School of Theatre, Performance and Cultural Policy Studies · School of Theatre, Performance and...
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School of Theatre, Performance and Cultural Policy Studies UNDERGRADUATE HANDBOOK 2010/11
Transcript of School of Theatre, Performance and Cultural Policy Studies · School of Theatre, Performance and...
School of Theatre, Performance and Cultural Policy Studies
UNDERGRADUATE HANDBOOK
2010/11
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Contents BASICS
Introduction 3 School Map 4
Millburn House Map 5 Staff Contact Details 6
School Officers 2010/11 7 TUTORS & MENTORS
The Tutorial System 8 Tutorial Groups 10
Mentoring Scheme 13 SSLC 17
Data Protection Act 18 Notification of Mitigating Circumstances Form 19
STUDENT SUPPORT & DEVELOPMENT THE DEGREE COURSE
Attendance & Monitoring 29 Course Aims & Learning Outcomes 31
Course Regulations 33 ESSAYS
Plagiarism 35 Grammar Advice 38
Style Guide - MHRA 40 Deadlines 47
Penalties for late submission of assessed work 47 esubmission 47
Assessed Work Cover Sheet 49 Essay Extension Request Form 50
Feedback – 17 Point Scale 51 Feedback – Response Times 52
PRACTICAL WORK
Assessment Criteria 53 Grade Descriptors 53
Practice Outside the School 55 UNDERGRADUATE RESEARCH ETHICS
Review Form 56 OTHER INFORMATION
Computing facilities 59 Other courses, language classes 59
Bookshop 59 Warwick Arts centre 60
TIMETABLES & TERM DATES
First Year Timetable 61 Second Year Timetable 61
Third Year Timetable 62 Term Dates 62
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BASICS Introduction This booklet is intended mainly for those who are new to the University. It is offered as a guide to our various workings – academic, administrative, and social. There is a great deal of information of both an academic and general nature to be assimilated over the year. In Theatre Studies there are several notice boards on which you will find information concerning your modules (including details of seminar groups and module tutors) located in the Theatre Studies foyer in Millburn House. In addition, you will find there is a list assigning you to a member of staff who will act as your Personal Tutor. Also in Theatre Studies you will find the Student Pigeonholes; post is delivered to these each day - not just personal letters but various University communications, for instance, from the Library, from student clubs and societies, and from your tutors. Check your pigeonhole regularly; it may well contain significant news. Tutors will also contact you by email so it is important to check your Warwick email account regularly. Theatre Studies is located in Millburn House. Theatre Studies has a Studio in the Humanities Building located about 15 minutes walk from our main site. Please allow sufficient time to travel between the buildings.
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School Map
Interactive campus map http://www2.warwick.ac.uk/about/visiting/maps/interactive/ Downloadable pdf campus map http://www2.warwick.ac.uk/about/visiting/maps/campusmap/campus_map_may_2010.pdf
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Millburn House Map (Ground Floor)
Please note that offices for Milija Gluhovic, Silvija Jestrovic, Susan Haedicke, Margaret Shewring, Baz Kershaw and Ian O’Donoghue are located on the First Floor
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Staff Contact Details 2010-11 Name ROOM Tel (int) email
Prof. Jim Davis G27 74842 [email protected]
Dr Milija Gluhovic F04a 74773 [email protected]
Dr Susan Haedecke F05 50611 [email protected]
Dr Nadine Holdsworth G25 22878 [email protected]
Dr Yvette Hutchison F04b 74278 [email protected]
Dr Silvija Jestrovic F04 73100 [email protected]
Prof. Baz Kershaw [email protected]
Prof. Janelle Reinelt G23 23021 [email protected]
Dr Margaret Shewring F02 23022 [email protected]
Dr Tim White G24 72534 [email protected]
Dr Nicolas Whybrow G26 24925 [email protected]
Cate Brennan (Secretary)
G29 23020 [email protected]
Claire Nicholls (Administrator)
G28 50390 [email protected]
Ian O'Donoghue (Technician)
G03 41001
[email protected] Mobile: 07939 697201
Study Leave 2010-11 Dr Margaret Shewring - Autumn & Dr Tim White - Spring Visiting Lecturers 2010-11 Danielle Allan Dr Veronica Baxter Dr Gerry Cousin Simon Daykin Saul Hewlish Dr Wallace McDowell
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School Officers 2010-11 Head of School: Nadine Holdsworth
MAIPR Director : Milija Gluhovic
Director of Undergraduate Studies: Tim White (Spring: Yvette Hutchison)
Director of Graduate Studies: Nicolas Whybrow
Chair of practice-based working group : Susan Haedicke
Undergraduate Admissions: Yvette Hutchison/ Silvija Jestrovic
Department Senior Tutor: Nadine Holdsworth
Joint Students Co-ordinator: Yvette Hutchison
Postgraduate Admissions (Theatre & Performance): Nicolas Whybrow /
Claire Nicholls
Research (Theatre & Performance): Janelle Reinelt
Exams Officer: Margaret Shewring
SSLC Convenor: Susan Haedicke
International Exchange Officer - Susan Haedicke (Autumn)
Widening Participation Officer – Tim White with Wallace McDowell
Health and Safety Officer - Claire Nicholls
Alumni Officer - Margaret Shewring
Humanities Research Committee: Jim Davis
Research Seminar Organisers – Jim Davis
Web: Tim White/Claire Nicholls
Library Rep: Margaret Shewring
SCUDD Rep: Milija Gluhovic
External Examiner Prof. Viv Gardner (University of Manchester)
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TUTORS AND MENTORS The Tutorial system Departmental Senior Tutor: Nadine Holdsworth The Personal Tutor system at the University of Warwick is a vital and central part of campus life. Personal Tutors, working in conjunction with the wide range of services available to students, are expected to provide such support, advice and guidance to students as may be necessary or appropriate to enable them to gain the most from their studies at the University. In 2008 a working party on Student Support and Guidance, chaired by the University Senior Tutor and including representatives of all faculties as well as the Students’ Union and the Centre for Student Careers and Skills, scrutinised the operation of the Personal Tutor system. After further wide-ranging consultation the following new set of guidelines was produced, and endorsed by Senate. Their intention is to specify more clearly what is expected of both personal tutors and their tutees, as well as to provide practical advice in a user-friendly way. The primary aims are to make it easier for personal tutors to carry out their role, and for tutees to know what they can, and cannot, reasonably expect from their personal tutors, it being a key premise of these guidelines that the system can only work effectively if both staff and students are fully aware of, and carry out their responsibilities as follows: The role of the Personal Tutor is primarily:
⇒ To assist students with the process of induction and orientation into University life and to retain an interest in their personal and academic development throughout their academic careers;
⇒ To provide academic advice to personal tutees on their progress and development;
⇒ To give students help and advice about pastoral/non-academic matters insofar as s/he is competent to do so;
⇒ To signpost and refer students on to professional University support services for further assistance if necessary;
⇒ To seek to ensure that no student withdraws from the University prematurely for want of support and guidance;
⇒ To signpost students to relevant careers / skills provision.
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The role of the Personal Tutee is: ⇒ To be responsible for their own academic development and
achievement by contributing positively to a productive working relationship with the personal tutor;
⇒ To respond promptly to an invitation to attend a personal tutorial meeting;
⇒ To be an active engaged member of their departmental academic community.
The role of the Department Senior Tutor is:
⇒ To be responsible for the effective operation of the personal tutor system in their department, including making sure that students know who is their personal tutor;
⇒ To provide support and guidance to students if the personal tutor is unavailable;
⇒ To provide support and guidance to members of academic staff who are personal tutors;
The role of the University Senior Tutor is:
⇒ To promote the academic welfare of students, collectively and individually;
⇒ To be responsible for the effective operation of the personal tutor system across the university;
⇒ To provide a sympathetic person to whom students can turn to in confidence for support regarding difficulties with their studies, if no other source of support has been able to help;
⇒ To provide help and advice to academic members of staff who are Personal Tutors.
