COURSE CODE AND TITLE: IED 600 SPECIAL COURSES Course Type : CompulsoryCourse Level : MAYear and Semester : Course Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer :

Course Objectives: In this course, the study and research carried out by the student for his dissertation is assessed, and the written parts of the dissertation, along with the sources used, are discussed and reviewed. Course Contents: Teaching Method: Lectures and classroom discussions. Assessment Method: Written exam (two midterms (50 %) and one final (50 %)).Reading List:

COURSE CODE AND TITLE : IED 603 UTOPIAN THOUGHT AND UTOPIA IN ENGLISH LITERATURE I Course Type : ElectiveCourse Level : MAYear and Semester : AutumnCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Asst.Prof.Can Abanazır

Course Objectives: In this course the idea of utopia and anti-utopia are discussed in detail.Course Contents: The origins of utopian thought, along with its place and development within the history of western thought are reviewed. Particularly the myth of the golden age, Plato's utopian ideas, pastoral and Arcadian idealism and, also, utopian ideas in Christianity are examined and discussed in detail. Then, in the light of this comprehensive study, the utopian thought in English literature, with its development and changing significance from Sir Thomas More to the present, constitutes the main core of the course. Teaching Method: Lectures and classroom discussions. Assessment Method: Written exam (two midterms (50 %) and one final (50 %)).Reading List: Baker-Smith,Dominic.  More'sUtopia. Harper CollinsAcademic:   London   ,1991.Baker-Smith,Dominic.   Between Dream and Nature : Essays on Utopia and Dystopia Rodopi:   Amsterdam,   1987.Becker, Allienner.   The Lost Worlds Romance : From Dawn Till Dusk. Greenwood Press:   Westport Conn.,   1992.Berlant,LaurenGail,   The Anatomy of National Fantasy : Hawthorne, Utopia, and Everyday Life. University of Chicago Press:   Chicago,   1991.Bloch,Ernst,   The Utopian Function of Art and Literature : Selected Essays. MIT Press   Cambridge, Mass ,  1988.

COURSE CODE AND TITLE: IED 606 SCIENCE FICTION AND FANTASY I

Course Type : ElectiveCourse Level : M.A.Year and Semester : FallCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Assist. Prof.Dr. Can Abanazır

Course Objectives: This course is designed to study the development of Science Fiction and Fantasy literature in Britain. Course Contents: : This course is mainly concerned with the birth and the development of Science Fiction and Fantasy literature in Britain.Teaching Method: Lectures and classroom discussions. Assessment Method: Written exam (four midterms (50 %) and one final (50 %). Reading List: Aldiss, Brian Wilson, The Detached Retina : Aspects of SF and Fantasy Syracuse University Press    Syracuse, N.Y.    1995Alkon, Paul K.    Science Fiction Before 1900 : Imagination Discovers Technology Twayne ;Maxwell Macmillan Canada   New York :Toronto   1994Alkon, Paul K.    Origins of Futuristic Fiction University of Georgia Press    Athens 1987Alsford, Mike What if? : Religious Themes in Science Fiction. Darton, Longman and Todd    London    2000

Armitt, Lucie, Where No Man Has Gone Before : Women and Science Fiction Routledge    London ;New York    1991

COURSE CODE AND TITLE : IED 614 SHORT STORY ANALYSIS ICourse Type : Elective Course Level : MAYear and Semester : SpringCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof.Dr. A. Deniz BOZER

Course Objectives : To acquaint students with the short story as a modern genre and starting with the late 19th century until the present, to introduce outstanding short story writers not only from Britain and the United States but also from a variety of countries like Russia, France, Turkey, etc. in order to enhance their critical awareness of this literary genre.Course Contents : The origins of the genre from the medieval times up to the mid-19th century will be dealt with so as to establish the development of the short story as a modern genre. The theory set by Poe will be studied. An intensive thematic and technical study of short stories by outstanding writers like N.Hawthorne, E.A. Poe, A. Chekhov, G. de Maupassant, M. Twain, H. James, E.M. Forster, V. Woolf, J. Joyce, D.H. Lawrence, K. Mansfield, E. Hemingway, F.S. Fitzgerald, W. Faulkner, E. Bowen, D. Lessing, S. Maugham, Saki, N. Gogol, G.G. Marquez, J.C. Oates, K.A. Porter, U. LeGuin, Ö. Seyfettin, S. Faik, N. Eray, B. Uzuner will be carried out and the short stories will be analyzed and interpreted within the framework of different literary theories.Teaching Method : Lectures, student presentations, classroom discussions. Assessment Method : Four presentations / papers (50 %) and one final (50 %)Reading List : Brad Hooper. Short Story Writers and their Work, 1988;Peter Keating (Ed.). The Nineteenth Century Short Story, 1981; S. Lohaffer ve J.E. Clarey (Eds.). Short Story Theory at a Crossroads, 1989; V. Shaw. The Short Story: A Critical Introduction, 1983; E.L. Smith ve A.W. Hart. The Short Story: A Contemporary Looking Glass, 1981; D. Head. The Modernist Short Story: A Study in Theory and Practice, 1992; W.A. Ernest. The Short Story in English, 1982.

COURSE CODE AND TITLE: IED 615 BRITISH TRAVEL LITERATURE I Course Type : ElectiveCourse Level : Graduate (MA)Year and Semester : Graduate, FallCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof.Dr. Himmet Umunç

Course Objectives: This course comprises an in-depth study, with reference to theories of literary and cultural criticism, of works by British travel writers, which contain extensive descriptions, observations, and evaluations about other countries and communities, especially Turkey and Turkish society. The texts are chosen from different periods and centuries. Thus, the students are enabled to have full familiarity with British travel literature in terms of theory, historical background and literary qualities and, through such a study, their capacity and skills for critical assessment, theoretical thinking and scholarly research are further developed and strengthened. Course Contents: At the outset, travel literatrure is discussed in general terms with reference to theory, generic features, and historical development and through a comparative assessment of critical views. This is followed by an in-depth study of major British travel writings especially from the eighteenth century down to the present and, in particular, related to Turkey, within the framework of a historical context and literary as well as cultural theories and concepts. Teaching Method: Lectures, student presentations, and discussions.Assessment Method: Paper presentations: 60%; final essay: 20%; contribution to discussions: 20%.Reading List: Some important secondary sources on travel literature in general and British travel literature in particular are suggested below. Yet, students are required to do far more comprehensive research through an extensive use of sources. Adams, Percy G. Travel Literature and the Evolution of the Novel. 1962. Lexington,KY: Kentucky UP,

1983.Bartowski, Frances. Travelers, Immigrants, Inmates: Essays in Estrangement. Minneapolis: Minnesota

UP, 1995.Batten, Charles L. Pleasurable Instruction: Form and Convention in Eighteenth-Century Travel

Literature. Berkeley: U of California P, 1978.Behdad, Ali. Belated Travellers: Orientalism in the Age of Colonial Dissolution. Durham, NC: Duke UP,

1994.Birkett, Dea. Spinsters Abroad: Victorian Lady Explorers. London: Blackwell, 1989.Black, Jeremy. The British and the Grand Tour. London: Croom Helm, 1986.__________. The British Abroad: The Grand Tour in the Eighteenth Century. Stroud, Eng.: Alan

Sutton, 1992.Blunt, Alison. Travel, Gender and Imperialism: Mary Kingsley in West Africa. New York: Guilford,

1994.Bohls, Elizabeth A. Women Travel Writers and the Language of Aesthetics 1716-1818. Cambridge:

Cambridge UP, 1995. Clark, Steve, ed. Travel writing and Empire: Postcolonial Theory in Transit. London: Zed, 1999.Cocker, Mark. Loneliness and Time: British Travel Writing in the Twentieth Century. London: Secker

and Warburg, 1992.Dodd, Philip, ed. The Art of Travel: Essays on Travel Writing. Totowa, NJ: Frank Cass, 1982.Fussell, Paul. Abroad: British Literary Travelling between the Wars. Oxford: Oxford UP, 1980.Grewal, Inderpal. Home and Harem: Imperialism, Nationalism and the Culture of Travel. Durham, NC:

Duke UP, 1996.Halsband, Robert. The Life of Lady Mary Wortley Montagu. Oxford: Clarendon, 1956. Penrose, Boies. Travel and Discovery in the Renaissance 1420-1620. Cambridge, MA: Harvard UP,

1952. Pratt, Mary Louise. Imperial Eyes: Travel-Writing and Transculturation. London: Routledge, 1992.Robertson, George et al., eds. Travellers’ Tales: Narratives of Home and Displacement. London:

Routledge, 1996. Rojek, Chris. Ways of Escape: Modern Transformations in Leisure and Travel. London: Macmillan,

1993.Said, Edward. Orientalism. London: Routledge, 1978._________. Culture and Imperialism. New York: Knopf, 1993. Youngs, Tim. Travellers in Africa: British Travelogues 1850-1900. Manchester: Manchester UP, 1994.

COURSE CODE AND TITLE : IED 619 BRITISH WOMEN WRITERS I

Course Type : ElectiveCourse Level : MAYear and Semester : FallCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Assist.Prof.Dr. Hande Sadun

Course Objectives:The aim of the course is to study the representative British women writers belonging to different periods and who have produced works in different literary genres. Their contributions to the development of the British novel, poetry and drama are studied within the context of social, cultural, political and moral background. Particular emphasis is placed on the role of the woman writer, feminine discourse and feminist theory where applicable. Course Contents: The course begins with a discussion of the place of women writers and their works in the canon. Related articles about women’s place in life and art, and the place of the women writers in a male literary tradition are studied. After the study of the theoretical background, the sample works of women poets from the Classical period, anonymous lyrics/works of the Old English Period, and Medieval period, such as selections from the works of Julian of Norwich and Margery Kempe, are read and discussed in class along with the condition of women in these times and how they are presented in the predominant literary tradition.

Then selections from the works of the representative British women writers, as suggested, are studied in detail: from the Elizabethan period; the poems of Queen Elizabeth I, Mary Sidney, Countess of Pembroke, from the 17th century; the poems of Lady Mary Wroth, Katherine Philips, Aphra Behn, Margaret Cavendish, the plays of Aphra Behn, Delariviere Manley, the novels/prose works of Aphra Behn, Lady Mary Wroth, Margaret Cavendish, from the18th century; the poems of Anne Finch, Lady Mary Chudleigh, Lady Mary Wortley Montagu, the plays of Susannah Centlivre, Fanny Burney, the novels of Fanny Burney, Eliza Haywood, Elizabeth Inchbald, Jane Austen, Mary Wollstonecraft, Amelia Opie, from the19th century; the poems of Letitia Elizabeth Landon, Felicia Dorothea Hemans, Christina Rossetti and Elizabeth Barrett Browning, the plays of Mrs Henry Wood, Lady Augusta Gregory, the novels of Charlotte, Anne, Emily Bronte, George Eliot, Elizabeth Gaskell, Geraldine Jewsburry, Mona Caird, Olive Schreiner, and from the 20th century the poems of Stevie Smith, Nuala Ni Dhomhnaill, Caroll Ann Duffy, Jackie Kay, Lavinia Greenlaw, Grace Nichols, the plays of Shelagh Delaney, Pam Gems, Ann Jellico, the novels of Virginia Woolf, Jeanette Winterson, Iris Murdock, Margaret Atwood.

Each century is individually studied with emphasis on the status of women in that particular period. The changing role of women in the society through centuries, and the place of women writers in the male literary tradition, their choice of subject matter and form are also discussed through a comparative study of their works. Teaching Method: Lectures and classroom discussions.Assesment Method: Two Formal Presentations, one Informal Presentation, one Mid-Term (50%), Class participation (20%) and one Final Exam (30%).Reading List:Acheson, James and Romana Huk. (1996) Contemporary British Poetry. New York: State UP.Armstrong, Isobel (1993) Victorian Poetry: Poetry, Poetics and Politics. London: Routledge.Aston, Elaine and Janella Rienelt (2000) Modern British Women Playwrights. Cambridge: Cambridge UP.Azim, Firdous (1993) The Colonial Rise of the Novel. London: Routledge.Barratt, Alexandra, ed. (1992) Women’s Writing in Middle Ages. London: Longman.Case, Sue Allen (1988) Feminism and Theatre. London : Macmillan.Cosman, Carol, et al., eds. (1978) The Penguin Book of Women Poets. London: Allen Lane.Draper, R.P. (1999) An Introduction to Twentieth-Century Poetry in English. New York: St Martins.Gilbert, Sandra M and Susan Gubar ed. and int. (1979) Shakespeare’s Sisters: Feminist Essays on Women Poets. Bloomington: Indiana UP.Homans, Margaret (1980) Women Writers and Poetic Identity. Princeton, NJ: Princeton UP.Jones, Vivien ed. (2000) Women and Literature in Britain 1700-1800. Cambridge: Cambridge UP.Pritchard, R.E. ed. (1990) Poetry by English Women: Elizabethan to Victorian. Manchester: Fyfield. Shaw, Marion, ed. (1998) An Introduction to Women’s Writing: From the Middle Ages to the Present Day. London: Prentice Hall.Spender, Dale (1986) Mothers of the Novel. London: Pandora.

Stephenson, Heidi and Natasha Langridge (1997) Rage and Reason: Women Playwrights on Play Writing. London: Methuen.Wilcox, Helen ed. (1996) Women and Literature in Britain 1500-1700. Cambridge: Cambridge UP.

COURSE CODE AND TITLE: İED IED 622 PROSE WRITINGS IN ENGLISH LITERATURE I

Course Type : ElectiveCourse Level : PhDYear and Semester : SpringCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof. Dr. Serpil Oppermann

Course Objectives: The aim of this course is to introduce and to discuss a wide range of English prose writings from various periods. These prose works will be studied in depth with regards to their textual, stylistic, thematic and cultural characteristics. Among the non-fictional forms to be critically evaluated are autobiographical, biographical writings, memoirs, travel writings, letters and diariesIn this course, students, different from M.A students, are required to make at least two additional presentations or submit two additional term papers; they are further encouraged to do extensive research and read more texts.Course Contents: The main contents of this course include important works (letters, diaries, memoirs, essays, travel writings) of Thomas Carlyle, Samuel Johnson, James Boswell, John Stuart Mill, Harriett Martineau, Charles Lamb, Samuel Pepys, Richard Chandler, Lady Montague, Thomas de Quincey, Lord Byron, Addison and Steele, Edmund Burke, Dorothy Wordsworth and Lady Anne Halkett.Teaching Method: Lectures, classroom discussions and student presentations Assessment Method: Written exam %50, and presentations and term papers %50Reading List:Selections from the following works:Thomas Hobbes. LeviathanJames Boswell. The Life of Samuel JohnsonSamuel Johnson. The Idler and the Adventurer, The Rambler 4(on Fiction), 60 (on biography), 286 (on history)Thomas Carlyle. The French RevolutionThomas de Quincey. Confessions of an Opium EaterJohn Stuart Mill. AutobiographyLady Ann Halkett. The MemoirsSamuel Pepys. The DiaryLord Byron. Selected Letters and JouralsDorothy Wordsworth. Alfoxden JournalDaniel Defoe. The Complete English TradesmanRichard Chandler. Travels in Asia MinorLady Mary Wortley Montagu. Turkish Embassy Letters and Letters of Lady Mary Wortley Montague,: Written during her travels in Europe, Asia, and AfricaDavid Hume. A Treatise of Human NatureMary Wollstonecraft. A Vindication of the Rights of WomenThomas Paine. The Rights of ManAdam Smith. The Wealth of NationsJohn Ruskin. The Stones of VeniceJohn F. Tinkler. History and Development of Prose Style: A Reader (electronic text) http://www.towson.edu/~tinkler/prose/prose1.htmlMark Cocker. Loneliness and Time : The Story of British Travel Writing, 1993

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COURSE CODE AND TITLE : IED 627 COMEDY OF MANNERS ICourse Type : Elective Course Level : MAYear and Semester : AutumnCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Asst.Prof. Sibel Dinçel

Course Objectives: The aim of this course is to provide the students with an appreciation of the major characteristics of the Restoration comedies of manners with regard to the technical and thematic developments in the genre from the times of its first popularity in England until today. Course Contents:After providing an introduction to the social, political and literary background to the period between 1660-1700, that is the Restoration, the major characteristics of the Restoration comedies of manners will be established with reference to the plays of William Wycherley’s The Country Wife, Sir George Etherege’s The Way of the World, Aphra Behn’s The Rover and William Congreve's The Way of the World. The comedies of manners of later dramatists, like Farquhar and Vanbrugh in the 18th, Oscar Wilde’s The Importance of Being Earnest, Bernard Shaw’s Pygmalion, Noel Coward’s Private Lives and Alan Ayckbourn's Table Manners in the 20th century, are to be analyzed with regard to the technical and thematic developments in the genre. (play lists are tentative)Teaching Method: Student presentations ,lectures and classroom discussions. Assessment Method: Student presentations (25%) +Class participation (25 %) and one final (50 %).Reading List: Primary Sources: The texts of the assigned playsSecondary Sources:Tricsters and Estates:On the Ideology of Restoration Comedy ., Douglas Canfield. (Kentucky:UP of Kentucky, 1997) .English Comedy. Alexander Leggatt (Cambridge:Cambridge UP, 1994).William Wycherley and the Comedy of Fear . John A Vance (Newark:U of Delaware Press, 2000) The Comic Theatre of Greece and Rome. Sandbach, F. H. ( London : Chatto & Windus, 1977).Truth and the Comedic Art . Michael Gelven. (Abany, NY : State University of New York Press, 2000).Humor in Twentieth-Century British Literature : A Reference Guide . Don L.F. Nilsen. (Westport, Conn. : Greenwood Press, 2000).William Wycherley and the Comedy of Fear . John A. Vance. (Newark : University of Delaware Press ; London : Associated University Presses, 2000).Gulme: Komigin Anlami Üzerine Deneme. Henri Louis Bergson. (Ankara: Milli Egitim Bakanligi, 1922).

