The module will culminate in a final adaptation project that encourages students to integrate selected aspects of the module into their own practice. Students will critically reflect on the process, approach, concept and outcome of the project in an individual viva. SUMMARY OF TEACHING AND LEARNING [Use HESA KIS definitions] Scheduled Activities Hours Comments/Additional Information Weekly staff led studio sessions 65 Weekly independent group-led 24 studio sessions Guided independent study 111 (NB: 1 credit = 10 hours or learning; 10 credits = Total 200 100 hours, etc) to Weighting Name Category Element Component Component Comments objectives include links learning Coursework C1 100% 15 minutes - LO4 Individual Viva Total: 100% Practice P1 100% 30 minutes- LO1, LO2, LO3 Performance of Total: 100% Adapted Narrative Sarah McCourt 25/06/16 HE Operations 25/06/16 Booker, Christopher (2005) The Seven Basic Plots: Why We Tell Stories. London: Bloomsbury Carlson, Marvin (2003) The Haunted Stage: Theatre as a Memory Machine. Ann Arbor: University of Michigan Press Genette, Gerard (1997) Palimpsests, Literature in the Second Degree. Lincoln: University of Nebraska Press. Hutcheon, Linda (2006) A Theory of Adaptation. London: Routledge Kristeva, Julia (1980) Desire in Language: A Semiotic Approach to Literature and Art. Oxford: Blackwell. Murray, Simon (2012) The Adaptation Industry: the Cultural Economy of Contemporary Literary Adaptation. London: Routledge. Propp, Vladimir (1968) 2nd edition. Morphology of the Folktale. Austin: University of Texas. Sanders, Julie (2006) Adaptation and Appropriation. London: New Critical Idiom Series Routledge. Turner, Cathy and Synne Behrndt (2008) Dramaturgy and performance. Basingstoke: Palgrave Macmillan.
The module will culminate in a final adaptation project that encourages students to integrate selected aspects of the module into their own practice. Students will critically reflect on the process, approach, concept and outcome of the project in an individual viva. SUMMARY OF TEACHING AND LEARNING [Use HESA KIS definitions] Scheduled Activities Hours Comments/Additional Information Weekly staff led studio sessions 65 Weekly independent group-led studio sessions 24 Guided independent study 111 Total 200 (NB: 1 credit = 10 hours or learning; 10 credits = 100 hours, etc) Category Element Component Name Component Weighting Comments include links to learning objectives Coursework C1 Individual Viva 100% Total: 100% 15 minutes - LO4 Practice P1 Performance of Adapted Narrative 100% Total: 100% 30 minutes- LO1, LO2, LO3 Sarah McCourt 25/06/16 HE Operations 25/06/16 Booker, Christopher (2005) The Seven Basic Plots: Why We Tell Stories. London: Bloomsbury Carlson, Marvin (2003) The Haunted Stage: Theatre as a Memory Machine. Ann Arbor: University of Michigan Press Genette, Gerard (1997) Palimpsests, Literature in the Second Degree. Lincoln: University of Nebraska Press. Hutcheon, Linda (2006) A Theory of Adaptation. London: Routledge Kristeva, Julia (1980) Desire in Language: A Semiotic Approach to Literature and Art. Oxford: Blackwell. Murray, Simon (2012) The Adaptation Industry: the Cultural Economy of Contemporary Literary Adaptation. London: Routledge. Propp, Vladimir (1968) 2nd edition. Morphology of the Folktale. Austin: University of Texas. Sanders, Julie (2006) Adaptation and Appropriation. London: New Critical Idiom Series Routledge. Turner, Cathy and Synne Behrndt (2008) Dramaturgy and performance. Basingstoke: Palgrave Macmillan.
FdA-Contemporary-Storytelling-and-Performance-Handbook-2016-17-22-Sept-16-to-upload.docx