The University Senior Tutor is normally consulted only when all other sources of help and support have been exhausted. For more information on the Personal Tutor System please see http://www2.warwick.ac.uk/services/tutors/personaltutors/
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Tutor Groups 2010-11 * = student changes tutor AUT = Autumn Term, SPR = Spring Term Study Leave 10/11 AUTUMN Margaret SPRING Tim First Year http://www2.warwick.ac.uk/fac/arts/theatre_s/resources/tutor_groups_2010-11/)
Prof. Jim Davis
Max Allsup
Hanna Chan
Lucy Jones
Thomas Fowler
Alexandra Moxon
MENTOR: Anthony Almeida
Dr Milija Gluhovic
Emrys Barnes
Gayatri Chandrai
William Francis
Fiona Joseph
Harriet Onyett
MENTOR: Laura Cassells
Dr Susan Haedicke
Sophie Barnett
Jodie Coller
Yolande Goodman
Mia Lake
Jade Sellers
MENTOR: Gwilym Lawrence
Dr Yvette Hutchison
Matthew Bent
Meg Coombs
Josh Goulding
Zoe Lambrakis
Zoe Templeman-Young
MENTOR: Claudia Goss
Dr Silvija Jestrovic
Jasmine Cousins
Zara Harris
Indigo Lefevre
Amy Thompson
MENTOR: Oriana Casey
Dr Margaret Shewring
[Prof. Jim Davis is Personal Tutor
in Autumn Term]
Jessica Brooks *
Jodie Duthie *
Maria Hildebrand *
Catherine Lynch *
Rachel Toner *
MENTOR: Fergus Nimmo
Dr Tim White
[Prof. Jim Davis is Personal Tutor
in Spring Term]
Annie Burge *
Eva Feiler *
Sophie Hindley *
Samantha McLaughlin *
Rachel Tyrell *
MENTOR: Kate Watson
Dr Nicolas Whybrow
Alice Carter
Charlotte Finley
Julie Holman
Fiona Moore
Elinor Vinen
MENTOR: Luke Mason
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Second Year (http://www2.warwick.ac.uk/fac/arts/theatre_s/resources/tutor_groups_2010-11/)
Dr Milija Gluhovic Katie Allanson Miriam Barber Laura Beresford Oriana Casey Sarah Mcnamara (AUT) Dr Susan Haedicke Judith Durkin Jessica Dutton Claudia Goss Wendy Lathwell Ben Borowiecki (AUT) Scott Menzies (AUT) Melisa Rodop (SPR) Dr Yvette Hutchison Paul Hanraads Victoria Humphreys Stephanie Kitchiner Olivia Lamont Katie Muir (AUT) Lucy Roberts (SPR) Dr Silvija Jestrovic Stewart Clark Rachel Maughan Abbie Mccarthy Cheryl Mcgee Tiffany Murphy (AUT) Hannah Pickering (SPR)
Dr Margaret Shewring Ben Borowiecki * Sarah Mcnamara * Scott Menzies * Katie Muir * Tiffany Murphy * Anna Murray * Andrea Niada * Kate Pearse (SPR) Dr Tim White Holly Parker * Kate Pearse * Hannah Pickering * Lucy Roberts * Melisa Rodop * Andrea Niada (AUT) Dr Nicolas Whybrow Abigail Smith Chloe Solman Kate Watson Holly Webley-Naylor Alexandra Montgomerie Holly Parker (SPR)
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Third Year (http://www2.warwick.ac.uk/fac/arts/theatre_s/resources/tutor_groups_2010-11/)
Prof. Jim Davis Gwilym Lawrence (AUT) Soraya Nabipour (SPR) Victoria Odd (AUT) Claire Furner (AUT) Anais Olds (SPR) Sally Ward (AUT) Rachel Leadley (SPR) Sally Ward (AUT) Emma Hicks (SPR) Laura Kirby (AUT) Katherine Carr (SPR) Dr Milija Gluhovic Anthony Almeida Charlotte Cowley Laura Hunt Sarah Penny Dr Susan Haedicke Rachel Creaser Bathsheba Piepe Polly Boon Fergus Nimmo Dr Nadine Holdsworth Matthew Blakemore Oliver Davis Rebecca Hussein Elena Makrides Luke Mason Alexandra Rutter
Dr Yvette Hutchison James Byrne Melanie Jennings Thomas Mason Louise Smith Anna Burnell
Dr Silvija Jestrovic Joshua Bridges Daniel Evans Sophia King Claudia Massey Lucy Stevenson Rosalind Field Dr Margaret Shewring Claire Furner * Gwilym Lawrence * Victoria Odd * Sally Ward * Laura Kirby * Dr Tim White Katherine Carr * Emma Hicks * Rachel Leadley * Soraya Nabipour * Anais Olds * Dr Nicolas Whybrow Laura Cassells Charlotte Hoare Sandra MacKenzie Isabella Ow Carolyn Van Vliet
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Mentor Scheme Guidelines for mentees (First years) Mentoring occurs through a series of conversations in which one person (Mentor) draws on their experience, expertise and knowledge to advise and guide a less experienced person (Mentee) in order to enhance their performance or support their development. The coming few weeks and months will provide an exciting and new experience as you embark on your studies, but will also provide some challenges in learning and understanding. By being part of the Theatre Studies Mentoring Scheme you can meet with your mentor to help you get used to your studies and settle into the new environment. This scheme is being run for the first time in 2010/11. We will ask for your feedback and suggestions at regular intervals. Please let us know what you think as this will help us to decide how to continue the scheme and how to develop it.
Your mentor’s role is to:
-‐ Share their experiences, thoughts and ideas, -‐ Listen, sympathise and ask questions, -‐ Encourage action when something has been identified as important
to you, -‐ Advise and guide within area of expertise, not offer solutions, -‐ Not know all the answers – but know when to redirect mentees to
the right place within the University or ask for help from the Student or Staff Co-ordinator
-‐ To look out for their mentee’s general well being, -‐ Discuss and agree the Mentoring Agreement with the mentee, with
both retaining an individual copy.
Your role is to:
- Consider and share what you are looking for and seek the mentor’s advice,
- Take an active role in considering how the mentoring relationship is going to work,
- Assess the progress of the relationship – be open and honest if the mentoring relationship is working, do priorities need to be reset,
- Follow up on action points agreed and do the necessary preparation for the next meeting,
- Listen to the mentor, be able to receive feedback and consider options from the mentor’s perspective,
- Be considerate of your mentor’s time, - Discuss and agree the Mentoring Agreement with your mentor, with
both retaining an individual copy.
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Mentors will provide you with a variety of support:
- Discussion of what modules contain and module choices for later years
- Information regarding the format of lectures and seminars, lecturers’ styles and how to get the most from them
- Advice regarding submitting and receiving assessed work, using the library and reading lists effectively
- Social opportunities at Warwick, including sports and societies, Warwick Volunteers, etc;
- Provide general advice on the local area including; registering with healthcare professionals, transport links, etc;
-‐ Referral information for issues that are beyond the scope of a mentor such as; academic coaching, Directors of Undergraduate Studies, Personal Tutor, Student Support Services.
It is important to remember a few things about the mentoring scheme:
- Your mentor is not taking the role of your personal tutor, senior tutor or a counselor. If topics come up that they are not comfortable talking to you about – or are not qualified to deal with they will tell you. Your mentors are there to offer friendly advice and guidance within areas of their expertise and they can signpost you to the Student Support Services, Senior Tutor or Theatre Studies department at Warwick. If any concerns arise affecting the mentoring relationship the mentor may seek the appropriate support from the Student Co-ordinator, [email protected] or the Staff Co-ordinator [email protected] Both are also able to support with any scheme specific queries e.g. changes to mentoring relationship, supporting documentation, etc.
- The relationship between the mentor and mentee is designed to
lead to independence rather than dependence and should be a positive experience for all involved, so it is important to be mindful of your behavior and to treat this relationship as a professional one, albeit informal and friendly.
- As you progress during the mentoring relationship you feel more comfortable you may need progressively less advice. However, mentors are encouraged to keep the channels of communication open – in case they are needed.
- Please remember your mentor is a volunteer and will probably have plenty of things going on with their research and life which requires their time and commitment. It is important to stick to the agreement you have made regarding when and how you will make contact with your mentor.
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- You might want to talk about research methodologies and good research practice. However, mentors are not expected to provide detailed subject specific advice. For example:
o Give detailed comments on drafts of written work,
o Provide advice on departmental policies
o Provide detailed advice on academic issues such as referencing practice
o Act on behalf of the mentee, for example raising an issue of concern to the mentee with someone else.
Part of your mentor’s role is to share ideas, it is your responsibility to find out this information.
As part of your role you should familiarise yourself with:
• Code of Ethics of the Scheme • Initial Meeting guidelines • Mentoring Agreement
There are various options to support both mentors and mentees in terms of learning from the experience or exploring any difficulties encountered.