COURSE CODE AND TITLE : IED 628 ENGLISH POLITICAL DRAMA ICourse Type : Elective Course Level : MAYear and Semester : SpringCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof.Dr. A. Deniz BOZER

Course Objectives: The aim of this course is to enable students to become aware of the relationship between politics and aesthetics through an in-depth study of the reflection of Britain’s political environment in British political plays written from the early twentieth century to the present. Course Contents: Piscator’s theoretical contributions to this genre and the influence of his ideas on Brecht’s Epic Theatre will be established. After dealing with agit-prop theatre, the first kind of modern political drama, the aims and characteristics of worker’s theatre, documentary theatre, and street theatre will be studied with reference to plays by writers like T. Griffiths, D. Hare, H. Brenton, D. Mercer, and S. Berkoff. Teaching Method: Lectures and classroom discussions. Assessment Method: One written exam, one term paper, several quizzes, and presentations (50 %) and one final (50 %).Reading List: Fraser, Scott. A Politic Theatre: the Drama of David Hare. Amsterdam; Atl: Rodopi, 1996.Garner, Stanton B. Trevor Griffiths: Politics, Drama, History. Ann Arbor: U of Michigan P, 1999. Oliva, Judy Lee. David Hare: Theatricalizing Politics. Ann Arbor, Mich.: UMI Research, 1990. Samuel, Raphael. Theatres of the Left 1880-1935: Workers’ Theatre Movement in Britain. London: Routledge and Kegan Paul, 1985. Van Erven, Eugene. Radical People’s Theatre. Bloomington: Indiana UP, 1988. Willett, John. The Theatre of Erwin Piscator: Half a Century of Politics in the Theatre. London: Eyre Methuen, 1986.

COURSE CODE AND TITLE : IED 629 ANGLO-IRISH DRAMA ICourse Type : Elective Course Level : MAYear and Semester : AutumnCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof.Dr. A. Deniz BOZER

Course Objectives : To acquaint students with Irish history and culture through the plays of Anglo-Irish dramatists starting with the beginning of the 20th century until the present and to enhance their critical awareness of drama.Course Contents : An intensive thematic and technical study of plays by W.B. Yeats (Deidre, The Countess Cathleen, The Death of Cuchulain), J.M. Synge (Riders to the Sea, The Playboy of the Western World), Lady Gregory (Spreading the News, The Rising of the Moon), S. O’Casey (The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars), B. Behan (The Hostage, The Quare Fellow), F. McGuiness (Observe the Sons of Ulster Marching Towards the Somme),, A. Devlin (After Easter) B. Friel (Philadelphia, Here I Come, Translations) will be carried out within the framework of relevant literary theories and with special emphasis on Irish history and culture, and the Abbey Theatre.Teaching Method : Lectures, student presentations, classroom discussions. Assessment Method : Four presentations / papers (50 %) and one final (50 %)Reading List : J. Ranelagh. A Short History of Ireland, 1990; Terence Brown. Ireland: A Social and Cultural History, 1985; Anthony Roch. Contemporary Irish Drama, 1995; Christopher Murray. Twentieth Century Irish Drama, 1997; Michael Etherton. Contemporary Irish Dramatists, 1989; Christopher Fitzsimmons. The Irish Theatre, 1983.

COURSE CODE AND TITLE : IED 638 BRITISH COMMONWEALTH LITERATURES ICourse Type : Elective Course Level : MAYear and Semester : SpringCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Asst. Prof. Dr. Huriye Reis

Course Objectives: This course studies the literatures of countries, like Canada, Australia and New Zealand, of which English is the national language. Course Contents: The course covers the literatures of countries like Canada, Australia and New Zealand through samples of poetry, fiction, drama, short fiction and literary prose and examines possible links of these literatures with English literature.Teaching Method: Lectures and classroom discussions. Assessment Method: Written exam (two midterms (50 %) and one final (50 %)).Reading List: Ashcroft, Bill,   The empire writes back : theory and practice in post-colonial literature Routledge   London ; New York   1989.Boehmer, Elleke,   Empire writing : an anthology of colonial literature, 1870-1918 Oxford University Press   Oxford England   1998.Cribb,T.J.   Imagined Commonwealths : Cambridge essays on commonwealth and international literature in English St. Martin's Press   New York   1999.Davis, Geoffrey V.  Crisis and creativity in the new literatures in English Rodopi   Amsterdam;1990.

COURSE CODE AND TITLE : IED 639 THE SATIRIC TRADITION ICourse Type : Elective Course Level : MAYear and Semester : AutumnCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof Dr Burçin Erol

Course Objectives: To study the theories on satire and related genres and to trace the development of the genre from its earliest examples in Greek Comedy(Aristophanes)and Latin satirists Juvenal and Horace,through the English Middle Ages and the Renaissance to the later English examples especially the 18 th

century. Course Contents: The course covers the study of the theories on satire and various related genres analysing works from the earliest examples in Greek Comedy(Aristophanes)and Latin satires of Juvenal and Horace,through the English Middle Ages (Langland and Chaucer)and the Renaissance, concentrating especially on the English examples especially of the 18th century. Teaching Method: Lectures, classroom discussions, and student presentations. Assessment Method: Written exam (two midterms (50 %) and one final (50 %)).Reading List: SH Braund Roman Verse SatireM Coffey Roman SatireG Highet The Anatomy of Satire,1960I Jack Augustan SatireJ Mann Chaucer and Medieval Estates Satire,1973D Nokes Raillery and Rage:A Study of 18th Century Satire,1987A Pollard SatireR Paulson,ed. Satire: Modern Essays in CriticismC Rawson,ed. English Satirists,1984J Sutherland English Satire,1967H Weinbrot 18th Century SatireA William Essays on Roman Satire

COURSE CODE AND TITLE: IED 640 ENGLISH EPIC TRADITION I

Course Type : ElectiveCourse Level : MAYear and Semester : SpringCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction: EnglishECTS Credits : 7.5Lecturer : Prof Dr Burçin Erol

Course Objectives: To enable the students to recognise the basic elements of primary and secondary epics through the various critical texts beginning with Aristotle’s poetics and to trace the development of the genre and the changes it underwent in keeping with the social,political and cultural changes in Britain. Course Contents: The course covers the study of various critical texts relating to the genre and the close study of the masterpieces of English epic beginning with the Classıcal examples (Gılgamesh,Homer Ilıad, Odyssey, Vergil Aeneid, Song of Roland,). Comparisons between related genre especially the romance will be dealt with and the major epics in English will be studied in detail. Beowulf, Battle of Maldon, Paradise Lost ,Paradise Regained). The studies will also include examples from mock heroic epic (Rape of the Lock)Teaching Method: Lectures,student presentations and classroom discussions. Assessment Method: Written exam (two midterms (50 %) and one final (50 %).Reading List: Aristotle Poetics,1946Chadwick The Heroic Age,1987J Crosland The Old French Epic,1971Dixon English Epic and Heroic Poetry,Dutton, 1912.T Green The Descent from Heaven,1963JB Hainsworth The Idea of Epic,1991Hatto Traditions of Heroic and Epic Poetry, 1980J IngalsThe Epic TraditionWTH Jackson The Hero and the King,1982Ker From Epic to Romance,1952Patrides Milton’s Epic Poetry,1967Tillyard The English Epic and Its Background,1954HN Wolf A Study in the Narrative Structure of Three Epics: Gılgamesh,Odyssey and

Beowulf,1987

COURSE CODE AND TITLE : IED 643 COMPARATIVE NOVEL ICourse Type : Elective Course Level : MAYear and Semester : AutumnCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof. Dr. Serpil Oppermann

Course Objectives: The aim of this course is to read and discuss critically north-American, and European novels of various periods with special focus on the analysis of the distinctive literary features of the novel as the genre made its first literary appearance in Spain with Cervantes. The objective is to enable the students to read and discuss critically novels from various countries which all employ metafictional techniques despite their contextual,-cultural, historical, and social- differences. In this way their ability to appreciate the novel genre in various different cultures and their interpretive strategies to them will be developed. The main idea behind the "comparative" study of the novel is not only comparison per se, but rather the principle that the novel genre is a universal phenomenon with its currency, reception and influence of writers and their works not only in their own countries but also the in the other countries. Course Contents: We will be examining theories of the origins of the novel in Europe, to assess them and place them within a critical context. The course will focus on the self-conscious nature of the novel genre in particular in order to familiarize the students with the critical questions surrounding the emergence and the development of the genre itself. The contents of this course include the study of the self-conscious nature of the novel, its transmission, and evolution, and its transgression of the national boundaries. The contemporary metafictional mode especially attests to this development that helps us understand literary systems as such which cannot be bound within historical, national, and cultural specificity of our categories of literary study. Comparative novel is one element of the interdisciplinary humanities studies which some scholars recognize as the postmodern condition due to the overlapping of cultural, critical and literary traditions and writing modes. Studying the comparative novel as a self-conscious genre the students will be given a deeper understanding of the political, social and literary world within which the language of the novel operates in an overtly self-conscious way.Course contents will pay special attention to the following: Metafictional play, Self-reflexiveness in postmodern novels, Postmodern parody&intertextuality, The idea of a postmodern author, Fictionality of characters, The conflict between self and art, The use and abuse of conventions, The construction of plural worlds in postmodern fictions, The dissolution of metanarratives and why it is done, The meeting of history and fiction, Fabulation. Novels: M.Cervantes. Don Quixote, J.L.Borges. "Pierre Menard, Author of the Quixote," "Tlön, Uqbar, Orbis Tertius,"The Library of Babel,” L.Sterne. Tristram Shandy, D.Diderot.Jacques the Fatalist, R.Federman.To Whom It May Concern, D.Barthelme. Snow White, Jim Crace. The Gift of Stones, I.Calvino. If on a winter's night a traveler, C.Wolf. No Place on Earth, J.M. Coetzee. Foe, A.Alatlı. Schrödingeri'in Kedisi, M.Amerika. "The Kafka Chronicles," O.Pamuk. Beyaz Kale.Teaching Method: Lectures, Classroom discussions and student presentationsAssesment Method: Written exam %50 , presentations and termpapers %50Reading List: P.Waugh. Metafiction (1984), L.Hutcheon. "Decentering the postmodern: the ex-centric" in A Poetics of Postmodernism (1989), R.Federman. Critifiction: Postmodern Essays (1993), Raymond Federman. "Surfiction-Four Propositions in Form of an Introduction," I.Calvino, "Myth in the Narrative" in R.Federman (ed). Surfiction: Fiction Now…and Tomorrow (1975), "Interview with Raymond Federman" in T.LeClair&L.McCaffery (eds). Anything Can Happen (1983), D.Fokkema. "The Semiotics of Literary Postmodernism" in International Postmodernism: Theory and Literary Practice (1996), B.K.Marshall. "Introduction" Teaching the Postmodern: Fiction and Theory (1992), R.Barthes. "The Death of the Author." And "From Work to Text," M.M.Bakhtin. The Dialogic Imagination (1981)

COURSE CODE AND TITLE : IED 644 COMPARATIVE DRAMA ICourse Type : Elective Course Level : MAYear and Semester : SpringCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof.Dr. A. Deniz BOZER

Course Objective: To acquaint students with plays written at different times in different countries by different writers within the scope of a variety of dramatic movements starting with the late 19 th century until the present in order to enable them to develop a comparative interpretative and critical approach to the texts.Course Contents : An intensive thematic and technical study of plays and theatre movements in chronological order for comparative purposes: H. İbsen (A Doll’s House, Ghosts), A. Strindberg (Miss Julie, The Ghost Sonata), A. Chekhov (The Cherry Orchard),M. Maeterlinck (The Blue Bird), L. Pirandello (Six Characters in Search of an Author), F.G. Lorca (The House of Bernarda Alba, Yerma), B. Brecht (Mother Courage, The Good Woman of Sezchuan), E. O’Neill (The Iceman Cometh), E. Ionesco (Rhinoceros), J. Genet (The Balcony), B. Behan (The Quare Fellow), F. Dürrenmatt (The Physicists), H. Taner (Keşanlı Ali Destanı), S. Beckett (Happy Days, Not I), D. Fo (The Accidental Death of an Anarchist), M. Baydur (Düdüklüde Kıymalı Bamya), Ö. Yula (Kırmızı Yorgunları).Teaching Method : Lectures,student presentations, classroom discussions. Assessment Method: Four presentations / papers (50 %) and one final (50 %)Reading List : B. Docherty. Twentieth Century European Drama, 1994;

M. Esslin. Absurd Drama, 1965; R. Gaskell. Drama and Reality: The European Theatre since Ibsen, 1972; R. Gilman. The Making of Modern Drama: A Study of Büchner, Ibsen, Strindberg, Chekhov, 1987; F.J. Marker. Modernism in European Drama, 1998; R. Yarrow. European Theatre 1960-1990: Cross Cultural Perspectives, 1992.

