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120116 SE Literary & Cultural Studies Seminar / BA-Thesis (2009W)
Cutting-Edge Irish Drama
Continuous assessment of course work
Labels
Diese LVA gilt für das Bachelorstudium nach UG2002, das Diplomstudium (UniStG) und das Lehramt UF Englisch (UniStG).
Registration/Deregistration
Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).
- Registration is open from Tu 15.09.2009 14:00 to Mo 28.09.2009 14:00
- Registration is open from Fr 02.10.2009 14:00 to Th 08.10.2009 14:00
- Deregistration possible until Sa 31.10.2009 23:59
Details
max. 18 participants
Language: English
Lecturers
Classes (iCal) - next class is marked with N
- Thursday 15.10. 09:00 - 11:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
- Thursday 22.10. 09:00 - 11:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
- Thursday 29.10. 09:00 - 11:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
- Thursday 05.11. 09:00 - 11:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
- Thursday 12.11. 09:00 - 11:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
- Thursday 19.11. 09:00 - 11:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
- Thursday 26.11. 09:00 - 11:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
- Thursday 03.12. 09:00 - 11:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
- Thursday 10.12. 09:00 - 11:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
- Thursday 17.12. 09:00 - 11:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
- Thursday 07.01. 09:00 - 11:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
- Thursday 14.01. 09:00 - 11:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
- Thursday 21.01. 09:00 - 11:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
- Thursday 28.01. 09:00 - 11:00 Raum 5 Anglistik UniCampus Hof 8 3E-O1-17
Information
Aims, contents and method of the course
Assessment and permitted materials
Requirements for credit: regular attendance, active participation in class, PowerPoint presentation, research paper (20-25 pp.), written final test.
Minimum requirements and assessment criteria
It is the aim of this course to introduce students to the rich variety of contemporary Irish drama as it reflects the Celtic Tiger Era. In a wider context intermedial connections between drama and film will also be explored as well as the parameters of contemporary 'In-Yer-Face Theatre'.
Examination topics
Class discussion of plays and selected scenes, student presentations on selected topics.Students wishing to register early and ready to take on one of the topics for oral presentations indicated below are kindly asked to get into contact with Prof. Huber via e-mail wern.huber@univie.ac.at ASAP.Preliminary Course Outline (Early Registration)topic to be presented byOctober 15 General IntroductionOctober 22 (1) Contemporary Irish Drama (Survey)
(2) Contemporary Irish Cinema (Survey)October 29 (3) The Kings of the Kilburn High
(Summary: Characters, Main Themes)November 5 (4) The Kings of the Kilburn High
(Summary: Structure, Style)
(2) Contemporary Irish Cinema (Survey)October 29 (3) The Kings of the Kilburn High
(Summary: Characters, Main Themes)November 5 (4) The Kings of the Kilburn High
(Summary: Structure, Style)
Reading list
A customised anthology will be available from StudienServiceStelle from 15 July onwards. Additional material will be provided on an e-learning platform. Therefore, students are asked to familiarise themselves in advance with the FRONTER platform. For introduction and self-guided tour, please see
https://www.univie.ac.at/ZID/elearning-infos-studierende/
https://www.univie.ac.at/ZID/elearning-infos-studierende/
Association in the course directory
Diplom 343, UF 344, BA 612
Last modified: Mo 07.09.2020 15:33
"I could live a long and happy life without seeing another play set in a Connemara kitchen, or a country pub. I think it's significant that in contemporary theatre and cinema, so much attention gets paid to the nineteen fifties, the decade before Ireland opened for business, the time when we were a 'special little enclave'." [Theatre Stuff, ed. Eamonn Jordan (Dublin: Carysfort Press, 2000), p. 13].
Such pessimism regarding the representation of contemporary Ireland is obviously exaggerated. There is quite sufficient evidence for the engagement of Irish drama (and Irish film) with the phenomenon of the Celtic Tiger, esp. with the darker sides of its 'underbelly.' The Connemara kitchen -- and the Quiet Man's cottage, for that matter -- have indeed become obsolete and have been replaced by alternative locations such as the mean streets of Dublin or council flats in North London.
Texts to be studied include: Jimmy Murphy, The Kings of the Kilburn High; Enda Walsh, The Walworth Farce; Abbie Spallen, Pumpgirl; Martin McDonagh, In Bruges.