-‐ Student Support Services for support and welfare structure
-‐ Senior Tutor for support on academic and personal advice
-‐ Theatre Studies department for information and advice relating to your study
-‐ Student Co-ordinator or Staff Co-ordinator to support mentors by helping them to think through how to respond if a problem has arisen affecting the mentoring relationship - for instance, difficulty in focusing the conversation, concerns about the mentee’s behaviour, the possible need to seek appropriate professional support for the mentee, [email protected] / [email protected]
-‐ Student Co-ordinator or Staff Co-ordinator to support mentors and mentees with scheme specific queries e.g. copies of documentation, changes to mentoring relationship, feedback [email protected] / [email protected]
Adaptation from the “Resources for Student Coordinators of Mentoring Schemes” Undergraduate Skills Programme Website, The University of Warwick
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Mentors 2010-11 Student Co-ordinator – Carolyn van Vliet Assistant Student Co-ordinator - Chloe Solman Jim’s Tutor Group - Anthony Almeida Milija’s Tutor Group – Laura Cassells Susan’s Tutor Group – Gwilym Lawrence Yvette’s Tutor Group – Claudia Goss Silvija’s Tutor Group – Oriana Casey Margaret’s Tutor Group – Fergus Nimmo Tim’s Tutor Group – Kate Watson Nicolas’ Tutor Group - Luke Mason
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Staff-Student Liaison Committee (SSLC) The minutes and list of elected students comprising the SSLC can be found at http://www2.warwick.ac.uk/sunion/sslc/arts/theatre/ *** From the SSLC Handbook – http://www2.warwick.ac.uk/sunion/sslc/handbook/ SSLCs are committees made up of student representatives and members of academic staff. They provide an accessible arena for students to discuss with staff issues connected to teaching, learning and student support. They also provide an opportunity for the department to receive feedback from students, particularly if changes to a course are proposed. The SSLC should ALWAYS be consulted of any major changes to course structures or content. SSLCs SHOULD NOT consider matters relating to named members of staff or students, nor are they the place for students to air their personal grievances. Key principles of the SSLC system SSLCs can be organised in many different ways to suit the needs of the students they represent. The guidance in this handbook sets out a framework that should be suitable for the majority of SSLCs. Advice on arrangements for students on courses that do not follow the typical, full- time campus- based pattern is included below. All SSLCS, however they are organised should be guided by the following principles. SSLCs should: Be student- led. SSLC reps should be proactive in organising the SSLC and, in consultation with the students they represent, in raising issues for discussion. The SSLC should have a student Chair and Secretary. All SSLC reps should take part in available training to help them fulfil their role Be supported by a named Academic Convenor, who is a member of staff appointed by the Head of Department. Convenors should attend available briefing sessions to gather information and share good practice Provide an accessible forum to enable students to discuss teaching, learning and student support issues with staff in an open manner, within the framework of a formal structure. The department should consult with the SSLC on new proposals, including changes to courses For full- time, campus- based courses, meet at least four times per year, and for part- time campus-based courses, meet at least twice per year. Liaison mechanisms that do not involve face- to- face meetings (eg for
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some distance learning courses) should provide students with a least a similar frequency of structured opportunities to raise and discuss issues with staff Encourage the resolution of issues and improvements at a departmental and/or course level. Issues raised through the SSLC should be discussed regularly and promptly at staff meetings. An SSLC rep should be encouraged to attend departmental staff meetings: See SSLC Meetings Ensure that discussions and resulting actions are documented and disseminated to the student body represented through the SSLC. This is key to the credibility and success of the SSLC Produce an annual summary of issues discussed and actions taken, to feed into University and Students' Union decision- making process and encourage action at an institutional level Not consider matters relating to named members of staff or students, or personal concerns or grievances. Advice on how to raise individual issues is included at the end of the SSLC handbook – http://www2.warwick.ac.uk/sunion/sslc/handbook/ The Data Protection Act This Act, which came into effect in 2000, stipulates that no personal information can be passed on to others without your permission. It is important that, if you are ill or have serious personal problems, you both provide medical notes (which will be used, if necessary, to excuse late work or other problems) and that you inform your personal tutor, or another member of staff, in writing, if you wish these circumstances to be taken into account in the event of your academic work suffering. Without your permission in each instance, your tutor (or another member of staff) cannot by law use such personal information in your best interests. A sample form to inform your personal tutor of personal/medical problems is included with this handbook. Copies of the form are available from Cate and can also be downloaded from the Departmental Intranet - http://www2.warwick.ac.uk/fac/arts/theatre_s/resources/
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For use by Student Progress Committee and Examination Board (if appropriate) School of Theatre, Performance and Cultural Policy Studies University of Warwick Notification of Mitigating Circumstances Form I wish to notify the Department of the following mitigating circumstances, which are likely to affect my performance in assessed work and/or examination. I enclose the following documentation in support of my case (eg. medical certificate) I give permission for these circumstances to be discussed by the Department’s Student Progress Committee and Board of Examiners should this be deemed to be appropriate. NAME (PRINT PLEASE) …………………………………………………………….. DEPARTMENT ……………………………………………………………………….. PERSONAL TUTOR ………………………………………………………………….. Signed …………………………………………… Date ………………………….
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STUDENT SUPPORT AND DEVELOPMENT Whilst we hope that your time at Warwick will be positive and successful, we recognise that at different stages you may need some support to enable you to take full advantage of what being a student at Warwick can bring. Listed below are details regarding some of the student support and development services that are available at Warwick. If you don’t find what you are looking for, feel free to contact the Student Support and Development Reception which is located on the Ground Floor of University House. Student Support and Residential Life Location: Ground Floor, University House Email: [email protected] Telephone: +44 (0) 24 765 23465 Student Support and Residential Life brings together Residential Life, Mental Health, links with Campus Health Services, the Nursery and first-point student support. Urgent queries and cases that require a rapid response should now be sent to the Student Support and Residential Life Office in the first instance. This team works closely with the student support team within the International Office and Advice &Welfare Services in the Students’ Union. The different parts of this division are shown below: Residential Life Location: Ground Floor, University House Email: [email protected] Telephone: +44 (0) 24 765 23465 Every campus residence has residential staff within it who are there to provide support to and development opportunities for students in their areas. In addition they are there to ensure that residences provide a safe and comfortable place to live and study and have responsibility for enforcing discipline on the rare occasions it is required. Students living off campus will be told if they have any residential staff living in their area. If not, they can contact Warwick Accommodation if they have issues regarding their accommodation, and the Student Support and Residential Life Office or any service listed below for other issues.
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Mental Health Location: Ground Floor, University House Email: [email protected] The Student Mental Health Co-ordinators provide information, support and, if needed, access to other services for students who have mental health problems. They work closely with other Student Support Services and in liaison with Health Professionals to ensure students receive the support needed to help them to manage their studies and life at university. Students are encouraged to disclose their mental health issues either at enrolment or at any time afterwards so that they can actively take part in how best to manage any difficulties that may arise. Nursery Location: Westwood Campus Telephone: 024 765 23389 Email: [email protected] Web: go.warwick.ac.uk/nursery The Nursery sits within the division of Student Support and Residential Life to enable better integration of approaches to services for children and families. The Nursery operates as a separate unit and we are looking forward to the development of the new expanded nursery as it takes shape over the coming year. Registered for 47 children aged between 3 months and 4 years, the University Nursery is based on Westwood campus with a dedicated baby unit for 15 under twos and a larger “pre-school” unit for 2, 3 and 4 year olds. Registered with OFSTED, we accept 3 and 4 year olds eligible for LEA funding, as well as employer-based childcare vouchers. The Nursery provides a welcoming, safe, stimulating and challenging environment, providing for children’s social, emotional, physical and moral development to enable them to grow and develop to their full potential. We strive to create an atmosphere of working in partnership with parents and carers so that the children are happy to attend Nursery and you feel confident about leaving your child in our care. We believe that children learn best through play. In a Nursery as unique as ours, where children can experience as many as 20 different languages
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and cultures in the course of a normal day, we feel that by allowing the children to express themselves through their play and some carefully structured activities we are allowing them to develop at a pace that makes sense to them. The Health Centre Location: Health Centre Road, Main Campus Telephone: 024 76 524 888 Web: http://www.uwhc.org.uk/ There are two medical practices based at the University Health Centre providing a full range of general practitioner services for registered patients. The Health Centre has both male and female doctors (although a doctor will not be at the centre throughout the opening times), Nurse Practitioners and Practice Nurses. Both practices run an appointments system for consultations with the doctors and the nurses. The Health Centre offers sexual health and contraceptive clinics, travel clinics and immunisation facilities. There are also physiotherapy sessions at the health centre to which doctors can refer patients. If ill, registered patients will be given an appointment at the Health Centre as soon as possible. If the Health Centre is closed, arrangements can be made for an emergency consultation. Full information is provided when students register with one of the GP practices. International Students resident here on courses lasting more than three months are entitled to full NHS (National Health Service) facilities. The NHS does not cover students on courses of less than three months, unless they come from a country, which has a reciprocal arrangement with the UK, or from the EEA and have an European Health Card, and then only if the need for treatment arises while the student is resident in the UK. Students on courses of study of less than three months in duration are advised to take out private medical insurance before they arrive in the UK where possible. Registering with the Health Centre To use the Health Centre, you must register with them as soon as you arrive at University. In an emergency, the Health Centre may be able assist non-registered students. Students who are resident on campus or within the catchment area of south-west Coventry are strongly advised to register with the Health Centre on campus (Please note, Leamington Spa
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does not fall within the catchment area). Students resident outside this area are advised to register with a practice close to where they are living (www.nhs.uk/englandcan help find a local doctor, dentist, optician, pharmacist etc). Non-registration with a doctor may cause problems if you are ill or you need a doctor in an emergency. New students living on campus or within the South West area of Coventry should register with the Health Centre during enrolment week in the Students’ Union Building North from Friday 28th September to Wednesday 3rd October. You will need to provide the following information to register:
• your NHS number(bring your NHS Medical Card) if you have lived in this country before (essential).
• the name and address of your present (most recent) GP in this country • Details of any immunisations you have had and any past medical history •
Many students from overseas have been to British Boarding Schools or lived in this country before and would have been registered with a GP then – you must ensure that you bring with you your NHS number and name of the GP practice you were registered with. Senior Tutor Location: Ground Floor, University House Email: [email protected] Web: go.warwick.ac.uk/seniortutor For guidance and advice on academic matters which you have not been able to resolve with either your personal tutor or your departmental Senior Tutor, you may contact the University’s Senior Tutor who offers an important service to students. See:go.warwick.ac.uk/seniortutor The Senior Tutor liaises with closely with both the Personal Tutor system and student support and development services on campus. University Counselling Service Location: Westwood House, Westwood Campus Email:[email protected] Web: go.warwick.ac.uk/counselling
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The University Counselling Service has a number of professionally trained counsellors who offer a confidential service to students who feel that emotional or psychological problems are affecting their ability to study or function properly whilst at the university. Students may be seen individually or in groups. The service also organises single session groups on study skills, time management and stress management throughout the academic year. For more information on the service and resources such as self help material and email counselling see our website at:go.warwick.ac.uk/counselling University Disability Services Location: Ground Floor, University House Email: [email protected] Telephone: 024 765 73734 Web: go.warwick.ac.uk/disability Disability Services is part of the Student Development and Diversity Division. We advise and provide services for students who can define as 'disabled' under the Disability Discrimination Act. This includes physical and sensory impairments, learning differences (e.g. dyslexia, dyspraxia, dysgraphia, dyscalculia), autistic spectrum conditions, mental health difficulties, 'unseen' conditions (e.g.asthma, epilepsy, diabetes, heart conditions), and other conditions (e.g. CFS, ME) for example. We encourage applicants and students to notify us on application, enrolment or at any time later of a disability, learning difference or other condition in order that we can provide advice and services to facilitate study at the University. We can also advise on whether individual circumstances are definable as a 'disability' under the law and thus whether students are entitled to have reasonable adjustments made for their studies. Information provided to Disability Services is held in confidence and is only shared with written agreement. We do encourage information sharing to enable the university to make any reasonable adjustments required. For further information or advice, including advice on Disabled Students Allowances, please contact [email protected], telephone the Disability Co-ordinator on 02476 573734 or visit the website: go.warwick.ac.uk/disability.