COURSE CODE AND TITLE: IED 645 CONTEMPORARY LITERARY THEORY AND CRITICISM I

Course Type : ElectiveCourse Level : MAYear and Semester : FallCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer :Prof. Dr. Serpil Oppermann

Course Objectives: This is the first part of a two term course. This is a reading-intensive, both conceptual and applicatory, graduate course on contemporary critical theories, and their application to literary texts. The aim of the course is to develop the students' critical awareness of literary theory and its role in the interpretation of literary texts. Examining and applying the major texts of contemporary theories of literature from the early and mid- 20th century such as the New Criticism, Russian Formalism, Structuralism, Psycho-analytical criticism, Archetypal criticism, Marxist criticism to Feminist criticism will provide the students with a broad view of the contemporary debates on reading and interpreting literature. Course Contents: Some of the major terms and concepts, such as irony, tension, ambiguity, paradox, close reading from the New Criticism, and figurative levels in the discourse, binary oppositions, metaphor-metonymy, sychroric-diachronic approach from Structuralism, to give a few examples, as well as the interpretive strategies and the major critical texts from the theorists will comprise the contents of this course. Some examples are:Teaching Method: Lectures, classroom discussions and student presentations Assessment Method: Written exam %50, and presentations and term papers %50.Reading List: Hazard Adams, Leroy Searle. Eds.Critical Theory Since 1965. Raman Selden- Practicising Theory and Reading Literature 1989Peter Barry- Beginning Theory: An Introduction to Literary and Cultural Theory, 1995Lois Tyson-Critical Theory Today, 1999Shirley F. Staton. Ed. Literary Theories in Praxis, 1987M. Keith Booker- A Practical Introduction to Literary Theory and Criticism, 1996

Some of the exemplary material:John Keats- "Ode to a Nightingale." Robert Browning- "My Last Duchess." Ted Hughes-"The Thought Fox."Edgar Allen Poe- "The Tell-tale Heart."Cleanth Brooks: The Well Wrought Urn (Chapters 7 and 8)Wimsatt and Beardsley: "The Affective Fallacy," and "The Intentional Fallacy."Craig Raine- "A Martian Sends a Postcard Home."Saussure- "Course in General Linguistics"Barthes- "The Structuralist Activity"Claude Levi-Strauss- "The Structural Study of Myth."Hemingway- "Cat in the Rain." Hawthorne- "Young Goodman Brown." Marvell- "To His Coy Mistress."

COURSE CODE AND TITLE: IED 646 CONTEMPORARY LITERARY THEORY AND CRITICISM II

Course Type : ElectiveCourse Level : MAYear and Semester : SpringCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof. Dr. Serpil Oppermann

Course Objectives: This is the second part of a two term course. It focuses in depth on the contemporary critical theories, and their application to literary texts. The aim of the course is to develop the students' critical awareness of literary theories that developed in the second half of the 20th century and that continue to inform literary studies today and their role in the interpretation of literary texts. Examining and applying the major texts of contemporary theories such as Post-structuralism and Deconstruction, The New Historicism, Reception Theory and Reader-Response Criticism, Hermeneutics, Ecocriticism and Cultural and Post-Colonial theories of literature will provide the students with a broad view of the contemporary debates on reading and interpreting literature. Course Contents: Major critical terms, concepts and reading and interpretive strategies of the critical schools and the texts from their major adherents and theorists as well as examplary literary texts for application comprise the main contents of the course.Some examples include:Barthes-"Death of the Author," Derrida’s "Differance," Stephen Greenblatt’s "The Invisible Bullets," and texts from Dominick LaCapra, Louis Montrose, Hayden White, Stanley Fish, Wolfgang Iser, Homi Bhabbha, and so on.Teaching Method: Lectures, classroom discussions and student presentations Assessment Method: Written exam %50, and presentations and term papers %50Reading List: Jonathan Culler- On DeconstructionH. Aram Veeser (ed): The New HistoricismCheryll Glotfelty and Harold Fromm 'eds)- The Ecocriticism ReaderBill Ashcroft, Gareth Griffiths and Helen Tiffin (eds)- The Post-Colonial Studies ReaderHazard Adams, Leroy Searle. Eds.Critical Theory Since 1965. Elizabeth Freund- The Return of the Reader: Reader-Response Criticism, 1987Wolfgang Iser- The Act of Reading: A Theory of Aesthetic Response, 1978Douglas G. Atkins- Reading Deconstruction: Deconstructive Reading, 1983Jacques Derrida- Of Grammatology, 1976Roland Barthes- The Pleasure of the TextMichel Foucault- The Order of Things, 1972Homi Bhabha- Nation and Narration, 1994Edward Said-Culture and Imperialism 1994

COURSE CODE AND TITLE: İED 647 MEDIEVAL ENGLISH LITERATURE I (EXCLUDING DRAMA)

Course Type : ElectiveCourse Level : MAYear and Semester : AutumnCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer :Assistant Prof Dr. Huriye Reis

Course Objectives: The course aims to study medieval English literature, its particular genres such as romance, dream poetry, allegorical religious writings, lyrics and ballads, and individual authors like Langland, the Gawain poet and the women writers. Course Contents: This course covers the middle English literature from the eleventh century to the fifteenth century. It covers the political,social, economic, cultural and institutional changes that took place as a result of the Norman invasion with particular emphasis on the radical transformation and development of the English language under the impact of Norman, and French, and it studies the literature of the period in terms of genre, style, form and content, as well as its relationship with Latin, Christian sources and with medieval French literature.Teaching Method: Lectures, student presentations, classroom discussions.Assessment Method: Paper presentations (25% each), class participation (25%), one final (25 %).Reading List:

Trapp, J. B.    Medieval English literature.Oxford University Press    New York    2002.Barron, W. R. J. English Medieval romance.Longman    London ;New York 1987.Brewer, Elisabeth. Sir Gawain and the Green Knight : sources and analogues D.S. Brewer    Woodbridge, Suf    1992.Alford, John A.A Companion to Piers Plowman.University of California Press   Berkeley    1988.Hewett-Smith, Kathleen M.   William Langland's Piers Plowman : a book of essays, 1988.Dronke, Peter. Women writers of the Middle Ages : a critical study of texts from Perpetua (d. 203) to Marguerite Porete (d. 1310). Cambridge ; New York : Cambridge University Press, 1984.Boitani, Piero.    English medieval narrative in the thirteenth and fourteenth centuries Cambridge University Press    Cambridge ;New    1982.Boitani, Piero.    Poetics : theory and practice in medieval English literature. D.S. Brewer    Cambridge    1991Burrow, J. A.    Ricardian poetry : Chaucer, Gower, Langland and the 'Gawain' poet Penguin Books    London    1992.Holloway, Julia Bolton.  Equally in God's image : women in the Middle Ages : Peter Lang    New York    1990

COURSE CODE AND TITLE : IED 648 MEDIEVAL AND EARLY RENAISSANCE ENGLISH DRAMA ICourse Type : ElectiveCourse Level : MAYear and Semester : AutumnCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Asst.Prof. Sibel Dinçel

Course Objectives: The objective of this course is to make the students further their knowledge of Medieval and early Renaissance English drama. Course Contents: Starting with liturgical plays, the early phase of medieval religious drama will be covered.The characteristics of other forms in the Middle ages that is mystery, plays such as The Creation (Coventry), The Flood (Wakefield), Cornish Plays: The Shipwright’s Play (Newcastle), Noah’s Flood, The Shepherd’s Play (Chester) compared with The Second Shepherd’s Play (Wakefield/Nativity play) , and mystery plays such as Passion Play:Christ Betrayed (Chester), Doomesday (Coventry) , and miracle plays like Abraham and Isaac, The Conversion of Saint Paul and morality plays like Morality of Wisdom, Hickscorner, The Cradle of Security, The Castle of Perseverence . Also interludes such as The Interlude of Youth (Moral interlude), Enough is as Good as a Feast (secular and religious polemic), Respublica (religious polemic:Bloody Mary) will also be examined. The course also dwells upon the works of the Renaissance English dramatists excluding Shakespeare. The rise and development of the Renaissance tragedy and comedy are discussed with special emphasis on their theory and origins. The course consists of a comparative and in-depth study in form and content of such plays as Nicholas Udall’s Ralph Roister Doister, Gammer Gurton’s Needle (anonymous), Thomas Norton and Thomas Sackville’s Gorboduc, Robert Greene’s Friar Bacon and Friar Bungay, Thomas Heywood’s A Woman Killed with Kindness, John Marston’s The Malcontent, John Lyly’s Endymion: The Man in the Moon, Ben Jonson’s Bartholomew Fair, Francis Beaumont ve John Fletcher’s The Knight of the Burning Pestle, Thomas Dekker’s The Seven Deadly Sins of London and John Ford’s ‘Tis a Pity She’s a Whore.Teaching Method: Student presentations, lectures and classroom discussions. Assessment Method: Student presentations (25%)+ class participation (25%) and one final (50 %).In this course, PhD students, different from MA students, are required to make at least two additional presentations or submit two additional term papers; they are further encouraged to do extensive research and read more texts.Reading List: Primary Sources: The texts of the assigned playsSecondary Sources:Beadle, Richard. The Cambridge Guide to Medieval English Literature. Cambridge:Cambridge UP, 1994 .Barnet, Sylvan, et.al., eds. The Genıus of the Early English Theatre. London: New English Library, 1962. Berger, Sidney E. Medieval English Drama : An Annotated Bibliography of Recent Criticism . New York : Garland, 1990.Cairns, Christopher. The Renaissance Theatre: Texts, Performance, Design. Aldershot, Hants, England: Brookefield, Vt.: Ashgate, 1999. Chambers, E.K. The Medieval Stage . Oxford UP: London, 1954.Happe, Peter, ed. Medieval English Drama : A Casebook . London : Macmillan, 1984.Hart, Jonathan. Reading the Renaissance: Culture, Poetics and Drama. New York: Garland, 1996. Rossiter, A.P. English Drama:From Early Times to the Eizabethans. Hutchinson CO.:London, 1959. White, Martin. Renaissance Drama in Action: An Introduction to Aspects of Theatre Practice and Performance. London; New York: Routledge, 1998.

COURSE CODE AND TITLE : İED 649 RENAISSANCE ENGLISH DRAMA I (EXCLUDING SHAKESPEARE)

Course Type : ElectiveCourse Level : MAYear and Semester : AutumnCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Asst.Prof.Dr. Şebnem Kaya

Course Objectives: To acquaint students with a selection of English plays written from 1485 to the mid-seventeenth century and to enable students to develop a critical approach to these plays. Course Contents: The aim of this course is to study the works of the Renaissance English dramatists excluding Shakespeare. The rise and development of the Renaissance tragedy and comedy are discussed with special emphasis on their theory and origins. The course consists of a comparative and in-depth study in form and content of the English plays written during the reigns of Elizabeth I, James I and Charles I. Among the works to be considered in this course are Nicholas Udall’s Ralph Roister Doister, Gammer Gurton’s Needle (anon.), Thomas Norton and Thomas Sackville’s Gorboduc, Christopher Marlowe’s Tamburlaine the Great and Edward II, Thomas Kyd’s The Spanish Tragedy, Robert Greene’s Friar Bacon and Friar Bungay, Thomas Heywood’s A Woman Killed with Kindness, John Marston’s Antonio and Mellida, John Lyly’s Endymion: The Man in the Moon, Ben Jonson’s Bartholomew Fair, Francis Beaumont and John Fletcher’s The Knight of the Burning Pestle, John Webster’s The White Devil, Thomas Dekker’s The Witch of Edmonton and John Ford’s The Broken Heart.Teaching Method: Lectures, students’ presentations and classroom discussions.Assessment Method: Two formal papers to be presented in the class (40 %), participation in classroom discussions (20 %) and one final examination (40 %). Reading List: Cairns, Christopher. The Reanissance Theatre: Texts, Performance, Design. Aldershot,

Hants, England; Brookfield, Vt.: Ashgate, 1999. Clark, Sandra. The Plays of Beaumont and Fletcher: Sexual Themes and Dramatic

Representation. Hemel Hempstead: Harvester Wheatsheaf, 1994. Cole, Douglas. Christopher Marlowe and the Renaissance of Tragedy. Westport, Conn.:

Praeger, 1995. Forker, Charles R. Skull Beneath the Skin: The Achievement of John Webster. Carbondale:

Southern Illinois UP, 1986. Hart, Jonathan. Reading the Renaissance: Culture, Poetics and Drama. New York: Garland,

1996. McLuskie, Kathleen. Dekker and Heywood. Professional Dramatists. London: Macmillan,

1993. Mulryne, J.R., and Margaret Shewring, eds. Theatre of the English and Italian Renaissance.

Basingstoke: Macmillan, 1991. Orrell, John. The Theatres of Inigo Jones and John Webb. Cambridge: Cambridge UP, 1985. ---. The Human Stage: English Theatre Design, 1567-1640. Cambridge: Cambridge UP,

1885. White, Martin. Renaissance Drama in Action: An Introduction to Aspects of Theatre Practice

and Performance. London; New York: Routledge, 1998.

COURSE CODE AND TITLE : IED 650 19TH CENTURY BRITISH NOVEL ICourse Type : ElectiveCourse Level : MAYear and Semester : Spring Course Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof.Dr. Serpil Oppermann

Course Objectives: The main objective of this course is to illustrate the way in which the Victorian novel immersed itself in the social and political circumstances that affected the development of the novel genre. The course aims to develop the students' ability to understand the cultural, social and literary climate of the Victorian era and to interpret the novels with critical awareness.Course Contents: Our primary concern will be to read the novels closely in order to understand, analyze and appreciate their richness and variety of form, language, and content. To this end careful attention will be placed to textual detail as well as to larger themes and patterns. We will also study some relevant terms and concepts in literary criticism alongside the social issues in the Victorian period to make our discussions more precise. The main contents of the course will include the relationships of the individual to society and its institutions (such as law, religion, industry and politics), problems of identity, questions of love, morality and marriage, as well as the issues of gender and class. The role of the novelist investigating and articulating these issues will also be included in class discussions. The following terms and themes will form the main contents: The Bildunfgsroman Genre, Realism in the Victorian novel, Fantastic fiction, Catholic emancipation, Utilitarianism, High Church: Tractarianism, Chartist Movement, The Corn Laws, Reform Acts, Political novel, Governess novel, the social-problem novel, the Silver Fork novel, Sub-genres of Victorian fiction, the woman questionThe novels to be studied:William Makepeace Thackery: Vanity FairCharles Dickens: A Tale of Two CitiesAnthony Trollope: The WardenAnne Bronte: Agnes GreyEmily Bronte: Wuthering HeightsElizabeth Gaskell: CranfordSamuel Butler: The Way of All FleshGeorge Eliot: MiddlemarchThomas Hardy: The Return of the NativeTeaching Method: Lectures, classroom discussions and student presentations Assessment Method: Written exam 50 % and presentations and term papers %50Reading List: Michel Foucault. The History of Sexuality (vol I) (1990)Michel Foucault. Discipline and Punish (1977)Sandra M. Gilbert and Susan Gubar. The Madwoman in the Attick (1984)Elaine Showalter. A Literature of Their Own (1977)Ellen Moers. Literary Women (1976)Wolfgang Iser. The Implied Reader (1978)Georg Lucacs. The Theory of the Novel. (1971)J.Hillis Miller. The Form of Victorian Fiction (1968)Carol L. Bernstein. The Celebration of Scandal: Towards the Sublime in Victorian Urban Fiction (1993)

COURSE CODE AND TITLE: IED 655 MEDİEVAL ROMANCE TRADİTİON I

Course Type : ElectiveCourse Level : MAYear and Semester : FallCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction: EnglishECTS Credits : 7.5Lecturer : Prof Dr Burçin Erol

Course Objectives: The course aims to study the medieval romances in the light of the political, social, cultural and linguistic developments and influences . The various medieval literary conventions related to romance such as courtly love, themes and subjects as well as various forms employed are examined and the generic qualities and the relation of romance to related genres are covered through French Arthurian romances and later in English romances Course Contents: The social, historical, cultural,literary and linguistic background and the relations and influences from the continent are studied. Courtly love,and Romance traditionand the varieties of subject matter and themes are examined through the study of French romances and later the studies concentrate on various English examples(Beroul Tristran, Sir Orfeo, Sir Gawain and the Green Knight, Alliterative Morte Darthur, Troilus and Criseyde, Morte d’Arthur)Teaching Method: Lectures,student presentations and classroom discussionsTeaching Method: Lectures,student presentations and classroom discussions. Assessment Method: Written exam (two midterms (50 %) and one final (50 %). Reading List: WRJ Barron English Medieval Romance,1987JAW Bennet Middle English Literature1986D Benson The History of Troy in Middle English LiteratureP Boitani English Medieval Narrativge in the 13th and14th Centuries,1982WF Bolton,ed. The Middle Ages,1986JA Burrow Ricardian Poetry1971Andreas Capellanus The Art of Love,1969WA Davenport The Art of the Gawain Poet,1978Krueger,ed. Medieval Romance,2000D Lawton Middle English Alliterative Poetry and its Literary BackgroundRS Loomis Arthurian Literature in the Middle Ages,1959AC Spearing Medieval to Renaissance in English PoetrySwanton English Literature before Chaucer1987

