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Curricular information is subject to change
On completion of this module students should be able to:
• demonstrate detailed critical knowledge of a range of ancient and modern plays, and of the relationship between them;
• examine and evaluate modern criticism on the subject;
• critically discuss the theoretical aspects of reception studies;
• give an oral presentation about an aspect of the subject;
• contribute constructively to discussion of oral presentations on the subject;
• construct analytical and appropriately presented papers showing a capacity for independent thought about the subject.
Indicative seminar list
Week
1. Introduction
2. Reception theory
3. Commentaries: Heaney, The Burial at Thebes
4. Commentaries: Heaney, The Burial at Thebes
5. Commentaries: McGuinness, Oedipus
6. Commentaries: McGuinness, Oedipus
7. Seminar papers
8. Seminar papers
9. Seminar papers
10. Seminar papers
The commentary should examine in detail a short passage from Seamus Heaney’s The Burial at Thebes or Frank McGuinness’ Oedipus. For The Burial at Thebes, students may choose one of the following passages: the opening scene (Antigone 1–99), Creon’s speeches (Antigone 162–210, 473–96), Antigone’s farewell (Antigone 806–928), the Creon and Tiresias scene (988–1090). For Oedipus, students may choose one of the following passages: Oedipus’ speech (OT 216–75), the Tiresias scene (OT 300–462), the final scene (OT 1223–1530). The commentary should pay particular attention to style, including comparison with a range of other translations, but wider issues may also be discussed.
The seminar paper should discuss one modern Irish play, or a number of plays (no more than three) based on a single Greek original. It should not be exclusively on Heaney’s The Burial at Thebes or McGuinness’ Oedipus, although it could include either of these plays in a wider discussion.
Indicative secondary reading
Arkins, B., Hellenising Ireland: Greek and Roman Themes in Modern Irish Literature (Newbridge, 2005)
Dillon, J. & Wilmer, S.E., Rebel Women: Staging Ancient Greek Drama Today (London, 2005)
Lloyd, M., ‘Brian Friel’s Greek tragedy: narrative, drama, and fate in Living Quarters’, Irish University Review 30/2 (2000), 244–53
McDonald, M. & Walton, J.M., Amid Our Troubles: Irish Versions of Greek Tragedy (London, 2002)
Macintosh, F., Dying Acts: Death in Ancient Greek and Modern Irish Tragic Drama (Cork, 1994)
Murray, C., ‘Three Irish Antigones’, in J. Genet & R.A. Cave (eds.), Perspectives of Irish Drama and Theatre (Irish Literary Studies, 33; Gerrard’s Cross, 1991), 115–29
Roche, A.V., ‘Ireland’s Antigones: tragedy North and South’, in M. Kenneally (ed.), Cultural Contexts and Literary Idioms in Contemporary Irish Literature (Gerrard’s Cross, 1988), 221–50
Student Effort Type | Hours |
---|---|
Seminar (or Webinar) | 24 |
Specified Learning Activities | 76 |
Autonomous Student Learning | 100 |
Total | 200 |
Students should have some experience of studying drama at 3rd level, preferably Greek tragedy and/or Irish drama.
Description | Timing | Component Scale | % of Final Grade | ||
---|---|---|---|---|---|
Assignment: 2,000-word commentary | Week 7 | n/a | Graded | No | 30 |
Essay: 5,000-word seminar paper | Coursework (End of Trimester) | n/a | Graded | No | 50 |
Continuous Assessment: Seminar participation | Throughout the Trimester | n/a | Graded | No | 20 |
Resit In | Terminal Exam |
---|---|
Summer | No |
• Feedback individually to students, on an activity or draft prior to summative assessment
• Feedback individually to students, post-assessment
Students will receive detailed individual formative and summative feedback on their written work.