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The International Office Location: First Floor, University House Telephone: +44 (0)24 765 23706 Web: go.warwick.ac.uk/international The International Office warmly welcomes all new international students to the University of Warwick. We are a friendly team of experienced staff, here to support all EU and overseas students during your studies at the University of Warwick. We would like you to come and see us if you have queries or difficulties about anything during your stay. We run the annual Orientation induction programme for new international students, and throughout the year we help with queries about police registration, banking and student status letters. We also work pro-actively to give you opportunities to improve your student experience at Warwick by organising a programme of cultural days out and social events for students and families and administering the HOST programme (a national programme enabling overseas students to stay with families across the UK). We have a team of qualified advisers who provide free, confidential immigration advice and assistance. We provide advice on matters such as extending your visa, travelling abroad and working visas and regulations. We also support foundation, visiting and exchange students who are here under Erasmus partnerships or any other of the wide range of exchange agreements and visiting programmes (including JYA). As well as dedicated student support staff, we have regional teams who are responsible for students from particular areas of the world. You may have met some of these staff before at exhibitions or at pre-departure receptions or school visits, and you are very welcome to refer to your individual contact after you arrive. Our office is situated on the first floor of University House and is open from 9am to 5pm Monday to Thursday and 9am to 4pm on Fridays (tel: +44 (0)24 765 23706). The Chaplaincy Location: Main Campus (near Arts Centre) Web: go.warwick.ac.uk/chaplaincy At the heart of central campus, the Chaplaincy is a vibrant space open to all members of the University community. You can come here for meetings, to relax or study together, enjoy light refreshments, or spend
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time in public worship or quiet thought. It’s a popular gathering place that welcomes students of any or no faith. The Chaplaincy is home to the Anglican, Roman Catholic, Free Church and Jewish chaplains, who are always glad to meet students socially and pastorally. As a valued part of the University’s Welfare network, the chaplains offer everyone a sympathetic ear in total confidence. The University also has a dedicated Islamic Prayer Hall immediately adjacent to the Chaplaincy building. Students’ Union Advice and Welfare Services Location: Students’ Union North Web: http://www.sunion.warwick.ac.uk/portal/advice/ Advice and Welfare Services is a confidential Students’ Union service and is independent of the University. We can give information and advice on many areas of University life including:
• Accommodation and housing • Problems with your course, lecturer, supervisor or department • Money and debt problems • Support and representation with complaints, appeals, and disciplinary
matters • Legal and police problems • Consumer problems • Immigration advice •
If you are not sure who to talk to or where to get advice try Advice and Welfare Services first. If it is not us we probably know who the right person is and can help put you in touch. http://www.sunion.warwick.ac.uk/portal/advice/ The University and Students' Union also takes its responsibilities for Equality and Diversity and the eradication of Bullying and Harassment very seriously. The relevant web pages are listed below: Equality and Diversity: go.warwick.ac.uk/equalops Bullying and Harassment: go.warwick.ac.uk/harrassmentguidelines
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Sexual, Racial and Personal Harassment The University and the Students’ Union regard all forms of harassment as unacceptable and are prepared to take disciplinary action against offenders. Both the University and the Students’ Union are committed to creating a community that is free from harassment and discrimination. Sexual, racial and personal harassment can seriously worsen conditions for staff and students at the University and may also, in certain cases, be unlawful. The Sexual, Racial and Personal Harassment: Guidelines for Students website, go.warwick.ac.uk/harassmentguidelines, has the University’s statement of equal opportunities and full contact detail s for advice and assistance including: University Senior Tutor and Counselling Service, telephone 024 7652 3761 or extension 23761 Students’ Union Advice and Welfare Services, telephone 024 7657 2824 or extension 72824 Welfare and Equal Opportunities Officer (Students’ Union sabbatical officer), telephone 024 7657 2778 or extension 72778 Nightline (please note that Nightline is a listening service and will not offer advice), 9pm-9am, telephone 024 7641 7668 or extension 22199 Chaplaincy, telephone 024 7652 3519 or extension 23519 Online Social Networking Sites The use of online social networking sites (e.g. Facebook, Myspace, Beebo etc) has become a very significant part of the lives for many people. They provide a very positive way to keep in touch with people in different places, share common interests, exchange ideas, thoughts and content on academic matters, and to have fun. There have been a number of examples where these services have been used for less positive reasons and it is because of this we offer these words of guidance:
• Ensure that you avoid using language which would be deemed to be offensive to others in a face-to-face setting as the impact on individuals is just the same.
• Avoid allowing the formation of an online group from isolating or victimising your fellow students or academic colleagues. That may not be your intention but if used carelessly it could be the impact that is achieved.
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• Avoid using such services in classes unless your tutor has given the group express permission to do so.
• Please ensure that you never use such sites for accessing or sharing illegal content. We encourage students to make use of such services. However, students should also be aware that the University will take seriously any occasions where the services are used inappropriately. If occasions of what might be read to be online bullying or harassment to students or staff are reported they will be dealt with in the same way as if it took place in a face-to-face setting. Information on the University’s acceptable use policy for IT and its disciplinary regulations can be found at the following sites: Acceptable Use of IT: http://www2.warwick.ac.uk/services/gov/calendar/section2/regulations/computing/ Disciplinary Regulations: http://www2.warwick.ac.uk/services/gov/calendar/section2/regulations/disciplinary/
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ATTENDANCE AND MONITORING Attendance at all lecture, seminar, practical and tutorial classes in Theatre Studies is obligatory. Any theatre visits related to your modules are also obligatory.If you are unable to attend because of illness, you should inform the module tutor as soon as possible. Attendance at all classes is deemed to constitute a necessary part of the completion of each module. We are required to report to the Teaching Quality section of the Academic Office annually setting out how we monitor student attendance and progression. Departments are required to report to the Teaching Quality section of the Academic Office annually setting out how they monitor student attendance and progression. A summary report will be considered by the Academic Quality and Standards Committee. Departments are therefore being asked to identify a ‘monitoring structure’ showing how we will monitor student attendance and progression. Departments are advised to offer support to students whenever it becomes apparent that they may be experiencing problems. Additionally (as a minimum), ► Where a student has missed three formal “monitoring points” in one
academic year the student’s personal tutor/supervisor should meet with the student to discuss progress and consider referring the student where appropriate to the relevant University Support Service(s).
► Where a student has missed six formal “monitoring points” in one academic year the Director of Graduate/Undergraduate Studies should consider referring the student to the Continuation of Registration as set out in The Regulation on Student registration attendance and progress 13. The department may wish to seek advice on this from their Faculty Secretary or the Academic Office.
► Where a student has missed eight formal “monitoring points” in one academic year the Department or the Academic Registrar will need to invoke the process outlined in the Regulation on Student Registration, Attendance and Progress.
Departmental contact responsible for submission of monitoring reports: • Nadine Holdsworth This monitoring structure applies to the following courses: • BA in Theatre and Performance Studies ((Director of Undergraduate
Studies: Tim White) • MA by Research/MPhil/PhD in Theatre and Performance Studies
(Director of Graduate Studies: Nicolas Whybrow)
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Study Level Monitoring points Undergraduate
Lead Academic: Director of Undergraduate Studies (see above)
Autumn Term 1. Attendance at 100% of departmental induction events 2. Attendance at initial meeting with personal tutor 3. Attendance at 90%+ of all seminars 4. Full participation in practice-based classes and
rehearsals 5. Submission by the set deadline of 100% of all assessed
coursework Spring Term
6. Attendance at scheduled meeting with personal tutor to discuss autumn term
7. Attendance at 90%+ of all seminars 8. Full participation in practice-based classes and
rehearsals 9. Submission by the set deadline of 100% of all assessed
coursework 10. Attendance at scheduled meeting with personal tutor to
discuss spring term Summer Term 11. Attendance at all examinations
12. Submission of module choice form for following year (for 1st and 2nd years only)
Summer Vacation
None
Monitored by: Attendance registers, liaison between module tutors and personal tutors, electronic submission of all assignments & student progress reports at all staff meetings.
Research Postgraduate
Lead Academic: Supervisor (annual report to be collated by Director of Graduate Studies)
Monitoring Points (12 over the year)
1. Monthly supervisions meetings/contacts (for students conducting field research or based overseas, this should include at least three face to face meetings)
2. Submission of progress report/piece of research for Graduate Progress Committee
3. Participation in annual Graduate Progress Committee Monitored by Student progress report by supervisor to staff meetings,
GPC and annual review
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Course Aims and Learning Outcomes Course aims:
• To provide research-led teaching that employs research materials, current writing projects and research through practice to develop student knowledge and understanding of a variety of research methodologies employed when studying theatre and performance.
• To give students a firm grounding in the discipline of theatre history to enable them to make critical, interpretative and creative judgements in the context of historical developments and change.