COURSE CODE AND TITLE : IED 656 CHAUCER ICourse Type : Elective Course Level : MAYear and Semester : SpringCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof Dr Burçin Erol

Course Objectives: To study the works of Chaucer in the light of the cultural,social, political and literary milieu of the fourteenth century and togive information not only on the poets works but also to discussthe continental influences on him and his contributions to English literature.Course Contents: The social, historical,political, literary and linguistic background of the period is examined and the Continental works that have influenced Chaucer(Boethius Consolation of Philosophy, Andreas Capellanus De Arte Honeste Amandi, Roman de la Rose, Ovid Ars Amatoria,Boccaccio DecameronDante Divine Comedy)are briefly dealt with and the works of Chaucer are studied in detail(Book of the Duchess,House of Fame,Parliament of Fowls,Troilus and Criseyde,Legend of Good Women, Canterbury Tales)Teaching Method: Lectures, classroom discussions. and student presentations Assessment Method: Written exam (two midterms (50 %) and one final (50 %)).Reading List:Benson Chaucer’s Troilus and Criseyde,1990P Boitani Chaucer and the Italian Trecendo,1986P Boitani&J Mann The Cambridge Chaucer Companion,1986M Bowen A Commentary on the GP to the CT,1978H Cooper Oxford Guides to Chaucer: The CT,1989Kean Chaucer and the Making of English Poetry,1972J Mann Chaucer and Medieval Estates Satire,1973_____ Geoffrey Chaucer,1991RP Miller Chaucer: Sources and Backgrounds,1977E.Power Medieval People,1963

Medieval Women,1975J Richardson Blameth Not me:A Study of Imagery in Chaucer’s Fabliaux,1970 B Rowland Blind Beasts,1971______,ed. Companion to Chaucer Studies,1979B Windeat Oxford Guides to Chaucer: Troilus and Criseyde,1992

Chaucer Review

COURSE CODE AND TITLE : IED 660 SHAKESPEARE’S COMEDIES ICourse Type : Elective Course Level : MAYear and Semester : SpringCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof.Dr. Himmet Umunç

Course Objectives: In this Course, which is offered at the MA and PhD levels, the main aim is to make a detailed study of Shakespeare’s comedies and dwell upon their literary and dramatic qualities, and, thus, emphasize his use of comedy as a genre and his contribution to the development of Renaissance English comedy. By such a study, the students are enabled to appreciate Shakespeare’s dramatic art through a broader critical perspective and enhance their own research skills. Course Contents: As an introduction to the Course and for historical, literary and theoretical contextualization, some degree of focus is put at the outset on the generic and textual characteristics of classical Greek and Latin, the theory of comedy in the Renaissance and the influence as well as pragmatics of classical comedy in this period, the idea and practice of comedy in pre-Shakespearean England, the social, political and cultural conditions in Shakespeare’s time, and the evolution of Shakespeare’s dramatic art and idea of comedy. Then, the texts of twelve comedies, beginning with Love’s Labour’s Lost (1590?) and ending with Winter’s Tale (1610?), are studied, with a comparative approach based on various critical theories, from the points of view of genre, structure, characterization, theme, style, quality, and comic elements. Though classified as “comedies” in the First Folio, Toilus and Cressida, Measure for Measure, and The Tempest are not included since these three plays are studied in different other categories. Teaching Method: Lectures, student presentations, and discussionsAssessment Method: Paper presentations: 60%; final essay: 20%; contribution to discussions: %20.Reading List: Some sample sources are given below. However, the students are expected to consult relevant many other sources for their research work.Smith, Hallett. Shakespeare’s Romances: A Study of Some Ways of the Imagination. San Marino: Huntington Library, 1972.Martz, William J. Shakespeare’s Universe of Comedy. New York: D. Lewis, 1971.Felperin, Howard. Shakespeare’s Romance. Princeton: Princeton UP, 1972.Richmond, Hugh M. Shakespeare’s Sexual Comedy: A Mirror for Lovers. Indianapolis: Bobbs Merril, 1971.McFarland, Thomas. Shakespeare’s Pastoral Comedy. Chapel Hill: U of North Carolina P, 1972. Wells, Stanley, ed. The Cambridge Companion to Shakespeare Studies. Cambridge: Cambridge UP, 1988.Drakakis, John, ed. Alternative Shakespeares. London: Routledge, 2002.Vickers, Brian. Appropriating Shakespeare: Contemporary Critical Quarrels. New Haven: Yale UP, 1993.

COURSE CODE AND TITLE: IED 661 SHAKESPEARE’S TRAGEDIES ICourse Type : Elective Course Level : MAYear and Semester : AutumnCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof.Dr. Himmet Umunç

Course Objectives: Shakespeare’s idea of tragedy was originally influenced by the Senecan tradition and manifested itself in the kind of tragedy in which the tragic action arose out of a change in the circumstances of the hero. However, later in his career, he adopted the Aristotelian idea of hamartia as the basis of his concept of tragedy, which the tragic action was the outcome of a moral flaw in the character of the hero himself. Hence, the aim of this Course is to make an in-depth and detailed study Shakespeare’s tragedies, ranging from Titus Andronicus (1593?) to Coriolanus (1607-1608?), with reference to theory, structure, contents and other aspects. Thus, the students are enabled to have full familiarity with Shakespeare’s tragedies and, through such studies, their capacity and skills for critical assessment, theoretical thinking and scholarly research are further developed and strengthened. Course Contents: At the outset, by way of an introduction the idea of tragedy in the Senecan tradition and its pre-Shakespearean practices are discussed with reference to sample dramatic texts. Within this cotexts, Shakespeare’s early tragedies, Titus Andronicua and Romeo and Juliet in particular, are studied. Then, Shakespeare’s changing idea of tragedy is illustrated through a close study of Julius Caesar which reflects this theoretical transition. This is followed by a thorough study of Hamlet, Othello, Macbeth, King Lear, Antony and Cleopatra and Coriolanus as the tragedies which are based on the idea of hamartia, and in which the tragic action arises out of a moral flaw in the hero’s character. Teaching Method: Lectures, student presentations, and discussions.Assessment Method: Paper presentations: 60%; final essay: 20%; contribution to discussions: 20%.Reading List: There are many sources on Shakespeare’s idea of tragedy as well as on the tragedies individually. Following are only a few sample sources.Bradley, A.C. Shakespearean Tragedy. 1904. London: macmillan, 1975.Young, David P. The Action of the Word: Structure and Style in Shakespearean Tragedy. New haven: yale UP, 1990. Bratchell, Dennis Frank. Shakespearean Tragedy. London: Routledge, 1990.Frye, Northrope. Fools of Time: Studies in Shakespearean tragedy. Toronto: U of Toronto P, 1967.Holloway, John. The Story of the Night: Studies in Shakespeare’s Major Tragedies. London: Routledge, 1965.Lerner, Laurence, ed. Shakespeare’s Tragedies: An Anthology of Modern Criticism. Harmondsworth: penguin, 1968.McElroy, Bernard. Shakespeare’s Mature Tragedies. Princeton: Princeton UP, 1973.Ribner, Irving. Patterns in Shakespearean Tragedy. London: Methuen, 1966. Rossiter, A.P. Angel with Horns and Other Shakespeare Lectures. Ed. Graham Storey. London: longmans, 1961.Edwards, Philip. Shakespeare and the Confines of Art. London: Methuen, 1968.Drakakis, John, ed. Alternative Shakespeares. London: Routledge, 2002.

COURSE CODE AND TITLE : IED 662 SHAKESPEARE’S HISTORY PLAYS ICourse Type : Elective Course Level : MAYear and Semester : SpringCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof.Dr. Himmet Umunç

Course Objectives: The main aim of this Course, which is offered at the MA andPhD levels, is to make a full and in-depth study of Shakespeare’s History plays, which constitute a major part of his canon. Since these plays, with the exception of Henry VIII, were written in the 1590s, when national feelings, following the defeat of the Spanish Armada in 1588, were high and also there were serious political developments in England, Shakespeare’s use of history as a means of an analogically running commentary on the politics, issues, and values of the time is further to be emphasized. Thus, the students’ perception of Shakespeare’s use of history for his dramatic purpose is broadened and their critical and theoretical capacity together with their research skills to be enhanced. Course Contents: At the outset, by way of an introduction, a critical account is given of the social and political circumstances of England in the 1580s and 1590s, the fashionable adoption by the dramatists of the time of important historical incidents and figures into drama, and Shakespeare’s dramatic art and his aims in the use of history. Then, Richard II, 1 and 2 Henry IV, and Henry V as one tetralogy, 1, 2 and 3 Henry VI, and Richard III as another tetralogy, and King John and Henry VIII as single history plays are studied within this contextTeaching Method: Lectures, student presentations, and discussionsAssessment Method: Student presentations: 60%; final essay: %20; contribution to discussions: 20%.Reading List: Some sample sources for research are suggested below. The students are expected to track other relevant sources.Berry, Edward I. Patterns of Decay: Shakespeare’s Early Histories. Charlotville: U of Virginia P, 1975.Blanpied, John W. Time and Artist in Shakespeare’s English Histories. Newark: U of Delaware P, 1983.Calderwood, James L. Metadrama in Shakespeare’s Henriad: Richard II to Henry V. Berkeley: U of California P, 1979.Campbell, Lily B. Shakespeare’s “Histories”: Mirrors of Elizabethan Policy. San Marino: Huntington Library, 1978. Pearlman, E. William Shakespeare: The History Plays. New York: Twayne, 1992.Ribner, Irving. The English History Play in the Age of Shakespeare.1957. Princeton: Princeton UP, 1965.Tillyard, E.M.W. Shakespeare’s History Plays. London: Chatto and Windus, 1944.Saccio, Peter. Shakespeare’s English Kings: History, Chronicle, and Drama. New York: : Oxford UP, 1977.Greenblatt, Stephen. Shakespearean Negotiations: The Circulation of Social energy in Renaissance England. Berkeley: U of California P, 1988.Watson, D.G. Shakespeare’s Early History Plays: Politics at Play on the Elizabethan Stage. Athens, GA: U of Georgia P, 1990.

COURSE CODE AND TITLE : IED 664 SHAKESPEARE’S PROBLEM PLAYS ICourse Type : Elective Course Level : MAYear and Semester : SpringCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof.Dr. Himmet Umunç

Course Objectives: The aim of this Course, offered to Ma and PhD students, is to make, within the context of critical theories and the evolution of Shakespeare’s dramatic art, a full study of Troilus and Cressida, All’s Well That Ends Well ve Measure for Measure, which have, though controversially, been generally referred to as Shakespeare’s “problem plays”. Also, in addition to these three “problem” plays, Julius Caesar, Hamlet, Antony and Cleopatra and Timon of Athens are studied as a group since they have been considered to be “problematic” by some critics. Through this Course, by enabling the students to approach Shakespeare’s dramatic art and works with a broader perspective, their capacity for critical thinking and analysis is enhanced and they are expected to acquire advanced research skills. Course Contents: In order to define the theoretical context of this Course, primary attention is given to the development and variations of the term Shakespeare’s “problem plays”, originally put forward by Edward Dowden in 1875, and also to the controversies and critical approaches in the past and at present with regards to this term. This is folllowed by a full critical and textual study of the seven plays cited above. Teaching Method: Lectures, Paper Presentations, and In-class DiscussionsAssessment Method: Paper presentations: 60%; final essay: 20%; contribution to in-class discussions: 20%.Reading List: Some sample sources are cited below. Yet, the students are required to tarck and consult relevant other sources for comprehensive research work. Shanzer, Ernest. The Problem Plays of Shakespeare: A Study of ‘Julius Caesar,’ ‘Measure for Measure,’ ‘Antony and Cleopatra.’ London: Routledge and Kegan Paul, 1963.Ure, Peter. Shakespeare: The Problem Plays. 3rd ed. London: Longman, 1970.Lawrence, W.W. Shakespeare’s Problem Comedies. 3rd ed. Harmondsworth: penguin, 1969.Tillyard, E.M.W. Shakespeare’s Problem Plays. London: Chatto and Windus, 1950.Thomas, Vivian. The Moral Universe of Shakespeare’s problem Plays. London and Sydney: Croom Helm, 1987.Hillman, Richard. William Shakespeare: The Problem Plays. New York: Twayne, 1993.Muir, Kenneth, and Stanley Wells, eds. Aspects of Shakespeare’s “Problem Plays.” Cambridge: Cambridge UP, 1982.

COURSE CODE AND TITLE : IED 666 RENAISSANCE ENGLISH LITERATURE I (EXCLUDING DRAMA) Course Type : Elective Course Level : MAYear and Semester : SpringCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Asst.Prof.Dr.Hande Sadun

Course Objectives: The course aims at a study of the rise and development of Continental Renaissance, its influences on England and Renaissance English Literature (excluding drama) through a study of works representative of the literary achievements of the age. Course Contents: After a detailed historical background and a full discussion of the transition from classical antiquity to middle ages, the rise and development of Humanism, the effects of Petrarchism, Neo-Platonism and Reformation on Renaissance thought will be studied in detail with particular reference to some representative works. Following from this, the historical, cultural, social, political background of Renaissance England and representative literary figures and their works will be studied. The subject of this course is a study of the works of Sir Philip Sidney and his contemporaries (excluding Spenser and drama), who represent Renaissance English literature. Since the works of Sidney and his contemporaries were produced under the impact of Renaissance humanism it is necessary at the outset to deal with the rise of humanism in Italy, the Continental Renaissance, the political, social, educational, and cultural developments during the reigns of Henry VII and Henry VIII, the literary significance of Wyatt and Surrey, the state of literature and literary activities before the 1570s, and major changes and developments under Elizabeth I. Then, within this introductory context, the distinctive qualities, forms and attitudes, which constitute the nature of Renaissance English literature, will be dealt with and discussed in detail through a full study of the works of Sidney and his contemporaries. Teaching Method: Lectures, paper presentatıons by students and classroom discussions. Assessment Method: Paper presentatıon (at least two research papers by each student) 40%, final essay 40 %, in-class discussion participation 20%.Reading List: Bell, Ilona (1998) Elizabethan Women and The Poetry of Courtship, Cambridge: Cambridge UP.Greenblatt, Stephen Jay ed. (1988) Representing the English Renaissance, Berkely: U of California Press.Hay, Jeff ed. (2002) The Renaissance, San Diego:Greenhaven.Kristeller, Paul Oskar (1980) Renaissance Thought and the Arts : Collected Essays, Princeton:Princeton UP.Lever, J.W. (1968) The Elizabethan Love Sonnet, London:Methuen.Malcolmson, Christina ed. and int. (1998) Renaissance Poetry, Essex:Longman.May, Steven W. (1991) The Elizabethan Courtier Poets: The Poems and Their Context, Columbia: U of Missouri Press.Pearson, Emily Lu (1967) Elizabethan Love Conventions, London:George Allen&Unwin.Roberts, Katherine J.(1993) Fair Ladies: Sir Philip Sidney’s Female Characters, New York: Peter Lang.Waller, Gary (1993) English Poetry of the Sixteenth Century, London:Longman.

