then [i] gives an iota with a smooth breathing and acute accent). Some of these utilities work only in specific word-processing packages, while others will work with any. One which works with any Windows program (provided that you are using Windows 2000 or later) is provided free of charge on Weblearn: http://tinyurl.com/9fxfx You can also find there a link to the site from which Gentium(Alt) can be downloaded. There are full instructions for installing this driver and for how to use it. Once installed, you can set your system up so that by simply pressing [alt] + right [shift] the keyboard is switched and you can type Greek as quickly as English and then use the same combination to switch back. Further information on IT in Classics including questions of fonts etc. can be found on Weblearn at: http://tinyurl.com/9mdut Antioch for Windows and GreekKeys for Apple Macintosh The link above will take you to a room in Weblearn which has information on the above free greek keyboard. At the same location there is information on Antioch for Windows and GreekKeys for Apple Mac. These are two well known Greek input keyboard utilities which are supplied with a unicode greek font. These utilities allow you to type in greek through MS Word (any many other applications) using any installed greek font. They support greek accents and breathings and have built in conversion utilities to allow you to replace a document formatted with one particular greek font with another. The ability to assign your own key mappings for the display of accents and breathings is also supported.

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A downloadable trial version of Antioch (for windows) is available from here: http://www.weblearn.ox.ac.uk/site/human/classics/itinfo/antioch/ If you are a graduate then you can email itsupport@classics.ox.ac.uk to obtain a registration key for Antioch. If you are an undergraduate then unfortuanately at present you will have to pay for the nontrial version by contacting the suppliers directly at : http://www.users.dircon.co.uk/~hancock/antioch2.htm A downloadable full version of GreekKeys for Apple Mac is available from here: http://www.weblearn.ox.ac.uk/site/human/classics/itinfo/greekkeys/

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Appendix H: WEBLEARN the live lecture list To find the English pages in Weblearn you will need to sign into that part of the system using this URL: http://weblearn.ox.ac.uk/site/human/englis h/ to arrive at this page: (To log in just enter your herald account name and your usual herald password when requested to do so.) If you select Information for undergraduate students you will then find the page to the left.

The lecture list here is very useful because it is kept constantly updated (lectures do move times, venues, get delayed or cancelled). Do try to check this every morning before coming out to lectures.

Whats On This Week is chiefly . designed to give you a diary digest of social events and seminars for the week. It is also emailed around the full faculty every Monday morning.

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