• To build on a firm historical and conceptual base in order to introduce students to the work of key contemporary playwrights, theoreticians and theatre practitioners, and to the debates that have underpinned developments in contemporary performance practice.
• To encourage students to build their own critical and creative responses to a range of theatre and performance.
• To provide opportunities for individuals to develop transferable skills that will benefit them for future study or the workplace. Learning outcomes: Subject Knowledge and Understanding
• Broad knowledge and understanding of key developments in theatre history
• Knowledge of historical and contemporary contexts of production and the impact on forms and styles of theatre.
• An awareness of a range of key theatre movements, theorists and practitioners in relation to their historical, social and cultural context.
• An awareness of the interplay between theory and practice within the area of theatre and performance studies.
• An awareness of the conceptual and creative processes that underpin the realisation of performance. Cognitive Skills
• Skills in information retrieval and the ability to interpret and critically analyse available evidence.
• The ability to develop ideas and construct arguments. • The ability to identify issues, formulate questions and engage in
problem-solving. • The ability to undertake independent research.
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Subject-Specific Skills/Professional Skills • An ability to describe, theorise, interpret and evaluate theatre texts
and performances from a range of critical perspectives. • An ability to identify the historical and cultural frameworks that
underpin the creation and interpretation of theatre and performance. • An awareness of practical processes employed in the creation and
realisation of contemporary performance. • An ability to conduct independent research, whether investigating
past or present performances, or as part of the process of creating new performance. Key Skills
• Written communication skills • Oral communication skills • Working with others • Problem solving • Information technology • Independent learning • Time management
Progression through the Course: First-year work lays down the foundations for further, more detailed, study in the two subsequent years of the course. Through a range of options, second-year students are offered opportunities to examine in greater depth aspects of theatre which were introduced in the first year and/or to pursue new areas of study. All third years are required to take either a Research Topic or a Practical Option and then select three options which are based on current or recent research by members of staff. Students are expected to engage with this work with an appropriate level of analytic and investigative rigour. Progression is therefore from foundation core modules to an increasingly student and research-led mode of study.
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Course Regulations 2010-11 Course Requirement Candidates must satisfy the University’s General Entrance Requirements and should preferably possess an ‘A’ level pass in Theatre Studies. Scheme of Study Three years full-time study leading to the degree of BA (Honours) in Theatre and Performance Studies or of BA (Pass) in Theatre and Performance Studies (UCAS module no. W440). First Year Students are required to take three core modules: Core Modules
TH111 Introduction to Theatre 30
TH112 Introduction to Contemporary Performance Studies 30
TH113 Contemporary Performance Practices 60
Second Year Students are required to take one core module and two modules from the list of optional modules below. Please note that options available may change from year to year and may include: Core Module
TH216 Aspects of Theatre and Performance 60
Optional Modules
TH208 Performance and Text 30
TH205 Theatre in the Community 30
TH210 Marketing Theatre 30
TH214 Improvisation 30
TH219 Writing for Theatre and Performance 30
TH220 Outside the Walls: European Street Theatre 30
External option 30
Third Year
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Students are required to take modules totalling 120 CATS selected from the list of optional modules. Please note that options available may change from year to year and may include: Optional Modules
TH210 Marketing Theatre 30
TH303 Research Topic 30
TH304 Theatre and Ideology 30
TH306 Practical Option 30
TH318 Performance and the Contemporary City 30
TH319 Interpreting the Theatrical Past: Approaches to Theatre Historiography
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TH320 Intercultural Theatre Practices 30
TH321 Theatre of the 'New' Europe 30
TH326 Dramaturgy 30
Examination Scheme Modules given by the School of Theatre Studies are examined by a variety of methods, as indicated in the departmental list. EXAMINATION SCHEME The weightings for each year are as follows: [The figures relate to the % examined, not the weighting given to each year which is (1st to 3rd) 0%/50%/50%] First Year 0% Second Year 35% Third Year 35%
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ESSAYS Plagiarism AVOIDING PLAGIARISM When you present the words or ideas of another as if they were your own you are plagiarising. Plagiarism is cheating. When you quote directly or summarise in your own words the ideas of someone else, you must acknowledge this. You do so by making a citation or reference within your text to your source materials. Frequently asked question What do I do if I’m writing about something that is common sense or I think everybody/my readers will know? Statements of fact fall into this category and therefore may not need to be acknowledged, unless there is a controversy to report about the date or location of a particular occurrence in which case you are dealing with interpretations of fact or arguments which must always be acknowledged. Remember the ‘GOLDEN RULE’ of Plagiarism: IF IN DOUBT, ERR ON THE SIDE OF CAUTION BY ACKNOWLEDGING THE SOURCE. The writing of essays is an important part of the work of Theatre Studies students. It is one way, along with invigilated examinations and practical assessment, by which Theatre Studies tests its students. However it would be a very restricted view which conceived of the testing of students as the only or main purpose of writing essays. The essay provides a disciplined framework through which students can develop their critical faculties and can learn to marshal evidence to support an argument, and present new thoughts or points of view. During your time in Theatre Studies you will be asked to write essays on a range of subjects. The nature of these subjects will develop over three years. You will be set essays which ask for your response to a play-text, or a performance, or some aspect of theatre history, theory or practice; you will also at times be asked to view the work of a given playwright or theatre practitioner within its social or historical context. In developing your own assessment of plays and productions, you will be expected to research the knowledge that exists and to grapple with the range of critical opinions that have been based on it. Opportunities will also be given for you to define the field of your enquiry, direct the process of your research and to present work that will contain your own original and advanced thought.
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The writing of essays is a process of learning. At the outset you are bound to encounter some difficulties, since the essays required by Theatre Studies may be different from the pieces you have written in school. It is important that you discuss your essays with the module tutors and take notice of their comments. Personal tutors will also advise on how to develop this area of your work. Tutors are always ready to set additional non-assessed extra work for students who feel they need more practice, and will advise students who have problems with structure and expression. The content of an essay must find an articulate means of expression. Later on in this document you will find Criteria for Assessment of Essays, plus a guide to levels attained (Grade Descriptors) and a copy of the 17 point marking scheme. The advance of scholarship is a continuous process which builds on research, ideas and insights from the past and provides material for future scholars. In your essays no one expects you to be definitive. Nor are you expected to be entirely original on subjects such as the Greek theatre, where you have no access to original source material. Much of your work, particularly at the outset, will therefore be derived from secondary sources, i.e. what other people have previously said on the subject. This is a process which is a common part of the work of the greenest novice and the most eminent authority. In all cases, however, the use of sources must be acknowledged. General reading must be listed at the end of an essay in a BIBLIOGRAPHY. This is an alphabetical list, by author, of everything you have consulted in the course of your preparation. When you list your reading in this way, you have the benefit of demonstrating the range and quality of the work you have done and your tutors will be able to gauge the range of sources you have used, whether you are using them well, and to what extent you are thinking originally. It also serves as a basis on which your tutors can advise on further reading and help you extend the scope of your studies. Where you have a specific debt to a piece of work, you must acknowledge this either in your main text, or in a footnote/endnote. It is a matter of critical honesty that you acknowledge the source of your information or ideas and this should be done fully so that your tutor can check back on your quotations and citations in their original context. The proper acknowledgement of sources is particularly important in the case of work submitted for assessment. It is a normal feature of scholarship to utilise the ideas and thoughts of others in your work but it
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is dishonest to present ideas and thoughts as your own when they are not. It is important that you do not transpose quotations from sources into your own words without acknowledgement and it is insufficient to list those sources in your bibliography. You must never copy out sections of other people's work and insert them into your essay without marking your debt in quotation marks and providing a full reference. The University requires us to bring to the notice of all students Regulation 12, which defines cheating in a University Test as "an attempt to benefit one, or another, by deceit or fraud". The University regards plagiarism, or the unacknowledged use of other people's ideas and material, as cheating. If a tutor detects plagiarism in an essay, he or she will report the matter to the Chair of Theatre Studies. The Chair may, after hearing the case, impose a penalty of a nil mark for the essay in question. This can have serious consequences for first-year results. In the case of second and third-year students, the matter may go to a Senate disciplinary committee, which has the power to award a mark of zero for the module in question. Deliberate plagiarism is, thankfully, a rare event. But it is important that, when you make notes during your research and copy quotations out of books and journals, you record the source fully in your notes at that time. Many of us have lost the use of important pieces of material because we have failed to do this and could not remember later the source of the quotation. It is important that you do not leave essays to the last minute and run into the temptation of rehashing tracts of undigested secondary source material in the essay. The habit of making full and appropriate acknowledgement of all sources used and supplying full bibliographies should be instituted from your earliest work. Using Quotations or paraphrasing When you summarise, paraphrase or quote a source you must cite the original author. Direct quotations or Embedded quotations This is where you quote the phrase/passage in its entirety, acknowledging the source fully. An embedded quotation is where you use some of the author’s words, but place them in the context of your own sentence, splitting up the quotation as you do so. Quotations of a single line or part
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of a line can be ‘run-on’ in the main body of your text – separated with the use of single quotation marks. However, in quotes of about 40 or more words, or about three lines, these must be separated from the main body of your text by indenting the whole quote. To do this, leave space (not a double space) between the end of that section of your text and the beginning of the quotation. The quotation should also be indented from both the left and the right hand margins. Paraphrasing Paraphrasing is a way of expressing another person’s ideas in your own words. It is more sophisticated than summarising because it involves an element of interpretation where you are the ‘ mediator’ between the original author and the reader. Paraphrasing is a really useful way of livening up your writing. Avoid mechanical word for word substitution or replicating exactly the sentence construction of the original author – you might as well quote directly if you are doing this. Make sure that somewhere you specify in your paraphrase where the idea has come from. Summarising is to present a succinct version of the original source, restated in your own words where possible, which presents the author’s main idea or main argument only. Grammar Advice Grammar: Possessives, Plurals and Abbreviations: [---s], [---‘s], [---s’] [---s] denotes plural. e.g. Twelve texts. [---‘s] and [---s’] denote possession or abbreviation e.g. Sam’s text = possessive
Eurpides’< /em>text = possessive of a word which already ends in s.