COURSE CODE AND TITLE: IED 667 COMPARATIVE RENAISSANCE LITERATURE I Course Type : ElectiveCourse Level : Graduate (MA)Year and Semester : Graduate, FallCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof. Dr. Himmet Umunç

Course Objectives: The major aim of this Course is to make a comparative study, within a historical, social and cultural context, of Renaissance European and English literature and its genres and distinctive qualities. Thus, a perspective of literary interaction, generic development, and cultural revival will be presented, and the students will have an in-depth view of Renaissance literature and its inherent qualities. Course Contents: At the outset, a general introduction will be made to describe the process of the humanist revival and explain how this revival was understood by the humanists themselves. Especially, Petrarch’s view of history, the humanist enthusiasm at the return to the classical norms and principles of literary production, and the spread of humanist ideas in Renaissance Europe will further be dwelt upon. Then, there will follow a close study of major writers and their works, beginning with Dante; though Dante was a poet of medieval Christian humanism and thought, he definitely was the precursor of the humanist writers, like Petrarch and Boccaccio of the next generation. His works could, in this context, be regarded as the works pointing to the humanist revival in the making in Renaissance Italy. So he will be the first major writer to be studied in this course. Following Dante will be the major authors of Renaissance literature, extending from Petrarch and Boccaccio to Mantuan, Sannazaro, Ariosto, Tasso, Cervantes, the French Pléiade and the English humanist poets Wyatt, Surrey, Sidney, Spenser, Marlowe, Shakespeare, and the others. Generically, the use and development of the Renaissance epic, pastoral, sonnet, lyric and romance will be focused on with illustrations from the works of these writers. Teaching Method: Lectures, student presentations, and discussions.Assessment Method: Paper presentations: 60%; final essay: 20%; contribution to discussions: 20%.Reading List: Some of the major sources on the Renaissance in general as well as on Renaissance literature are given below. Yet, students are required to consult many other sources on individual writers, specific topics and issues, and different aspects of Renaissance literature. Allen, D.C. Mysteriously Meant: The Rediscovery of Pagan Symbolism and Allegorical Interpretation

in the Renaissance. Baltimore and London: Johns Hopkins UP, 1970. Bush, Douglas. Mythology and the Renaissance Tradition in English Poetry. Minneapolis: U of

Minnesota P, 1932.Giamatti, A. Bartlett. The Earthly Paradise and the Renaissance Epic. Princeton: Princeton UP, 1966.Kristeller, P.O. Philosophy and Humanism: Renaissance Essays in Honor of Paul Oskar Kristeller.

Leiden: E. J. Brill, 1976.____________. Renaissance Thought: the Classic, Scholastic, and Humanist Strains. New

York :Harper Torchbooks, c1961.Levin, Harry. The Myth of the Golden Age in the Renaissance. London: Faber and Faber, 1970.Oberman, H.A. and Thomas Brady, Jr., eds. Itinerarium Italicum : the Profile of the Italian Renaissance

in the Mirror of its European Transformations : Dedicated to Paul Oskar Kristeller on the Occasion of His 70th Birthday. Leiden: Brill, 1975.

Panofsky, Erwin. Studies in Iconology: Humanistic Themes in the Art of the Renaissance. 1939. New York: Harper Torchbooks, 1967.

___________. Meaning in the Visual Arts. 1955. Harmondsworth, Eng.: Peregrine-Penguin, 1970.Wind, Edgar. Pagan Mysteries in the Renaissance. 1958. Rev. ed. Harmondsworth, Eng.: Peregrine-

Penguin, 1967.

COURSE CODE AND TITLE: IED 668 SPENSER I

Course Type : ElectiveCourse Level : Graduate (MA)Year and Semester : Graduate, SpringCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof. Dr. Himmet Umunç

Course Objectives: The aim of this Course is to make an in-depth study of Edmund Spenser’s works and his contribution to Renaissance English literature, within the context both of the Renaissance and humanism on the one hand and of the history, culture, social life, politics, institutions, and literary developments in 16th-century England on the other. Thus, the students are enabled to have full familiarity with Spenser and his age in terms of his literary qualities and ideas, and, through such a study, their capacity and skills for critical assessment, theoretical thinking and scholarly research are further developed and strengthened. Course Contents: At the outset, by way of introduction, the Renaissance and the rise of humanism are dwelt on, and an outline is made of major historical, social, political, and cultural changes which took place in England from the fifteenth century to the end of the sixteenth. In this context are included especially the impact upon England of the Italian and French Renaissance and humanistic activities, Renaissance Neoplatonism, mythographical writings, allegory and its uses, and theories of style and literary genres. Then, major literary developments in 16th-century England are discussed. Set in this comprehensive context is an extensive study and exegesis of Spenser’s works. Mainly, Amoretti as regards Spenser’s contribution to the sonnet tradition, The Shepheardes Calender as a work in the pastoral genre, and The Faerie Queene Faerie both in terms of allegory and mythopoecism and with reference to the romance and epic tradition are studied fully. Teaching Method: Lectures, student presentations, and discussions.Assessment Method: Paper presentations: 60%; final essay: 20%; contribution to discussions: 20%.Reading List: A. Texts: Various texts of Spenser’s poetry are available, but the most reliable editions must be used. Some of these editions are cited below: Spenser, Edmund. The Poetical Works of Edmund Spenser. Ed. J.C. Smith and Ernest de Selincourt.

3 vols. Oxford: Oxford UP, 1909-1910._______________. The Works of Edmund Spenser: A Variorum Edition. Ed. E. Greenlaw et al.

10 vols. Baltimore: Johns Hopkins UP, 1958.________________. The Faerie Queene. Ed. A.C. Hamilton. Harlow, Eng: Longman, 1990._______________. Edmuns Spenser’s Poetry. Sel. and Ed. Hugh Maclean. 2nd ed. New York:

Norton, 1982. _______________. The Faerie Queene. Ed. Thomas P. Roche, Jr. and C. Patrick O'Donnell, Jr. New Haven : Yale UP, 1981.B. Major Sources: There is a great deal of secondary material available on Spenser. The following are only some major sources. Students are advised to make a comprehensive search and consult many other sources. Alpers, Paul. The Poetry of The Faerie Queene. Princeton: Princeton UP, 1967.Anderson, Judith H., Donald Cheney and David A. Richardson. Spenser's Life and the Subject

of Biography. Amherst : U of Massachusetts P. 1996.Bayley, Peter, ed. Spenser, The Faerie Queene: A Casebook. Houndmills: Macmillan, 1977.Bernard, John D. Ceremonies of Innocence: Pastoralism in the Poetry of Edmund Spenser.

Cambridge : Cambridge UP, 1989.Bieman, Elizabeth, Plato Baptized: Towards the Interpretation of Spenser's Mimetic Fictions.

Toronto : University of Toronto Press, 1988.Bennett, Josephine W. The Evolution of The Faerie Queene. Rpt. New York: Burt Franklin, 1960. Berger, Harry, Jr. The Allegorical Temper. New Haven: Yale UP, 1957.Cheney, Donald. Spenser’s Image of Nature: Wild Man and Shepherd in The Faerie Queene. New Haven: Yale UP, 1966.Cheney, Patrick Gerard. Spenser's Famous Flight: a Renaissance Idea of a Literary Career.

Toronto : University of Toronto Press, 1993.Cook, Patrick J. Milton, Spenser, and the Epic Tradition. Aldershot:Ashgate, 1996.Cullen, Patrick and Thomas P. Roche, Jr., eds. Spenser Studies: a Renaissance Poetry Annual

IX. New York: AMS, 1991.

Cummings, R. M, ed. Spenser: the Critical Heritage. London: Routledge & Kegan Paul, 1971. DeNeef, A. Leigh. Spenser and the Motives of Metaphor. Durham, N.C.: Duke UP, 1982.Fowler, Alastair. Spenser and the Numbers of Time. New York: Barnes and Noble, 1964.Gibbs, Donna. Spenser's Amoretti: A Critical Study. Aldershot, Hants: Scolar Press , c1990.Gless, Darryl J. Interpretation and Theology in Spenser. Cambridge; New York: Cambridge UP,

1994.Hamilton, A.C. The Structure of Allegory in The Faerie Queene. Oxford: Clarendon, 1961.Heale, Elizabeth. The Faerie Queene : A Reader's Guide. Cambridge: Cambridge UP, 1987.Hieatt, A. Kent. Short Time’s Endless Monument. New York: Columbia UP, 1960.Hough, Graham. A Preface to The Faerie Queene. New York: Norton, 1963.Kane, Sean. Spenser's Moral Allegory. Toronto: U of Toronto P, c1989.Lane, Robert. Shepheards Devises: Edmund Spenser's Shepheardes Calender and the Institutions of

Elizabethan Society. Athens, GA: U of Georgia P, 1993.Lewis, C.S. Spenser’s Images of Life. Ed. Alastair Fowler. Cambridge: Cambridge UP, 1967.McLane, Paul E. Spenser’s Shepheardes Calender. Notre Dame, NC: Notre Dame UP, 1961.Nelson, William. The Poetry of Edmund Spenser. New York: Columbia UP, 1963.Parker, M. Pauline. The Allegory of The Faerie Queene.Oxford: Clarendon, 1960.Richardson, J. Michael. Astrological Symbolism in Spenser's The Shepheardes Calender : the

Cultural Background of a Literary Text. Lewiston, N.Y.: E. Mellen Press, c1989.Roche, Thomas. The Kindly Flame. Princeton: Princeton UP, 1964.Rooks, John. Love's Courtly Ethic in The Faerie Queene: From Garden to Wilderness. New

York: P. Lang, 1992.Weatherby, Harold Lerow. Mirrors of Celestial Grace: Patristic Theology in Spenser's Allegory.

Toronto: U of Toronto P.1994.Williams, Kathleen. Spenser’s Faerie Queene: The World of Glass. London: Routledge and

Kegan Paul, 1966.

COURSE CODE AND TITLE: IED 669 MILTON I

Course Type : ElectiveCourse Level : Graduate (MA)Year and Semester : Graduate, AutumnCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof. Dr. Himmet Umunç

Course Objectives: This Course has as its aim a comprehensive study of Milton within the context of the literary, political, social and cultural developments in pre-Restoration England. Thus, the students are enabled to have full familiarity with Milton and his age in terms of history, social and cultural life, literary activities, and ideas, and, through such a study, their capacity and skills for critical assessment, theoretical thinking and scholarly research are further developed and strengthened. Course Contents: At the outset, by way of introduction, there will be some mapping-up of the major political, social, cultural, literary and intellectual developments which came to the fore in England in the first half of the 17th century. Then, this will be followed by a close study of Milton’s works and a full analysis of his ideas which he put forward with regard to the political and social controversies of his time. Thus, a thorough assessment will be made of Milton with emphasis on his political, social and literary personality. Teaching Method: Lectures, student presentations, and discussions.Assessment Method: Paper presentations: 60%; final essay: 20%; contribution to discussions: 20%. Reading List: A. Texts: The following works of prose and poetry will be studied for a full understanding of Milton’s political and social arguments.- His Early Poetry “L’Allegro,” “Il Penseroso,” “Lycidas” ve diğerleri - His Prose Works: Of Reformation Touching Church Discipline in England (May 1641); Of Prelatical Episcopacy (June-July 1641); The Reason of Church Government Urged against Prelaty (Jan.-Feb. 1642); An Apology for Smectymnuus (April 1642); Areopagitica (1644); The Tenure of Kings and Magistrates (1649); Pro Popula Anglicano Defensio (Feb. 1651); Pro Populo Anglicano Defensio Secunda (1654); Pro Se Defensio (1655); A Treatise of Civil Power in Ecclesiastical Causes: showing that it is not lawful for any power to compel in matters of religion (Feb., 1659); Considerations Touching the Likeliest Means to Remove Hirelings out of the Church (Aug., 1659); The Ready and Easy Way to Establish A Free Commonwealth, and the Excellence Thereof Compared with the Inconveniences and Dangers of Readmitting Kingship in This Nation (Mar., 1660).- His Later Poetry:Paradise Lost (1667)Paradise Regained (1671)Samson Agonistes (1671)

B. Major Sources: There is a great deal of secondary material available on Milton. The following are only some major sources. Students are advised to make a comprehensive search and consult many other sources. Parry, Graham. The Seventeenth Century: The Intellectual and Cultural Context of English

Literature, 1603-1700. London: Longman, 1989. Bush, Douglas. John Milton: A Sketch of His Life and Writings. London: Weidenfield and

Nicholson, 1965.Morrill, John. “The Stuarts (1603-1688).” Morgan 286-351. Morgan, Kenneth O., ed. The Oxford

Illustrated History of Britain. 1984. Oxford: Oxford UP, 1996. Raymond, Dora Neill. Oliver’s Secretary: John Milton in an Era of Revolt. New York: Minton,

Balch & Co., 1932. Rpt. New York: AMS, 1973.Patrides, CA. Milton and The Christian Tradition. Oxford: Clarendon, 1966. MacCallum, Hugh. Milton and The Sons of God: The Divine Image in Milton’s Epic Poetry.

Toronto: U of Toronto P, 1986. Kermode, Frank, ed. The Living Milton. London: Routledge and Kegan Paul, 1960. Jarvis, Robin. Wordsworth, Milton and The Theory of Poetic Relations.Houndmills, Eng.: Macmillan,

1991.

Featheringill, Ron. The Tension between Divine Will and Human Free Will in Milton and the Classical Epic Tradition. New York: P. Lang, 1990.

Gallagher, Philip. Milton, the Bible, and Misogyny. Ed. Eugene R. Cunnar and Gail L. Mortimer. Columbia, MO.: U of Missouri P, 1990.

Loewenstein, David. Milton and the Drama of History: Historical Vision, Iconoclasm, and the Literary Imagination. Cambridge: Cambridge UP, 1990.

Worden, Blair. “Milton’s Republicanism and the Tyranny of Heaven.” Machiavelli and Republicanism. Ed. Gisela Bock et al. Cambridge and New York: Cambridge UP, 1990.

Pavlock, Barbara. Eros, Imıtation, and the Epic Tradition. Ithaca: Cornell UP, 1990.Loewenstein, David, and James G. Turner, eds. Politics, Poetics, and Hermeneutics in Milton’s Prose:

Essays. Cambridge and New York: Cambridge UP, 1990.Mustazza, Leonard. “Such Prompt Eloquence”: Language as Agency and Character in Milton’s

Epics. Lewisburg: Bucknell UP, 1988.Schwartz, Regina M. Remembering and Repeating: Biblical Creation in Paradise Lost. Cambridge:

Cambridge UP, 1988. Angelo, Peter Gregory. Fall to Glory: Theological Reflections on Milton’s Epics. New York: P.

Lang, 1987. Henry, Nathaniel H. The True Wayfaring Christian: Studies in Milton’s Puritanism. New York: P.

Lang, 1987. Martindale, Charles. John Milton and the Transformation of Ancient Epic. London: Croom Helm,

1986. Lewalski, Barbara Kiefer. Paradise Lost and the Rhetoric of Literary Forms. Princeton, NJ:

Princeton UP, 1985. Steadman, John M. The Wall of Paradise: Essays on Milton’s Poetics. Baton Rouge: Lousiana

State UP, 1985.-------------. Milton’s Biblical and Classical Imagery. Pittsburgh: Duquesne UP, 1984. Willis, Gladys. The Penalty of Eve: John Milton and Divorce. New York: P. Lang, 1984.Davies, Steve. Images of Kingship in Paradise Lost: Milton’s Politics and Christian Liberty.

Columbia, MO.: U of Missouri P, 1983. Patterson, Annabel, ed. and introd. John Milton. London: Longman, 1992.

COURSE CODE AND TITLE: IED 670 THE METAPHYSICAL POETS AND THEIR CONTEMPORARIES ICourse Type : Elective Course Level : MAYear and Semester : SpringCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Asst. Prof. Dr. Huriye Reis

Course Objectives: The aim of the course is to study the metaphysical poets in relation to the literary heritage they came into, the current literary developments on the Continent, and the interaction that took place between the different offshoots of contemporary English poetry. Course Contents: The course covers the cavalier poets and the late Spenserians and the metaphysical poets and examines their poetry against the intellectual background of the age, stress being laid on the Reformation and the clash between the Elizabethan world-view and the new philosophical ideas. Teaching Method: Lectures and classroom discussions. Assessment Method: Written exam (two midterms (50 %) and one final (50 %)).Reading List: Gardner,Helen.The Metaphysical poetsPenguin Books   [Harmondsworth]   1985.Leishman,James. The metaphysical poets: Donne, Herbert, Vaughan Traherne.Russell and Russell   New York   1963.Reid,David,  The Metaphysical poetsLongman   Harlow, England   2000.Corns, Thomas N. (ed) The Cambridge Companion to English Literature: Donne to Marvell. Cambridge: Cambridge UP, 1993.