(although some people prefer to add an extra sas well:Eurpides’s text) The playwrights'plays = possessive of a word which already ends in s because it is a plural. Sam’s cold = abbreviation of Sam iscold. The possessiveform of words ending in [-y] is usually [-y’s ] The [-y] becomes [-ies] only in a pluralform. e.g.The city’s last hope= possessive
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A tale of two cities= plural Exception: [Its], [It’s], [their] {Its]denotes possessive. NOTE: No apostrophe! e.g. “The dog hung itshead in shame.” Abbreviation is regular. e.g. It’s cold = abbreviation of It iscold. The plural of [its], of course, is [their]. Grammar: To and Too To is a preposition I’m going to the library. To is part of a verb in the infinitive: I’m going to work hard this year. Too is a comparative adjective/ adverb(depending on whether it qualifies an adjective or anadverb): Comparative adjective: It is too cold to work. Comparative adverb: It was too fast to see. Grammar: Hyphenation of compound adjectives Hyphenate compound adjectives. (A compound adjective is one which is composed of two words.) e.g. In fifth-centuryAthens … (Hyphenated: ‘fifth-century’ is a compound adjective describing the noun ‘Athens.’)In the fifth century, Athens … (Un-hyphenated ‘fifth’ is an adjective describing the noun ‘century.’) Grammar: Effect/Affect Note that in most cases ‘effect’ is a noun and ‘ affect’ is a verb. (Although ‘effect’ does occur as a verb in a certain less usual use: e.g. to effect a change = to cause a change to happen.) Punctuation and Layout Punctuation and layout are important bearers of meaning. They not only enable effective communication, they also indicate to the reader a structure of thought. This structure is itself part of the meaning of a text and is therefore a crucial element of the reader’s ability to understand the text. It is important, therefore, to use commas, paragraph divisions etc. very precisely in order to indicate sub-clauses and conceptual units respectively. Above all, you should always meticulously proof-read you final draft with a view to ensuring that the way in which you have structured your work on the page does accurately reflect what you are trying to communicate to the reader.
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Style Guide - MHRA This guide is designed to outline, as clearly as possible, both the
appropriate ways to include references and quotations in your work and
the correct ways in which to indicate your source(s) for those references
and quotations.
It also highlights some of the most usual mistakes in assessed work.
The School of Theatre and Performance Studies has agreed that the
appropriate way to cite references in your work is that set out by the
Modern Humanities Research Association (MHRA). Their full guide is
available on line You may download a FREE copy of the guide here –
http://www.mhra.org.uk/Publications/Books/StyleGuide/download.shtml.
It is also available in hard copy from the University Bookshop (reference
section) as MHRA Style Guide.
The Guide includes chapters on spelling and referencing techniques as
well as details on proof-reading for publication. The most important
sections for you are chapters 8 (on quotations), 9 (on footnotes and
endnotes) and 10 (on references).
In each of these chapters you will find clear instructions plus numerous
examples covering every potential problem.
What is offered below is a summary of the basic rules. If you learn these
you will find that the required details become ‘second nature’ as your
assessed work progresses (at both undergraduate and postgraduate
level).
**********************
a) Footnotes/Endnotes
It is important to indicate the source(s) for your work.
This may take the form of a footnote indicating the book(s) in which you
found the information on which your discussion depends and a detailed
citation for each quotation.
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You can include this information in numbered footnotes (that is: notes at
the foot of the page to which the source material is relevant) or in
endnotes (that is: in numbered notes at the end of your work and
preceding your Bibliography).
Such notes can be inserted by using the ‘Insert’ tab at the top of the
screen.
Click on ‘Insert’ and then click on the ‘drop-down menu’ for ‘references’.
Under the section labelled ‘references’, click on ‘footnotes’.
The next choice offered will be whether you want the note at the foot of
the page or as an endnote and it will ask about the format (font) for the
numbers themselves. For the numbers, select ‘1, 2, 3…’
If you want to insert an additional note, or delete a note already inserted,
the computer programme will automatically change the numbers of your
notes to include the newly inserted (or deleted) note in the sequence.
b) First reference to a particular source
The first time you cite a particular source you should give full details in
your notes of how the reader can access that same source (whether it is a
book, an article, a newspaper or a website).
If you are citing a book or an article, the name of the writer of the source
always appears in the usual order (for example: Margaret Shewring – not
putting the surname first); the title should be complete, in italic font for a
book or in ordinary font and enclosed in single inverted commas for an
article, and the full publication details should be given (see below).
If the source is a newspaper, the title of that newspaper should be in full
and in italic font. You should also give the date on which the article
appeared. If you know the name of the writer of the article (or review),
you should include that at the start of the note: Michael Billington, The
Guardian, 11 September 2010.
Please note the correct presentation for the date.
For a website or online database you need to give the full web address
and the date on which you accessed the site.
c) Subsequent reference(s) to an identified source
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After the first reference to a source in your notes, both the name of the
author and the title of the work can be reduced to a shortened form and
the rest of the publication details are not necessary. You do need to give
the page number(s) for books and articles.
d) Publication details:
Publication details should be included in round brackets, following the
author and title.
Always give the place of publication, followed by a colon, then the
publisher followed by a comma, and the date of publication: (Manchester:
Manchester University Press, 1996).
If there is more than one place of publication indicated on the title page,
or on the back of the title page, in a particular book – give both: e.g.
(Aldershot and Burlington VT: Ashgate, 2004). [Here the first place of
publication is in the UK and the second is in the USA.]
If the book to which you are referring is reprinted or is not the first edition
you should give the date of the copy of the book that you are citing: e.g.
(Cambridge: Cambridge University Press, 2001, repr. 2005) or
(Cambridge: Cambridge University Press, 2001; 2nd edition, 2005).
If the work you are citing is a translation you should include the name of
the translator following the title: Title, trans. by…
Numerous examples can be found in the References chapter in the MHRA
Style Guide.
e) Bibliography
You should always end your work with a full bibliography of those works
(books, articles, plays, collections and websites) to which you refer in
your own work – or that have played a seminal role in your background
reading.
It is usual to divide the entries in your Bibliography into
Primary Sources (sources from the period with which your essay deals)
Secondary Sources (background/general)
Secondary Sources (critical and analytical studies specific to the topic
being discussed)
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Electronic resources (including audio and visual resources as well as
websites).
In a bibliography, under each category/sub-division the works are listed
by the author’s/authors’ name(s) – with the surname first, then the first
name (or initials).
f) Short Quotations within your own sentence structure
Select your quotations carefully so that short quotations fit into the syntax
(grammar) of your own sentence. Always indicate such quotations with
single quotation marks and make sure that there is a footnote entry. E.g.
Andrew Gurr points out that the Chamberlain’s Men and the Admiral’s Men
‘followed strikingly alternative policies over their habitual playing places’.1
Here the punctuation at the end of the quotation follows the punctuation
that would follow naturally in your own sentence structure. The footnote
reference would follow the end-of-quotation mark and the full stop. To
indicate the page number(s), place these details at the end of the note: p.
= page; pp. = pages.
g) Long Quotations (more than 50 words)
Long quotations should be started on a new line. An additional space
should separate the quotation from the body of your writing both above
and below. The first line should be indented from the left-hand margin
and the subsequent lines should be typed under the first with the same
indentation from the left. When setting a quotation apart in this way you
do not need to use quotation marks. You do still need to give a footnote
(with its number at the end of the relevant quotation). It is usual to lead
into a long quotation with a short phrase followed by a colon.
If you are citing lines from a play, the reference may be included in
brackets immediately following the quotation. For example: (Hamlet: II.1.
6-10) – with the act in large Roman numerals, the scene and line(s) in
Arabic numerals.
Your first quotation from a play should also include a footnote reference
giving the playwright and/or the editor and edition that you have used, or
1 Andrew Gurr, Shakespeare’s Opposites: The Admiral’s Company 1594-1625 (Cambridge: Cambridge University Press, 2009; repr. 2010), p.121.
44
the playwright, publisher and page reference, depending on the play being
cited. Where the name of the playwright is unknown, use Anon.
h) Specific Examples
The MHRA Style Guide gives clear instructions as to how to cite a book, a
chapter in a book, a journal, an article in a journal, a play, a poem, a
newspaper article, a video or DVD, a digital project-based computer site
and a website. All these examples can be found in the on-line MHRA Style
Guide.
Some helpful short cuts:
ALL BOOK TITLES should be in italic font. The capitalisation should follow
that on the title-page of the relevant book.
ALL JOURNAL ARTICLES should be enclosed in single inverted commas:
e.g.
Sydney Anglo, ‘The Barriers: From Combat to Dance (Almost)’, in Dance
Research. 25.2 (2007), pp. 91-106.