COURSE CODE AND TITLE : IED 672 18TH AND 19TH CENTURY ENGLİSH DRAMA ICourse Type : Elective Course Level : MAYear and Semester : SpringCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Asst.Prof.Dr. Sibel Dinçel Course Objectives: The main aim of this course is to enable the students to acquıre a critical understanding of the works of the major 18thC and 19thC English playwrights in a contextual basis. Course Contents: After giving a brief introduction about the reasons for the decline of the popularity of the Restoration comedy of manners with reference to Puriatan protests in general and to Jeremy Collier’s A Short View of the Immorality and Profaneness of the English Stage (1698) in particular, the change in the subject matter and spirit of English drama after 1700s will be highlighted. The transition to a new outlook during the 18thC into the 19thC can be (alternatively) illustrated through W.Congreve’s The Way of the World, G. Farquhar’s The Recruiting Officer, The Beaux Stratagem which underline a clear-cut set of moral standarts as well as locating the action in the country away from fashionable London settings. As examples of the consequtive sentimental trend R.Steele’s The Conscious Lovers, G.Lillo’s The London Merchant, O.Goldsmith’s She Sttops to Conquer, and R.B.Sheridan’s The Rivals and The School for Scandal could be used, again alternatively. Examples from ballad opera (J.Gay’s The Beggar’s Opera) and pantomimes by J.Rich could enrich the contents of this course as being the two “illegitimate” forms of drama. Among the 19thC Romantic dramatists one or two plays-for-the reading either by S.T.Coleridge or W.Wordsworth or Lord G.G.Byron or J.Keats and P.B.Shelley could be examined to underline the fact that these plays were written rather with the purpose of reading than being staged. Then apart from illustrating O.Wilde’s attempts to continue in line with the form of Restoration comedy of manners, the couse could be finalised with exemplary plays by B.Shaw, such as Arms and Man, Candida and Man and Superman, indicating the rise of realism into the 20thC. Teaching Method: Lectures, student presentations, and in-class discussionsAssessment Method: Paper presentations: 50%; final essay: 30%; contribution to in-class discussions: 20%Reading List: Ellis,FrankH.,Sentimental comedy : Theory & Practice. Cambridge: Cambridge University Press, 1991.Sherbo, Arthur. English Sentimental Drama. Michigan : Michigan State University Press, 1957.Cox, James E .,The Rise of Sentimental Comedy . Springfield:The Folcroft Pr.,1926.Pearce, Joseph,    The Unmasking of Oscar Wilde. London:HarperCollins, 2000.

Brown, Julia Prewitt. Cosmopolitan criticism : Oscar Wilde's Philosophy of Art Charlottesville: University Press of Virginia ,1997.Dukore, Bernard Frank,  Shaw's Theater. Gainesville :University Press of Florida, 2000.Shaw, Bernard.Theatrics. Buffalo: University of Toronto Press, 1995.Lacey, Stephen. British Realist Theatre : The New Wave in its Context 1956-1965.  London : Routledge , 1995.

COURSE CODE AND TITLE : IED 673 18. CENTURY ENGLISH NOVEL I

Course Type : ElectiveCourse Level : M.A.Year and Semester : FallCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Assist. Prof. Dr. Aytül Özüm

Course Objectives: In this course, the birth and the development of the novel as a genre in England is studied. Along with the well-known novel writers such as Defoe, Richardson, Fielding, Smollett and Stern, the female writers in the 17th and 18th centuries such as Aphra Behn, Eliza Haywood, Elizabeth Inchbald, Sarah Fielding, Mary Wollstonecraft, Maria Edgeworth, Fanny Burney, Charlotte Smith, Charlotte Lennox, Amelia Opie who contributed a lot in the development of the novel as a new genre and their works are studied in detail. The place of the Jacobin novelists in the political and socio-economic framework of the French Revolution can also be discussed.Course Contents: Firstly in the course, the political, social and literary condition of the 18th century England is examined. After this, in addition to Richardson, Fielding and Defoe, other novelists who influenced the birth and development of the novel as a genre in the 17th century, Margaret Cavendish, Delariviere Manley and Aphra Behn, and their novels are discussed. Another subject of the course is the reciprocal influence between the structure of the 18th century novel and the expectations of the age.

Anne Clifford, Lucy Hutchinson, Anne Fanshawe, Margaret Cavendish, who influenced the development of the novel in the 17th century with their biographical texts; also in addition to 18th century male novelists such as Samuel Richardson, Henry Fielding, Daniel Defoe, Sterne, Oliver Goldsmith, Smollett, the female novelists Eli Inchbald, Charlotte Lennox, C. Smith, F. Burney, Muria Edgew, A. Opie, M. Brunton, S. Fielding, Wollstonecraft, who helped feminism to be accepted as an idea as well as helping the novel become a popular genre, are discussed, examining their important texts. Lady Morgan and her political novels, Mary Hays and her autobiographical novels, Ann Radcliffe and her gothic novels are examined.Teaching Method: Lectures, presentations and classroom discussions.Assessment Method: 2 presentations (25%), class participation (20%), final examination (30%).Reading List:Ballaster, Ros (1992) Seductive Forms: Women’s Amatory Fiction from 1684 to 1740, Oxford: Clarendon.Craft-Fairchild, Catherine (1993) Masquerade and Gender: Disguise and Female Identity in Eighteenth Century Fictions by Women, Pennsylvania: Pennsylvania State UP.Figes, Eva (1982) Sex and Subterfuge: Women Writers to 1850, London: Macmillan.Rogers, Katharine M. and William McCarthy eds. (1987) The Meridian Anthology of Early Women Writers, Middlesex: Penguin.Spencer,Jane (1982) The Rise of the Women Novelist: From Aphra Behn to Jane Austen. Oxford: B. Blackwell.Spender, Dale (1986) Mothers of the Novel, London: Pandora.Spender, Dale ed. (1992) Living by the Pen: Early British Women Writers, New York: Teacher’s College.Turner, Cheryl (1992) Living by the Pen: Women Writers in the 18th Century, London:Routledge.

COURSE CODE AND TITLE : IED 674 ENGLISH NEOCLASSICAL POETRY I

Course Type : ElectiveCourse Level : MAYear and Semester : SpringCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Assist.Prof.Dr. Hande Sadun

Course Objectives:The course aims at a study of English poetry written during the period from late 17th century to the mid 18th century. The rise and the fundamental principles of neoclassicism are discussed. Within the context of historical, cultural and literary background the use of neoclassical ideas, forms and styles in poetry of the period is studied and illustrated through sample texts.Course Contents:The course begins with a study of the rise and the fundamental principles of neoclassicism within a historical, philosophical and literary context. In this respect, primary emphasis is given on John Dryden to see how the age is reflected and how the neoclassical principles are put into practice in his works. His critical ideas are discussed with reference to An Essay on Dramatic Poesy. Examples from his early poetry like Annus Mirabilis, his political satires Absolom and Achitophel, The Medal, and Mac Flecknoe, and his poems on religion Religio Laici and The Hind and the Panther are studied as well as his odes. The other poets of the Restoration period like Samuel Butler and John Wilmot, the Earl of Rochester, and some court poets and samples from their poetry are read and discussed. The critical temperament of the age is discussed through a study of Alexander Pope and his An Essay on Criticism along with his prefaces to his works and editions, and An Essay on Man. His Moral Essays and The Rape of the Lock are studied, and his use of satire is discussed with reference to The Dunciad. Selections from the works of Jonathan Swift and Samuel Johnson are also read. Along with the male writers of the Neoclassical period, the women writers of the period like Anne Finch, Countess of Winchilsea, Mary Astell and Lady Mary Wortley Montagu are studied to make an assessment of women’s condition in social and literary milieu of the time. In addition, the movement from neoclassicism to pre-romanticism is studied through a study of the works of James Thompson and Edward Young.Teaching Method: Lectures and classroom discussions.Assesment Method: Two Formal Presentations, one Informal Presentation, one Mid-Term (50%), Class participation (20%) and one Final Exam (30%).Reading List:Atkins, Douglas G. (1986) Quests of Difference: Reading Pope’s Poems. Kentucky: The Universtiy Press of Kentucky.Canfield, J. Douglas and J.Paul Hunter eds. (1989) Rhetorics of Order/Ordering Rhetorics in English Neoclassical Literature. Newark: University of Delaware Press.Damrosch, Leopod JR. ed. (1988) Modern Essays in Eighteenth-Century Literature. New York: Oxford UP.David, Fairer ed. (1990) Pope: New Contexts. New York: Harvester.Erskine-Hill, Howard (1983) The Augustan Idea in English Literature. London: Edward Arnold.Lonsdale, Roger ed. (1987) Dryden to Johnson. London: Sphere.Mell, Donald C. Ed. (1966) Pope, Swift and Woman Writers. Newark: University of Delaware Press.Novak, Maximillian E. (1983) Eighteen Century English Literature. Somerset: Macmillan.Sambrook, James (1986) The Eighteen Century: The Intellectual and Cultural Context of English Literature 1700 – 1789. London: Longman.Schwarts, Richard B. ed. (1990) Theory and Tradition in Eighteenth-Century Studies. Carbondale: Southern Illinois UP.Williams, Carolyn D. (1993) Pope, Homer, and Manliness. New York: Routledge.Varney, Andrew (1999) Eighteenth Century Writers in Their World. Houndsmill: Macmillan.

COURSE CODE AND TITLE: İED 675 THE GOTHIC TRADITION IN ENGLISH LITERATURE I

Course Type : ElectiveCourse Level : M.A.Year and Semester : FallCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Assist.Prof.Dr.Can Abanazır

Course Objectives: This course is designed to study the Gothic tradition in Britain by using various examples from Gothic novel and poetry. Course Contents: : This course is mainly concerned with the transformation of the Gothic tradition in English literature from a mainly male reader/writer group into a huge industry reaching millions today.Teaching Method: Lectures and classroom discussions. Assessment Method: Written exam (four midterms (50 %) and one final (50 %).Reading List: Gothic Writing, 1750-1820: A Genealogy. Routledge    London    1993Andriano, Joseph,  Our Ladies of Darkness : Feminine Daemonology in Male Gothic Fiction Pennsylvania State University    University Park    1993Baldick, Chris.    The Oxford Book of Gothic Tales Oxford University Press    Oxford ;New York    1992Bloom, Clive.    Gothic Horror : A Reader's Guide From Poe to King and Beyond Macmillan Press ;St. Martin's    Houndmills :New York   1998Brewer, Derek,    English Gothic Literature Macmillan    London    1983

COURSE CODE AND TITLE : IED 679 BRONTE SISTERS I

Course Type : ElectiveCourse Level : M.A.Year and Semester : FallCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Assist. Prof. Dr. Aytül Özüm

Course Objectives: The aim of this course is to examine the novels of the Brontë Sisters, who lived in the middle of the 19th century, and their contributions to the 19th century novel in the light of different critical approaches, as well as mentioning the social status of the women of the age. The lives of the three sisters, as chronicled and narrated by Mrs. Gaskell, and the literary events of the period are also discussed so as to understand the ambiance of the age. In addition, the early lives of the sisters and the poems of Emily are also included. Course Contents: At the beginning of the course, the position of the Brontë family is examined in the light of the social, political and cultural characteristics of the 19th century. The novels of the Brontë sisters exhibit some literary diversity although they also contain autobiographical features. In almost all their novels, especially those of Charlotte and Anne, one of the major topics is women working as governess in order to gain economic freedom. However, even though women have economic freedom and they also prove this, the theme of love in the 19th century is always seen as a subject that eclipses this freedom. Charlotte Brontë’s Jayne Eyre (1847), Shirley (1849), Villette (1853), Professor (1857), Anne Brontë’s Agnes Grey (1847), The Tenant of Wildfell Hall (1848) and her poems, Emily Brontë’s first and only novel Wuthering Heights (1847) and her poems are examined in detail in the scope of their themes and techniques. This course re-examines the novels of the Brontë Sisters using the critical theories of the 20th century and several reading styles and approaches, among which are New Historicism, New Criticism, Structuralism, Deconstruction, Psychoanalitic Criticism, Reader Response Criticism.Teaching Method: Lectures, presentations and classroom discussions.Assessment Method: 2 presentations (25%), class participation (20%), final examination (30%).Reading List:Azim, Firdous (1993) The Colonial Rise of the Novel, London: Routledge.Barker, Juliet (1997) The Brontës: A Life in Letters, London: Viking.Bentley, Phyllis Eleanor (1986) The Brontës, New York: Thomas and Hudson.Bloom, Harold (1993) Heathcliff, New York: Chelsea House.Chitham, Edward (1985) Selected Brontë Poems, Oxford: Blackwell.Davies, Stevie (1988) Emily Brontë, Bloomington: Indiana UP.Gezari, Janet (1992) Charlotte Brontë and Defensive Conduct: The Author and the Body at Risk, Philadelphia: U. Of Pennsylvania P.Ghnassia, Virginia (1994) Metaphsical Rebellion in the Works of Emily Brontë: A Reinterpretation, New York: St. Martin.Gordon, Felicia (1989) A Preface to the Brontës, London: Longman.Gregor, Ian ed. (1986) The Brontës: A Collection of Critical Essays, Eaglewood Cliff: Prentice-Hall.Hanson, Lawrence (1950) The Four Brontës; The Lives and Works of Charlotte, Branwell, Emily and Anne Brontë, London: Geoffrey Cumberlage.Kavanagh, James (1985) Emily Brontë, Oxford: Blackwell.Knapp, Bettina Liebowitz (1991) The Brontës: Branwell, Anne, Emily and Charlotte, New York: Continuum.

COURSE CODE AND TITLE : IED 680 ENGLISH ROMANTIC POETRY I

Course Type : ElectiveCourse Level : MAYear and Semester : SpringCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Assist.Prof.Dr. Hande Sadun

Course Objectives:The course aims at a study of the English Romantic poets, including the pre-romantics and their works, their theories of poetry against the background of the European Romantic movement.Course Contents:After a study of the principles of the European Romantic movement in its historical, philosophical and cultural context with particular reference to German idealist philosophy, the historical and cultural background of the English Romantic Period is examined. Pre-romanticism and the changing subject matter of poetry are discussed with reference to the poems of Joseph Warton, Thomas Warton, Robert Blair, James Thomson, Edward Young, Thomas Gray and William Collins. Then William Blake’s poetry and his experimentation with new themes and techniques in poetry are studied. The poetic theory and the literary principles of the time are dealt with particular reference to “Preface to Lyrical Ballads” of William Wordsworth and Biographia Litteraria of Samuel Taylor Coleridge, followed by a study of their works in the light of these ideas. The changing concept of poet and poetry is the primary concern of this study. Then Percy Bysshe Shelley’s ideas on poet and poetry is discussed through a study of his A Defence of Poetry. Then, poems of George Gordon, Lord Byron, Percy Bysshe Shelley and John Keats are studied along with their contribution to English Romanticism. In addition, the course also offers a study of the women writers who lived during the Pre-Romantic and Romantic periods such as Anna Laetitia Barbauld, Anna Seward, Hannah More, Charlotte Smith, Dorothy Wordsworth, Letitia Elizabeth Landon and Felicia Hemans, and selections from their poetry. Teaching Method: Lectures and classroom discussions.Assesment Method: Two Formal Presentations, one Informal Presentation, one Mid-Term (50%), Class participation (20%) and one Final Exam (30%).Reading List:Abrams, M.H. (1953) The Mirror and the Lamp: Romantic Theory and the Critical Tradition. London: Oxford UP.Beer, John ed. (1995) Questioning Romanticism. Baltimore: John Hopkins UP.Brinkley, Robert and Keith Hanley eds. (1992) Romantic Revisions. Cambridge: Cambridge UP.Bygrave, Stephen ed. (1996) Romantic Writings. London: The Open University.Chase, Cynthia ed and int. (1993) Romanticism. London: Longman.Feldman, Paula R. and Theresa M. Kelley (1995) Romantic Women Writers: Voices and Counter Voices. Hanover: University Press of New England.Kitson, Peter ed. (1989) Romantic Criticism. London: B.T.Batsford.Kneale, J. Douglas ed. (1992) The Mind in Creation: Essays on English Romantic Literature. Ottawa: Mc Gill-Queen’s UP.Martin, Philip W. and Robin Jarvis ed. (1992) Reviewing Romanticism. New York: St Martin’s.Rajan, Tilottama and Julia M. Wright ed. (1995) Romanticism, History and The Possibilities of Genre. Cambridge: Cambridge UP.Tong, Q.S. (1997) Reconstructing Romanticism; Organic Theory Revisited. Salzburg: University of Salzburg.Wu, Duncan ed. (1995) Romanticism: A Critical Reader. Oxford: Blackwell.