ALL PAGE REFERENCES should be presented as succinctly as possible: e.g.
pp. 68-78; pp. 62-8.
j) Various examples of elements necessary in a complete citation
For examples of
multi-volume works,
joint-authored works,
edited and jointly-edited collections and
translated texts
please see the MHRA Style Guide website.
k) Frequent errors
Take time to make sure that you know how to use an apostrophe correctly
to indicate the possessive.
Please DO NOT EVER use ‘it’s’ to indicate a possessive form. It’s = it is.
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Take care when you use an ‘s’ to indicate a decade. E.g. ‘in the 1960s’.
Always italicise titles of books, plays, journals, and newspapers. Chapters
within books and articles within journals or newspapers should always be
indicated by single quotation marks around the title which should be in
normal font (not italic).
l) List of illustrations
It is important to list your source(s) for illustrations included within the
body of your essay and/or in your appendices.
Always give as much information as possible on a visual resource,
including the name of the photographer if you have it.
There is no copyright on the use of illustrations in academic essays – but
should you ever publish your essay/analysis/dissertation, then you will
need to supply this information and make sure that copyright has been
cleared.
m) Appendices
It is often useful to include at the end of an essay/dissertation some of
the materials that can help the reader to understand the body of work
submitted.
Such materials could include:
A chronology (of historical events/theatres/writers/artists/musicians)
A genealogy
Maps
Brief bibliographies on principal figures featured in the discussion
Illustrations (line drawings through to full-colour paintings as plates)
Architectural drawings or details from them
Accounts
Diaries/letters/ambassadorial reports.
If you include such additional information in Appendices DO NOT do this
unless the entries really support your argument.
Make certain that you refer to the appendix/appendices at the relevant
point(s) in your discussion and/or footnotes.
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Conclusion: Crucial points
What is crucial is that you present your argument – and document it – in
a way that will give readers confidence. [If you cannot do this work
accurately, then it is unlikely that your readers will have confidence in the
accuracy of your arguments and the clarity of your thinking/analysis.]
The above information is intended as a selective guide to the appropriate
presentation for assessed work. It is not fully comprehensive – but it does
highlight some errors that have, over many years, undermined the
credibility and accuracy of students’ assessed work.
If you would not find it easy to read and fully understand your own work,
then you need to look again at these basic guidelines – and at the fully
articulated guidelines on the MHRA site.
Once you have mastered the basic rules of style and referencing you will
find that the presentation of your assessed work does justice to the
individuality and subtlety of your arguments.
Check your spelling.
Do not change tense mid-sentence.
Above all: say what you want to say as clearly and concisely as possible.
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Deadlines
All essays should be handed in with an Assessed Work Cover Sheet. You will this on the department intranet, copies are available from Cate and one is included in this document. We employ anonymous marking for all written work which requires that your essay should include your student number but not your name. All essays must be submitted to the Theatre Studies Secretary, who will record the submission. Students should submit two copies, one of which will be returned after it has been marked. The other will be kept with a student’s records until after graduation. Students who wish to apply for an extension, on medical or compassionate grounds, must first fill in an essay extension request form (available from Kate Brennan and reproduced below) which will be considered by the Chair of Theatre Studies. The non-submission of an assessed essay will mean that a student has failed to complete the requirements of a module and may, therefore, not be permitted to proceed into the next year of study without further examination. Penalties for Late Submission of Assessed Work When an essay or piece of coursework is handed in late without prior permission or where no formal extension has been granted the piece of work will receive a deduction of 5% from the mark awarded for every day that the work is late, including Bank Holidays and weekends.
Esubmission
Many course assignments are now submitted electronically. You will find
links to the esubmission forms on the Theatre Studies website (one form
per year). The rubric for using the form is reproduced below:
• Select from the module list
• The continue button will take you to the second part of the e-submission
form
• Note your University ID number will be displayed
• You can only submit word documents - please save Word 2007 docx files
as .doc files
• Submit your file using the attach button.
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• Your attachment will be automatically prefixed by the system with your
student number and course code
• After completing the form you will be offered a receipt via the email
system, attach this receipt to the hard copy.
• Students should hand in a paper copy of their assessed work to Cate
Brennan G29 Milburn House.
• Assignments may be put through the 'Jisc Source matching service' upon
receipt.
• All essays need to be submitted before 4pm on the hand-in date.
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UNIVERSTY OF WARWICK
SCHOOL OF THEATRE, PERFORMANCE AND CULTURAL POLICY STUDIES ASSESSED WORK COVER SHEET Name …………………………………………………………………………... Degree Course …………………………………………………………………. Title of Module ………………………………………………………………… Seminar Tutor’s Name ………………………………………………………… Title of Essay ………………………………………………………………….. I am aware of the note on plagiarism in the School Handbook and of Regulation 12B in the University Calendar concerning cheating in a university test. The attached work, submitted for a university test, is my own. Student signature ……………………………………… Date ………………… Please check that you have followed these rules of presentation: Essay double spaced One side of paper only Page numbers At least 12 point font Bibliography Submit two copies of the essay This form must be securely attached to your essay. Receipt for essay. Please keep safe as proof of submission. Student name ………………………………………………………………….. Essay title ……………………………………………………………………… Signature of member of staff ………………………………………………….. Date due ………………………………… Date received ……………………..
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UNIVERSTY OF WARWICK SCHOOL OF THEATRE, PERFORMANCE AND CULTURAL POLICY STUDIES Request for an essay extension All requests for an essay extension must be made in writing to your personal tutor and the Chair of the School, prior to the expiry of the initial essay deadline. Essay extensions may be requested: 1 On grounds of ill health. Whenever possible, a doctor’s note should
be supplied. 2. On compassionate grounds. 3. For other exceptional circumstances. In making a request for an essay extension, please state under which of the three above headings the request is being made. In addition, please provide written details giving the background to the request. Students who do not wish to give written details on grounds of confidentiality must first discuss their request for an essay extension with their personal tutor who should then forward the written request to the Chair. If a written request for an essay extension is refused, students may approach their personal tutor to ascertain whether he or she would support an appeal against the decision. To be completed by a student requesting an essay extension Name: Module: Due date of essay submission: Proposed extended submission date: Detailed grounds for the extension request: Signed ………………………………………………. Date …………………………..
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Marking Scheme – 17 Point Scale Marking to be Out of 17
Class scale converted to this mark
descriptor 17
Excellent 96
1st
Exceptional command of the subject, including material which ranges well beyond that covered in lectures/classes. Work of exceptional insight, bringing new perspectives to bear on the material, or developing new knowledge or techniques. Achieves or is close to publishable standard.
Very high quality work, with full understanding of 16
First High 1st 89 the subject matter.
Work that demonstrates intellectual maturity,
and is perceptive with highly developed 15
Mid 1st 81 organisation. An ambitious project carried out successfully, with sophisticated handling of primary and 14 secondary material, reasoned, analytic
Low 1st 74 argument.
Some degree of originality, independent
research and thought.
High 2.1 68 Highly competent in organisation and 13
presentation, evidence of individual research;
Upper 12
Second Mid 2.1 65 appropriate and intelligent use of primary and
secondary material, good understanding of
Low 2.1 62 subject matter allied with perceptive analysis. 11
High 2.2 58 Conscientious work, attentive to subject matter 10
and title/task set; a focused response to the task
Lower Mid 2.2 55 demonstrating good knowledge, balanced more 9
Second towards the descriptive than the analytical.
Good knowledge, reasonable understanding of 8 Low 2.2 52 material and task. Descriptive rather than
analytical.
High 3rd 48 Some relevant knowledge, some accurate 7 Third Mid 3rd 45 repetition of lecture/class notes/work. Partial or 6
Low 3rd 42 pedestrian description. 5
Work does not meet standards required for the 4 High Fail appropriate stage of an Honours degree, albeit
(near miss) 38 with some basic understanding of relevant
concepts an techniques.
Fail Ineptitude in knowledge, structure, 3
Fail 25 academic/professional practice
Failure or inability to answer the
question/respond to the task. 2
Low Fail 12 No evidence of basic understanding of relevant
concepts/techniques
Work of no merit 1
Zero Zero 0 OR Absent, work not submitted, penalty in some misconduct cases
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Feedback – Response Times and Method We aim to return all work within four weeks of the deadline for submission. If work is handed in after the deadline we cannot guarantee that a four week turnaround will be adhered to. The exception to the four week period is in those circumstances where two or more marks are provided at the same time, as with the grades for practical examinations that have a critical review component. The default means by which work is returned is via the trays in the foyer. Marked essays will be placed here with an attached feedback sheet. Practical work marks, particularly for modules with fewer numbers may be communicated to students via their Warwick email address.
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PRACTICE Assessment Criteria Practice is assessed in an evaluation of processes and projects. The underlying principle, as with all assessment of theatre and performance practice within the school, is that you are assessed on the demonstration of your understanding through practice. Key criteria of assessment are:
• Good practice. Your response to the basic principles and demands of
project-based, group work: attendance, punctuality, commitment and willingness to share responsibility with other members of the group.
• The initiation, negotiation and realisation of ideas in a collaborative group process. In this context there may also be an assessment of the execution of specific responsibilities allocated by the tutor or agreed between the tutor and the group.
• Your demonstration, through your practice, of an understanding of the specific concepts, issues and/or practices towards which the module directs and focuses your attention.
Practical Grade Descriptors Whilst practical work takes many forms its general grading subscribes to the following criteria. These are divided into two basic categories whose functioning interlocks in practice.