COURSE CODE AND TITLE : IED 681 VICTORIAN POETRY ICourse Type : CompulsoryCourse Level : MAYear and Semester : AutumnCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Asst.Prof. Sibel Dinçel

Course Objectives: Against the already acquired social, political, scientific and economic background knowledge of the Victorian England (in comparison to Romanticism and Neo-classicism) this course aims at studying the poems of some major and minor Victorian poets insofar they present us with “Victorianisms” themewise and techniquewise.Course Contents: After an introductory establishing of the concept of Victorian art and poetry, through a class-discussion of several articles by some contemporary writers as well as John Stuart Mill’s:”What is Poetry?” , “From Coleridge” and Matthew Arnold’s: ”The Study of Poetry” , the works of some Victorian poets will be examined and discussed for demonstration of Victorian art and poetry. For instance, Christina Rosetti’s Goblin Market , Dante Gabriel Rosetti’s “Lillith”, “Eden Bower”, “Troy Town”, “Pandora” and “Venus, Edward Fitzgerald’s Translation of Omar Khayyam’s The Rubaiyat, Elizabeth Barret Browning’s Aurora Leigh:Book V. R.Browning’s “My Last Duchess” and “Andrea Del Sarto”, Lord Alfred Tennyson’s Idylls of the King:”Dedication”;”The Charge of the Light Brigade” ; “To the Queen”(as an Epilogue to Idylls after ten years) ;”A Welcome to Alexandra” ; “A Welcome to Her Royal Highness Marie Alexandrovna”; “The Defense of Lucknow” (India) ; “Opening of the Indian and Colonial Exhibition” ; “On the Jubilee of Queen Victoria” ,Matthew Arnold’s Thyrsis and “Scholar Gypsy”, William Morris’ “The Defense of Guenevere” Rudyard Kipling’s “Recessional” , “The White Man’s Burden” , “The Ballad of the East could tentatively be included as course material.Teaching Method: Lectures and classroom discussions. Assessment Method: Written exam (two midterms (50 %) and one final (50 %)).Reading List:Primary Sources: The texts of assigned poems and articlesSecondary Sources: Idol of Suburbia : Marie Corelli and Llate-Victorian Literary Culture. Annette R. Federico. (Charlottesville : University Press of Virginia, 2000).The Forgotten Female Aesthetes : Literary Culture in Late-Victorian England . Talia Schaffer (Charlottesville : University Press of Virginia, 2000).Royalties: The Queen and Victorian Writers . Gail Turley Houston (Charlottesville, Va.: University Press of Virginia,1999).Victorian Poets and the Politics of Culture : Discourse and Ideology .Antony H. Harrison (Charlottesville : University Press of Virginia, 1998).

Victorian Literature and the Victorian Visual Imagination .Carol T. Christ (Eds.et.al.) (Berkeley : University of California Press, 1995).

COURSE CODE AND TITLE : İED 682 TWENTIETH-CENTURY ENGLISH DRAMA I (to 1945)

Course Type : ElectiveCourse Level : MAYear and Semester : SpringCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Asst.Prof.Dr. Şebnem Kaya

Course Objectives: To acquaint students with a selection of British plays written from the early twentieth century to 1945 and to enable students to develop a critical approach to these plays. Course Contents: As this period is not characterised by a distinctive and influential dramatic movement, the course mainly consists of an in-depth study and discussion of a number of playwrights and their work. These include John Galsworthy and naturalist plays (Strife, Justice), Noel Coward and comedy of manners (Hay Fever, Private Lives), J.M. Barrie and fantasy plays (Peter Pan, or, The Boy Who Would Not Grow Up, Dear Brutus), J.B. Priestley and the time-play (Dangerous Corner, I Have Been Here Before), and Ben Travers and farce (A Cuckoo in the Nest, Thark). In addition, the establishment and functions of the Arts Council, the Repertory Movement, and the rise and development of regional theatres are discussed. Teaching Method: Lectures, students’ presentations and classroom discussions.Assessment Method: Two formal papers to be presented in the class (40 %), participation in classroom discussions (20 %) and one final examination (40 %). Reading List: Brown, John Russell, ed. Modern British Dramatists, New Perspectives. Englewood Cliffs, N.J.: Prentice-Hall, 1984. Cook, Judith. Priestley. London: Bloomsbury, 1997.Dietrich, Richard F. British drama, 1890 to 1950 : A Critical History. Boston: Twayne, 1989. Fisher, Clive. Noel Coward. London: Weidenfeld and Nicolson, 1992. Gindin, James Jack. John Galsworthy's Life and Art: An alien's Fortress. Basingstoke: Macmillan, 1987. Gray, Frances. Noel Coward. London: Macmillan, 1987. Jack, R. D. S. The Road to the Never Land : A Reassessment of J.M. Barrie's Dramatic Art.Aberdeen: Aberdeen UP, 1991.Innes, C. D.  Modern British Drama, 1890-1990. Cambridge: Cambridge UP, 1992. Nilsen, Don L.F. Humor in Twentieth-Century British Literature: A Reference Guide. Westport, Conn.: Greenwood, 2000. Smith, Leslie. Modern British Farce: A Selective Study of British Farce from Pinero to the Present Day. Basingstoke: Macmillan, 1989.Sternlicht, Sanford V. John Galsworthy. Boston: Twayne, 1987.

COURSE CODE AND TITLE: IED 683 TWENTIETH CENTURY ENGLISH POETRY I (to 1945)

Course Type : ElectiveCourse Level : MAYear and Semester : AutumnCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Assistant Prof. Dr. Huriye Reis

Course Objectives: This course aims to study the development, major concerns and issues of British poetry from Thomas Hardy to the 1940s, examining the shift to modernism and its variations and influence on the poetry of subsequent decades.Course Contents: The background against which these poets were writing is to be studied as these poets were generally deeply involved in what was going on around them. As it was a period of war, conflicting political beliefs and amazing technological development, the interaction between poetry and these aspects of life will be studied and discussed. Among the poets to be considered are Lawrence, Yeats, Eliot, Owen, Auden, and MacNeice. Stylistic developments and characteristics are also discussed. Teaching Method: Lectures, student presentations, classroom discussions.Assessment Method: Paper presentations (25% each), class participation (25%), one final (25 %).Reading List:

Hynes H. The Auden Generation: Literature and Politics in England in the 1930s.London, 1976.Sisson, C. H. English Poetry 1900-1950: An Assessment .London, 1981.Perkins, David. A History of Modern Poetry. Two Vol. Cambridge: The Belknap Press of Harvard University.Bradbury, M. The Social Context of Modern English Literature (London, 1971)Auden, W. H. (Wystan Hugh).Critical essays on W.H.Auden.G.K. Hall    Boston, Mass.    1991.Carter, Ronald.Thirties poets : 'the Auden group' : a casebook Macmillan    London    1984. Ackerman, John.   Dylan Thomas : his life and work Macmillan    London    1991.Brown, Joanna Cullen. A Journey into Thomas Hardy's poetry. Allison and Busby    London    1990.Stead, C. K. Pound, Yeats, Eliot, and the modernist movement.Macmillan    Basingstoke,    1986.Faulkner, Peter. A Modernist reader: modernism in England. Batsford    London    1986.

COURSE CODE AND TITLE : IED 684 MODERN BRITISH NOVEL I (TILL 50s)Course Type : Elective Course Level : MAYear and Semester : SpringCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Dr. Aytül Özüm

Course Objectives: This course examines modernist movement in the British novel that emerged in the early 1900s and continued till the 1940s under the light of aesthetic, philosophic and intellectual developments during this period. Course Contents: This course examines modernist movement in the British novel that emerged in the early 1900s and continued till the 1940s. The focus of the course will be on the texts and how and why these texts can be categorized as modernist.Joseph Conrad Lord Jim D. H. Lawrence Lady Chatterley’s LoverVirginia Woolf Three Guineas, The Waves E. M. Forster A Passage to India, Howards EndJames Joyce A Portrait of the Artist as a Young Man, Ulysses Samuel Beckett Molloy, Malone Dies, UnnameableEvelyn Waugh A Handful of DustGeorge Orwell Animal Farm, Nineteen Eighty FourTeaching Method: Lectures, classroom discussions, presentations. Assessment Method: Written exam (two midterms (50 %) and one final (50 %)).Reading List: Bradbury, Malcolm. The modern British Novel. London: Penguin, 1994.Banfield, Ann. The phantom table : Woolf, Fry, Russell, and the Epistemology of Modernism. Cambridge ; New York : Cambridge UP, 2000.Bloom, Harold. British Modernist Fiction, 1920-1945. New York : Chelsea House, 1987Meisel, Perry. The Myth of the Modern : a Study in British Literature and Criticism after 1850. New Haven : Yale UP,1987.

COURSE CODE AND TITLE : IED 685 ENGLISH WAR POETS ICourse Type : Elective Course Level : MAYear and Semester : AutumnCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof.Dr. Himmet Umunç

Course Objectives: The aim of this Course is to study “English war poetry,” which holds a special place in 20th-century English poetry in view of the poets’ representation of war through variant feelings and thoughts by relying upon their own individual observations and experiences of a war environment. Thus, by studying the English war poets, the students will be able to understand and appreciate the special importance that war poetry has within 20th-century English poetry. Moreover, their research and argumentation skills will be enhanced through a further study of the social, political and cultural aspects. Course Contents: The contents of this Course consist of war as a topic in literature, the causes and characteristics of World war I, Britain’s social and political attitude towards the war, critical controversies about English war poetry, the leading World war I poets such as Rupert Brooke, Julian Grenfell, Charles H. Sorley, Wilfred Owen, Siegfried Sassoon, Robert Graves, Edmund C. Blunden, Edward Thomas, Ivor Gurney, Isaac Rosenberg, David Jones, Herbert Read, Robert Nichols, F.W. Harvey, Arthur G. West, the women poets such as Vera Brittain, Jessie Pope, and Winifred Letts, some of the World War II poets including Elizabeth jennings, Keith Douglas, Hamish Henderson, John Wedge, Charles Robinson, and Henry Reed, and David Morgan and R.J. Latham as the poets who have written about the Falkland War.Teaching Method: Lectures, student presentations, and in-class discussionsAssessment Method: Paper presentations: 60%; final essay: 20%; contribution to in-class discussions: 20%Reading List: Some of the sources related to the contents of the Course are cited below. Yet the students are required to consult relevant other sources as well. Banarjee, A. Spirit above Wars: A Study of the English Poetry of the Two World Wars. London: Macmillan, 1976.Silkin, Jon. Out of Battle: The Poetry of the Great War. London: Oxford UP, 1972.Crawford, F. D. British Poets of the Great War. Selinsgrove: Susquehanna UP, 1988. Johnston, John H. English Poetry of the First World War: A Study in the Evolution of Lyric and Narrative Form. Princeton: Princeton UP, 1964.Fussell, Paul. The Great War and Modern Memory. London: Oxford UP, 1975.Hibberd, Dominic, ed. Poetry of the First World War: A Casebook. London: Macmillan, 1981.Morgan, Kenneth O., ed. The Oxford Illustrated History of Britain. Oxford: Oxford UP, 1996.

Robbins, K. The Eclipse of A Great Power: Modern Britain, 1870-1975. London: Longman, 1983.

COURSE CODE AND TITLE : İED 687 GEORGE BERNARD SHAW I

Course Type : ElectiveCourse Level : MAYear and Semester : AutumnCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Asst.Prof.Dr. Şebnem Kaya

Course Objectives: To acquaint students with George Bernard Shaw as a playwright and to enable them to develop a critical approach to his plays. Course Contents: In this course Henrik Ibsen’s influence on George Bernard Shaw’s writing and the thematic and technical features that led Shaw to be considered as the father of modern English drama are explored. Shaw’s major plays, such as Widowers’ Houses, Mrs Warren’s Profession, Arms and the Man, Candida, John Bull’s Other Island, Man and Superman, The Doctor’s Dilemma, Getting Married, Fanny’s First Play, Androcles and the Lion, Heartbreak House and Saint Joan, are studied within the scope of intellectual drama, along with the function of the prefaces Shaw added to his works, his relation to the Fabian Society and his theory of the Life Force. Teaching Method: Lectures, students’ presentations and classroom discussions.Assessment Method: Two formal papers to be presented in the class (40 %), participation in classroom discussions (20 %) and one final examination (40 %). Reading List: Adams, Elsie Bonita. Critical Essays on George Bernard Shaw. Boston, Mass.: G.K. Hall, 1991. Bertolini, John A. The Playwrighting Self of Bernard Shaw. Carbondale: Southern Illinois UP, 1990.Bloom, Harold. George Bernard Shaw. New York: Chelsea, 1987. Dukore, Bernard Frank. Bernard Shaw, Playwright: Aspects of Shavian Drama. Columbia: U of Missouri P, 1973. Hugo, Leon. Edwardian Shaw: The Writer and His Age. New York: St. Martin’s, 1999. Shaw, Bernard. Major critical essays: The Quintessence of Ibsenism. [Harmondsworth]: Penguin, 1986.   Shaw, Bernard. The Drama Observed. University Park, P.A.: Pennsylvania State U, 1993.

COURSE CODE AND TITLE: IED 689 POSTMODERN ENGLISH LITERATURE I

Course Type : ElectiveCourse Level : MAYear and Semester : FallCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer :Prof. Dr. Serpil Oppermann

Course Objectives: This course offers an introduction to the various contradictory ideas surrounding “postmodernism” and “postmodernity,” as well as a close look at writers, artists, and movements routinely identified as postmodernist. The main aim of this course is to examine the debates around posmodernism, its various definitions since the 1960s through a study of examplary novels, short stories, poems and plays. Postmodern poets for example challenge conventional boundaries, or recondition them. Like the novelists, postmodern poets often subvert the very forms they appropriate.  Their poems often rest on interruption and frustrated expectation.   The same approach is seen in the postmodern drama as well, which will be studied in a comparative framework with the fiction and poetry. Course Contents: The novels of John Fowles, Peter Ackroyd, Derek Beaven, John Banville, Graham Swift, Jeanette Winterson,Julian Barnes, and D.M. Thomas; poems of John Ash, Ted Hughes, Carol Ann Duffy, Peter Didsbury, Ian McMillan, Glyn Maxwell, and Robert Crawford; and some plays of Brian Friel, Tom Stoppard, Timberlake Wertenbaker, Edward Bond, Michael Frayn and Caryl Churchill comprise the main contents of this course. In the case of drama, examples from Luigi Pirandello’s and Thornton Wilder’s plays will be provided as the origins of the English postmodern dramaAlso, some of the devices and terms of postmodernism to be studied in this course include: Self reflexivity ( this involves the seemingly paradoxical combination of self-consciousness and some sort of historical grounding); Irony (Post modernism uses irony as a primary mode of expression, but it also abuses, installs, and subverts conventions and usually negotiates contradictions through irony); Boundaries (Post modernism challenges the boundaries between genres, art forms, theory and art, high art and the mass media); Constructs (Post modernism is actively involved in examining the constructs society creates); Centre/Margin, Self/Other, Metafiction, Historiographic Metafiction, Subjectivity, Intertextuality, Reference, Discontinuity, Fragmentation, and Textaulity.Teaching Method: Lectures, classroom discussions and student presentations Assessment Method: Written exam %50, and presentations and term papers %50.Reading List:Theo D’haen and Hans Bertens. Eds. British Postmodern Fiction (Postmodern Studies 7), 1993Alison Lee Realism and Power: Postmodern British Fiction, 1990Joseph Natoli and Linda Hutcheon. Eds. A Postmodern Reader. Raymond Federman. Critifiction: Postmodern Essays, 1993Thomas Docherty. After Theory: Postmodernism/PostMarxism, 1990Linda Hutcheon. The Politics Of Postmodernism, 1990Linda Hutcheon. A Poetics of Postmodernism: History, Theory, Fiction, 1988Brenda Marshall. Teaching the Postmodern: Fiction and Theory,1991Aleid Fokkema. Postmodern Characters: A Study of Characterization in British and American Postmodern Fiction , 1991Sean O'Brien. The Deregulated Muse: Essays on Contemporary British & Irish Poetry ,1998David Kennedy. New Relations: The Refashioning of British Poetry 1980-1994,1996Michael Hulse, David Kennedy, David Morley. Eds. The New Poetry, 1993Keith Tuma. Fishing by Obstinate Isles: Modern and Postmodern British Poetry and American Readers, 1998Clay Reynolds. Ars Poetica: A Postmodern Parable , 2003Richard Hornby. Drama, Metadrama, and Perception, 1986Tori Haring-Smith. From Farce to Metadrama, 1985Richard Hornby. The End of Acting: A Radical View , 1997

COURSE CODE AND TITLE : IED 690 CONTEMPORARY ENGLISH POETRY I (THE1945S TO THE PRESENT) Course Type : Elective Course Level : MAYear and Semester : SpringCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Asst.Prof.Dr. Huriye Reis

Course Objectives: This course studies the British poetry from the 1950s to the present with regard to the social and cultural background relevant to individual poetic movements and poetries of the period. Course Contents: This course covers some of the major poetic movements and representative poets in the second half of the twentieth century in British poetry. The movement poets, the poetry of the seventies and the “new poetry” of the eighties and nineties will be studied in textual, cultural and historical contexts. It studies Philip Larkin,Ted Hughes and Seamus Heaney, Poetry of the 1980s and 1990s: Women, black, Scottish, Caribbean, Irish, Welsh. Duncan Bush, Paul Durcan Simon Armitage, Carol Ann Duffy Jackie Kay, Linton Kwesi Johnson.Teaching Method: Lectures and classroom discussions. Assessment Method: Two term papers (35 %) Class participation (30%) and one final (35 %)).Reading List: Acheson, James and Romana Huk. Eds..Contemporary British poetry: essays in theory and criticism.State University of New York P   Albany   1996Alexander, Michael,   Sons of Ezra : British poets and Ezra Pound Rodopi   Amsterdam   1995Allnutt, Gillian.   The new British poetry, 1968-88 Paladin:Grafton Books   London   1988Barker, Jonathan.   Poetry in Britain and Ireland since 1970 British Council   London   1995Bradley, Jerry. The movement : British poets of the 1950s Twayne Publishers ;Maxwell Mac   New York :Toron   1993; Day, Gary,   British poetry from the 1950s to the 1990s : politics and art Macmillan   London   1997; Hampson, R. B . New British poetries : the scope of the possible Manchester University Press ;D   Manchester Eng   1993; Jackaman, Rob. A study of cultural centres and margins in British poetry since 1950 Edwin Mellen Press   Lewiston   1995; Kennedy, David.   New relations : the refashioning of British poetry, 1980-1994 Seren   Bridgend, Mid G   1996; Lucie-Smith, Edward. British poetry since 1945 Penguin Books   [Harmondsworth]   1985; Matthews, Steven,   Yeats as precursor : readings in Irish, British, and American poetry St. Martin's Press   New York   2000; Robinson, Alan   Instabilities in contemporary British poetry. Macmillan Pr.   [London]   1988 ; Thwaite, Anthony.   Poetry today : a critical guide to British poetry, 1960-1984 Longman :In association with t   London ;New Yor   1985; Tuma, Keith. Fishing by obstinate isles : modern and postmodern British poetry and American Reader. Northwestern University Press   Evanston, Ill.   1998; Ward, John Powell,   The English line : poetry of the unpoetic from Wordsworth to Larkin Macmillan   London   1991B. Morrison. The Movement: English Poetry and Fiction of the 1950s (London 1980); Michael Hulse, David Kennedy and David Morley. (eds) The New Poetry. (Bloodaxe Books, 1993); R.P Draper, An Introduction to twentieth-century poetry in English (New York : St. Martin’s Press, 1999; David Perkins. A History of Modern Poetry. Two Vol. Cambridge: The Belknap Press of Harvard University,1987, Buchbinder, David.   Contemporary literary theory and the reading of poetry Macmillan: Basingstoke, 1991.

COURSE CODE AND TITLE : IED 691 BRITISH DRAMA FROM THE 1945’s TO THE PRESENT ICourse Type : Elective Course Level : MAYear and Semester : AutumnCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof.Dr. A. Deniz BOZER

Course Objectives : To acquaint students with the political, cultural and social background of post-war Britain and its dramatists starting with the 1950s until the present and to enhance their critical awareness of drama.Course Contents : Covering a variety of dramatic movements such as Absurd Drama, the Angry Young Man Movement, Comedy of Menace, Kitchen-sink Drama, Psychological Drama, Theatre of Cruelty, Comedy of Manners, Political Drama, Feminist Drama an intensive thematic and technical study of plays by S. Beckett (Endgame, Krapp’s Last Tape), J. Osborne (West of Suez, The Entertainer), A. Wesker (Chicken Soup with Barley, Annie Wobbler), H. Pinter (The Caretaker, Mountain Language), E. Bond ( Narrow Road to the Deep North, Restoration), P.Shaffer (The Royal Hunt of the Sun, The Gift of the Gorgon), B. Friel (Translations), D. Hare (Pravda), S.O’Casey (Juno and the Paycock, The Shadow of a Gunman), A. Ayckbourn (Garden), P.Gems (Piaf, Queen Christina), A. Jellicoe (The Knack, The Sport of My Mad Mother), B. Behan (The Quare Fellow), S. Daniels (Byrthrite), C. Churchill ( Serious Money, Number), S. Kane (Crave), M. Matura (Play Mas), T. Wertenbaker (Three Birds Alighting on a Field, Our Country’s Good) will be carried out with reference to relevant literary theories. Teaching Method : Lectures, student presentations, classroom discussions. Assessment Method : Four presentations / papers (50 %) and one final (50 %)Reading List: . Acheson (Ed.). British and Irish Drama since 1960, 1993;K.A. Berney. Contemporary British Dramatists, 1994; H. Bock ve A. Wertheim. Essays on Contemporary British Drama, 1981; John Russel Brown. Modern British Dramatists, 1984; D. Gaetani ve J. Louis. A Search for a Postmodern Theatre, 1991; H. Zeifman ve C. Zimmerman (Ed.). Contemporary British Drama 1970-1990, 1993.

COURSE CODE AND TITLE : IED 693 CONTEMPORARY BRITISH NOVEL ICourse Type : Elective Course Level : MAYear and Semester : AutumnCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Prof. Dr. Serpil Oppermann

Course Objectives: The aim of this course is to study in depth the main developments in the English novel from the 1950s on to the present. Different literary trends, changing social and cultural climate of the times and the technical and thematic concerns will be discussed during the class. The focus will be mainly on the postmodernist fictions, and thus concepts relating to postmodern novels, such as self-reflexivity, self-consciousness, intertextuality, parody and pastiche, irony, play, process, indeterminacy, textuality and fictionality, etc., will be discussed in our interpretation of the novels. This course aims to develop the students' critical ability to interpret the texts from a postmodernist perspective.Course Contents: Social and Cultural Background in the 1950s, "The Movement and the Angry Young Men, "explication of the 1950s novels, and Postmodern perspectives constitute the course's main contents. In addition the following will be studied in depth: The Movement, Campus Novel, Political&Cultural Climate of the 1960s, Cultural Transformations in the 1970s and 1980s, Social Outlook of the 1990s, History/Fiction polarity and its dissolution, Fabulation, Metafiction (self-reflexivity, self-consciousness), Historiographic Metafiction, Intertextuality and textuality (Julia Kristeva), Information Age (The New Millenium), Dissolution of the Metanarratives, Social, Cultural and Historical Pluralism, Disunity, Postmodern Parody and Pastiche, Fictional Characters, Postmodern "author," Novels: 1950's: K.Amis. Lucky Jim, M.Bradbury. Eating People Is Wrong, G.Greene. The End of the Affair, 1970's to the Present: J.Banville. Dr. Copernicus, J.Barnes. Flaubert's Parrot, J.Fowles. Daniel Martin, A Maggot, W.Golding. Paper Men, D.M. Thomas. Lying Togethe, G.Swift. Waterland, P.Ackroyd. Hawksmoor, The Trial of Elizabeth Cree, P.Lively. Cleopatra's Siste, P.Fitzgerald. The Blue Flowe, J.Winterson. Boating For Beginners, The Gut Symmetries, J.Crace. The Gift of Stones, P.Duncker. Hallucinating Foucault, D.Beaven. Newton's Niece, B.Okri. Astonishing the Gods, R.Irwin. The Arabian Nightmare.Teaching Method: Lectures, classroom discussions and student presentations Assessment Method: Written exam %50, and term papers and presentations %50

Reading List: Compulsory Reading: L.Hutcheon. A Poetics of Postmodernism (1989) and The Politics of Postmodernism (1990), P.Waugh. Metafiction (1984); A.Lee. Realism and Power: Postmodern British Fiction (1990); R.Scholes. Fabulation and Metafiction (1987). Recommended Reading: B.K. Marshall. Teaching the Postmodern: Fiction and Theory (1992); J.Andersen. The British and Irish Novel Since 1960 (1991); I.Hassan. The Postmodern Turn (1987); B.McHale. Postmodernist Fiction, Constructing Postmodernism (1987), P.Hutchinson. Games Authors Play (1983); M.Bradbury. The Modern British Novell (1993) and (ed) The Novel Today (1978); P.Waugh. Practising Postmodernism. Reading Modernism (1992); M.Bradbury and D.Palmer (eds). The Contemporary English Novel (1979); R.Barthes. The Pleasure of the Text (1975); R.Federman. Critifiction: Postmodern Essays (1993); J.F.Lyotard. The Postmodern Condition (1984). Articles: J.Barth. "The Literature of Exhaustion," H.White. "The Historical Text as a Literary Artifact," L.Hutcheon. "Historiographic Metafiction: Parody and Intertextuality of History," L.Hutcheon. "The Pastime of Past Time," A.Huyssen. "Maping the Postmodern"

COURSE CODE AND TITLE: IED 694 POPULAR LITERATURE IN BRITAIN I

Course Type : ElectıveCourse Level : M.A.Year and Semester : FallCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer : Assist.Prof.Dr.Can Abanazır

Course Objectives: The aim of this course is to study various aspects of British popular literature. Course Contents:The importance of the popular culture in today’s society is examined using materials taken from popular novels, plays and lyrics of songs. Teaching Method: Lectures and classroom discussions. Assessment Method: Written exam (four midterms (50 %) and one final (50 %). Reading List: Cox, J. Randolph.    The Dime Novel Companion : A Source Book Greenwood Press    Westport, Conn.    2000Kelley, Karol L.    Models For the Multitudes : Social Values in the American Popular Novel Greenwood Press    New York    1987Langbauer, Laurie.    Novels of Everyday Life : the Series in English Fiction, 1850-1930 Cornell University Press    Ithaca, N.Y.    1999Levy, Anita,   Reproductive Urges : Popular Novel-Reading, Sexuality, and the English University of Pennsylvania Press   Philadelphia    1999Vlock, Deborah.    Dickens, Novel reading, and the Victorian Popular Theatre Cambridge University Press    Cambridge ;New    1998

COURSE CODE AND TITLE: IED 697 T.S. ELIOT I

Course Type : ElectiveCourse Level : MAYear and Semester : FallCourse Length : 1 semesterPrerequisite(s) : NoneLanguage of Instruction: EnglishECTS Credits : 7.5Lecturer : Prof Dr Burçin Erol

Course Objectives: The course aims to study TS Eliot’s major poetical works and Critical essays to illustrate his place in 20th century English poetry and as one of the leading figures of modernism. Course Contents: The social, historical, cultural,literary and linguistic background and the relations and influences from the continent are studied. In the light of the background information the major poetical works( “The Love Song of J. Alfred Prufrock”, The Waste Land, Ash Wednesday, Marina, Journey of the Magi, The Four Quartets)and critical essays are examined in detail. Teaching Method: Lectures,student presentations and classroom discussions. Assessment Method: Written exam (two midterms (50 %) and one final (50 %). Reading List:Peter Ackroyd TS Eliot, Penguin, 1993Daniel Albright Quantum Poetry:Yeats, Pound Eliot and Science of Modern Poetry Cambridge,1997.G K Asker TS Eliot and Ideology Cambridge, 1995.Shyaval Bagchee TS Eliot and Voice Descanty: Century Essays, Macmillan,1990KT Basu TS Eliot :An Anthology of recent Criticism, Delhi 1993H. Bloom TS Eliot Chelsea House,1985

COURSE CODE AND TITLE: İED 699 ANGLO-IRISH POETRY I

Course Type : ElectiveCourse Level : MAYear and Semester : AutumnCourse Length : 1 SemesterPrerequisite(s) : NoneLanguage of Instruction : EnglishECTS Credits : 7.5Lecturer :Assistant Prof Dr. Huriye Reis

Course Objectives: This course aims to study Anglo-Irish poetry, its social, cultural, political and religious contexts and its formal development through the poetry of Anglo-Irish/Irish poets such as William Butler Yeats, Seamus Heaney, Paul Durcan, Ian Duhig, Ciaran Carson and Noala Ni Dhomhnail.Course Contents: This course covers the development of Anglo-Irish poetry from Yeats to the present through en emphasis on the major concerns and themes through a study of the poetry of William Butler Yeats, Seamus Heaney, Paul Durcan, Ian Duhig, Ciaran Carson and Noala Ni Dhomhnail.Teaching Method: Lectures, student presentations, classroom discussions.Assessment Method: Paper presentations (25% each), class participation (25%), one final (25 %).Reading List:

Gonzalez, Alexander G.    Contemporary Irish women poets : some male perspectives Greenwood Press    Westport, Conn.    1999Goodby, John,  Irish poetry since 1950 : from stillness into history Manchester University Press ;D   Manchester, UK    2000Matthews, Steven. Irish poetry : politics, history, negotiation, the evolving debate, 1969 to the present .Macmillan    London    1996.Corcoran, Neil.  After Yeats and Joyce : reading modern Irish literature Oxford University Press.    Oxford,  1997.Brearton, Fran.  The Great War in Irish poetry : W.B. Yeats to Michael Longley Oxford University Press    Oxford ;New Yor    2000.Jackaman, Rob. A study of cultural centres and margins in British poetry since 1950 :Edwin Mellen Press   Lewiston   1995Kennedy, David.   New relations : the refashioning of British poetry, 1980-1994Seren   Bridgend, Mid G   1996Lucie-Smith, Edward. British poetry since 1945.Penguin Books   [Harmondsworth]   1985Matthews, Steven,   Yeats as precursor : readings in Irish, British, and American poetry.St. Martin's Press   New York   2000