1. Initiation, negotiation and realisation of performance material Practice will be evaluated on the basis of:
• the understanding shown of performance convention and form • the appropriate and imaginative use of performance techniques as
a means by which to explore source material • the ability to select and synthesise material arising out of a
practical working process • the ability to select appropriate means of communicating
performance material to specified audiences • the ability to produce a performance ‘text’ suitable for its context • evidence of an engagement with relevant theoretical concepts and
issues
2. Engagement with process and performance Participants in practical work will be assessed on the basis of:
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• individual initiative and contribution within a group process
• commitment to the development and articulation of ideas offered by other group members
• the ability, within a group situation, to offer and respond to constructive criticism and analysis of the work in progress
• the ability to contribute to the development of the overall discipline of the work, in particular to allocate appropriate time and resources
• the ability to review practice critically and to provide appropriate documentation where required
Classification of practice is premised on the greater or lesser qualitative fulfilment of the listed criteria. Individual modules (or, indeed, practical tasks set within modules) may also have their own specific criteria, to which participants will be alerted by tutors as required. The grade descriptors should be read, then, as variables of the criteria outlined. 96 (excellent 1st)
Exceptional command of subject-matter, concepts and techniques, including
material which ranges well beyond that covered in practical sessions. Work of
exceptional insight, bringing new perspectives to bear on the material in
question, or developing new knowledge or techniques. A very high level of
achievement commensurate with the given practical brief will be evident. The
work will also reveal a highly effective interaction of practice and theory.
74, 81, 89 (low, mid, high 1st)
Very high quality work, with full understanding of subject-matter, concepts and
techniques. Work that demonstrates high practical intelligence and maturity, and
is perceptive with highly developed organisation. An ambitious project carried out
successfully, with sophisticated handling of primary and secondary material.
Some degree of originality, independent research, thought and practical ability.
62, 65, 68 (low, mid, high 2.1)
Highly competent in organisation and presentation, evidence of originality and
independence of thought and practice may be in evidence, as well as a sound
interaction of theory and practice. Appropriate and intelligent practical use of
primary and secondary material, good understanding of subject-matter allied with
perceptive practical analysis and highly adept application of concepts and
techniques.
52, 55, 58 (low, mid, high 2.2)
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Conscientious work, attentive to subject-matter and practical tasks set; a focused
response to tasks, demonstrating good levels of knowledge, balanced more
towards the application of predictable rather than innovative and practically
astute concepts and techniques. Some indication of theory and practice
interacting successfully will be evident.
42, 45, 48 (low, mid, high 3rd)
Some relevant knowledge, some accurate re-presentation of work undertaken in
practical classes. Competence in the fulfilment of key criteria will reveal
significant inadequacies. Understanding of the practical brief is likely to be
misconceived in some way, leading to an unsatisfactory outcome. Levels of
engagement and commitment to the work will be low.
33 (high fail)
Work does not meet standards required for the appropriate stage of an honours
degree, albeit with some basic understanding of relevant concepts and
techniques.
7, 20 (fail, low fail)
The work fails to address and fulfil the criteria outlined. Little or no sign of
understanding, engagement or commitment to the task in hand. Ineptitude in
knowledge, structure, academic/professional practice. No evidence of basic
understanding of relevant concepts and techniques.
0 (zero)
Work of no merit. OR Absent, work not submitted, penalty in some misconduct
cases.
Practice Outside the School The School takes a positive view of student involvement in student productions although you must be realistic about your time commitment to them. Students are expected to attend all classes and required theatre visits regardless of rehearsals for student productions and, by binding agreement with the Student Union, no student production rehearsal work can be scheduled at a time which conflicts with the normal class hours, (Monday to Friday), or with required theatre visits. Please make sure when you agree to take part in a student production that your time commitment to student productions does not mean you are missing lectures/seminars/practical sessions/theatre visits.
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THEATRE AND PERFORMANCE STUDIES UNDERGRADUATE RESEARCH ETHICS REVIEW FORM This form should be completed by any undergraduate student conducting research that involves live participants. Your research supervisor will tell you whether this is necessary and will provide assistance with the form. It is the responsibility of this tutor to ensure completion and submission of the form to the Department’s Director of Undergraduate Studies before interviewing or other fieldwork commences. The Department and the University are committed to ensuring high standards of research at all levels. To ensure that research complies with the University’s ethical guidelines, all students who wish to undertake research involving human participants and their data must obtain appropriate ethical approval. Normally, successful completion of the Department’s Undergraduate Research Ethics Review Form will confirm such approval. In some instances (highly unlikely for undergraduate research), additional approval must be sought for students’ research. Specifically: 1) any research involving NHS patients/staff/facilities/participants recruited through NHS resources must be approved by an NHS Local Research Ethics Committee or Multi-centre Research Ethics Committee; 2) research projects of sufficiently high risk to participants or the student or outside the scope of the normal ethical expertise in the Department (as determined by the Director of Research). Further information on the University’s policy regarding ethical approval of research can be found at: http://www2.warwick.ac.uk/services/rss/services/ethics/. 1) Your name: ........................................................................... 2) Degree:.................................................................................. 3) Title/subject of essay/dissertation:....................................... .................................................................................................. 4) Ethical considerations: briefly detail the ethical considerations entailed by this research project and the mechanisms that will be used to address them.
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5) Risks to researcher: Please identify any risks to the researcher posed by the project. 6) Recruitment of Participants: Please a) specify how potential participants will be identified, b) identify your inclusion/exclusion criteria, explaining the purpose behind those criteria, and c) confirm that in advertising for participants, you will not overstress payments or other inducements to take part. 7) Informed consent: Except in the instance of questionnaires where returning a completed questionnaire is considered to signal consent, written informed consent from participants is required. This consent, which includes research participants involved in audio/visual recording, must conform to the University’s Guidelines on Ethical Practice. Please indicate below the process by which you will ensure that fully informed consent is obtained, detailing when appropriate any additional assent procedures that will be used where children are involved and how informed consent will be secured where an influential relationship exists between the researcher/recruiter and his/her potential participant. 8) Vulnerable participants: If your research involves vulnerable participants, please note why their inclusion in your study is requisite and how you will protect these participants’ rights. 9) Incentives/Compensation: If travel/out of pocket expenses will not be paid to participants, this circumstance must be explained clearly in advance to participants. Please note here any payments that will be made to participants to reimburse for travel/out of pocket expenditure and fully justify any additional payments that will be made to participants.
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10) Participant Benefit/risk: Please highlight any possible benefits to the participants and any potential harm/risks to participants that may ensue from participation in your study. Where potential risks/harm have been identified, please indicate what steps will be taken to minimize/monitor them. 11) Data protection: In accordance with the Data Protection Act, please specify how you will ensure the confidentiality of information that would identify particular participants, and what action may be taken should confidential information be discovered that would cause concern. 12) Data Storage: Please confirm that original data (including signed consent forms and copies of relevant documentation) will be kept in a secure location, accessible for inspection if required for at least 10 years after completion of your degree. Signature Section: Signature of Student ………………………………………………………………… Date …………….. Signature of Supervisor ……………………………………………………………... Date ……………... Signature of Director of Undergraduate Studies……………………………..…… Date ……………...
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Other Information Computing and Word Processing You will receive an IT Handbook from Computer Services. In addition, short courses on Word Processing are arranged by Computing Services: details are publicised on notice boards. Short courses on Computer Programming are available from the Department of Computer Sciences: those interested should apply to that Department for details. Consult your IT handbooks for full details of login codes etc. Open Courses Certain facilities and courses are available to all students in all years as optional extras, which do not count towards their normal course requirements. They include the following: Open Studies Classes The University offers evening classes on a wide variety of topics. Those interested should ask the Theatre Studies Secretary for the appropriate booklet. Language Classes The Language Centre puts on evening classes (one night a week for two terms) in a range of languages, usually Beginners' French, German, Spanish, Italian, Modern Greek and Russian, and Intermediate French and German. There are also facilities for private study in several further languages. In addition, there is sophisticated listening equipment available, as well as the University's collection of music records and certain music tapes for use within the Language Centre. Those interested should ask the Theatre Studies Secretary for the Language Centre information sheet. Additional Lectures A number of Open Lectures are given in the course of the year and new Professors give Inaugural Lectures in various fields. Departments offer a series of lectures by visiting specialists during the year. These are announced on posters displayed in the Humanities Building. Bookshop The University Bookshop holds a large stock of course books, which have been recommended by tutors. However, it is always wise to consult with tutors before purchasing specific books or play texts.
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Warwick Arts Centre The University's Arts Centre is a vital resource for students in Theatre Studies. In addition to any required theatre visits, students should make regular use of the Arts Centre to view and assess contrasting approaches to performance.
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TIMETABLES & TERM DATES First Year Timetable 2010-11
Second Year Timetable 2010-11
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Third Year Timetable 2010-11
TERM DATES 2010/2011
Autumn Term Monday 4th October 2010 - Saturday 11th December 2010 Spring Term Monday 10th January 2011 - Saturday 19th March 2011 Summer Term Wednesday 27th April 2011 - Saturday 2nd July 2011
2011/2012
Autumn Term Monday 3rd October 2011 - Saturday 10th December 2011 Spring Term Monday 9th January 2012 - Saturday 17th March 2012 Summer Term Monday 23rd April 2012 - Saturday 30th June 2012
2012/2013
Autumn Term Monday 1st October 2012 - Saturday 8th December 2012 Spring Term Monday 7th January 2013 - Saturday 16th March 2013 Summer Term Monday 22nd April 2013 - Saturday 29th June 2013
