for kim woods

TITLE: CULTURAL THEORY AND POPULAR CULTURE 1 CODE: MAC 202 LEVEL: 2 CREDITS: 20 SCHOOL: Arts, Design, Media & Culture MODULE BOARD: Media and Cultural Studies PRE-REQUISITES: MAC 101 CO-REQUISITES: None LEARNING HOURS: 200 including 48 hours screening time. The exact nature of which is specified in the module guide. LEARNING OUTCOMES:. Upon successful completion of this module, students will have demonstrated: Skills:

• Critical and evaluative skills as demonstrated in the ability to apply appropriate theoretical perspectives and research methods in analysing specific examples of popular culture

• Ability to communicate information, arguments and analysis cogently and fluently • Evidence of the successful application of scholarly skills.

Knowledge:

• Knowledge and critical understanding of key theories and debates relating to the analysis of popular culture

• Knowledge of the historical development of cultural studies in Britiain and abroad CONTENT SYNOPSIS: Examining Popular Culture: The module is devoted to an examination of different theoretical approaches and traditions involved in the study of popular culture, and also the analysis of texts and practices of popular culture. Twice weekly lectures and seminars focus on a particular theory and present a particular methodology for the actual study of popular culture. Using relevant examples such as popular music, advertising, film, television, and consumption (shopping, football and fan culture) this module introduces the most influential approaches to the study of popular culture including Marxism(s), psychoanalysis, postmodernism, feminism. TEACHING AND LEARNING STRATEGIES: Lectures 24 hours Seminars 24 hours ASSESSMENT: Assignment One: written assignment (2,500-3,000 words) assesses all learning outcomes Programmes using this module as a core or option: Media Studies within Combined (C) BA (Hons) Media, Culture and Communication (C) BA (Hons) Media Production (Television & Radio) (O) BA (Hons) Media Production (Video & New Media) (O) BA (Hons) Film & Media (O) BA (Hons) Journalism (O) BA (Hons) Public Relations (O) Public Relations within Joint Honours (O) Journalism within Joint Honours (O) FRANCHISED: No

Students registered for this module are required to attend and participate in the activities of the module. They are expected to account for any absences. The lack of attendance, without good reason shown, can constitute grounds for failure.

MODULE LEADER: Dr Dan Ward: [email protected]

MAC 202 (Cultural Theory and Popular Culture) LECTURE PROGRAMME The module encompasses two pre-recorded lectures and two live seminars each week, with additional weeks set aside for essay tutorials and a mid- module review. It is essential to view the week’s lecture before the seminar on that topic in order to engage with class discussion. For the mid-module review, students are expected to prepare a comparison between two theories to be discussed in class. The discussion topics to be covered on the module are listed below: Week 1: Module Introduction: Popular Culture & Cultural Studies The Culture & Civilisation Tradition Week 2: Classical Marxism The Frankfurt School Week 3: Freudian Psychoanalysis Political Economy of Culture Week 4: Culturalism Subcultures Week 5: Structuralism & Semiology Gramscian Hegemony Week 6: Feminism Postfeminism Week 7: Mid-Module Review – Comparison of Theories Week 8: Louis Althusser & Ideological State Apparatus Althusser, Macherey & ‘The Problematic’ Week 9: Michel Foucault: Power, Discourse & the Panopticon Theories of Masculinity Week 10: Race, Racialisation & Orientalism National Identity & the ‘Imagined Community’ Week 11: Theories of Postmodernism Globalisation & Cultural Imperialism Week 12: Module Recap & Essay Tutorials

SUBMIT ASSIGNMENT 1: FRIDAY 15th May ASSESSMENT ASSESSMENT submission date : Friday 15th May 2021 via Canvas/Turnitin A written assessment of 2,500-3,000 words (100% of overall mark for the module) Write a detailed analysis of a popular text or practice using the approach of one of the cultural theories/theorists studied on the module. Indicative Reading Set Texts (to buy) John Storey (ed.) Cultural Theory and Popular Culture: A Reader, fourth edition, Pearson

Education.

www.pearsoned.co.uk/storey

NB. The following titles do not exhaust the material on specific topics; they represent only some of

the available work. Your own searches will uncover other relevant books and articles. Making such

searches is an integral part of being a university student.

General Reading

Tony Bennett et al. (eds.) Culture, Ideology and Social Process.

Tony Bennett et al. (eds.) Popular Culture and Social Relations.

Patrick Brantlinger Crusoe’s Footprints: Cultural Studies in

Britain and America.

John Docker Postmodernism and Popular Culture.

John Fiske Reading the Popular.

John Fiske Understanding Popular Culture.

Lawrence Grossberg et al. (eds.) Cultural Studies.

John Hartley A Short History of Cultural Studies.

Chandra Mukerji

& Michael Schudson (eds.) Rethinking Popular Culture.

Open University Popular Culture U203.

Morag Shiach Discourse on Popular Culture.

John Storey Cultural Theory and Popular

Culture, sixth edition.

John Storey Cultural Studies and the Study of Popular

Culture, third edition.

John Storey (ed.) What Is Cultural Studies: A Reader.

John Storey Inventing Popular Culture.

Andrew Tolson Mediations: Text and Discourse in Media

Studies.

Graeme Turner British Cultural Studies, third edition.

David Walton Introducing Cultural Studies.

The ‘Culture and Civilisation’ Tradition

Matthew Arnold Culture and Anarchy.

RP Bilan The Literary Criticism of FR Leavis.

John Docker Postmodernism and popular Culture.

Ronald Hayman FR Leavis.

Lesley Johnson The Culture Critics.

FR Leavis & Denys Thompson Culture and Environment.

Margaret Mathieson The Preachers of Culture.

Francis Mulhern The Moment of Scrutiny.

Anne Samson FR Leavis.

John Storey “Matthew Arnold: The Politics of an Organic

Intellectual”, Literature and History

11:2, 1985.

John Storey Cultural Theory and Popular

Culture, sixth edition (chapter 2).

John Storey (ed.) Cultural theory and Popular Culture: A

Reader, fourth edition (Part One).

Lionel Trilling Matthew Arnold.

Raymond Williams Culture and Society.

Raymond Williams Problems in Materialism and Culture.

Classical Marxism

Lee Baxandall

& Stefan Morawski (eds.) Marx and Engels on Literature and Art.

Tom Bottomore

& Maximilien Rubel (eds.) Karl Marx: Selected Writings in

Sociology and Social Philosophy.

Terry Eagleton Marxism and Literary Criticism.

Ernst Fischer (ed.) Marx in His Own Words.

David McLellan The Thought of Karl Marx.

Karl Marx & Frederick Engels The German Ideology.

Karl Marx & Frederick Engels The Communist Manifesto.

John Storey Cultural Theory and Popular Culture, sixth

edition (chapter 4).

John Storey (ed.) Cultural Theory and Popular Culture: A

Reader, fourth edition (Introduction to

Part Three and Readings 8, 9, 10).

Freudian Psychoanalysis

Bruno Bettelheim The Uses of Enchantment.

Sigmund Freud The Interpretation of Dreams.

Sigmund Freud Introductory Lectures on Psychoanalysis.

Sigmund Freud Art and Literature.

John Storey Cultural Theory and Popular Culture,

sixth edition (chapter 5).

John Storey (ed.) Cultural Theory and Popular Culture: A

Reader, fourth edition (Reading 25).

Elizabeth Wright Psychoanalytic Criticism.

The Frankfurt School

Theodor Adorno The Culture Industry.

Theodor Adorno

& Max Horkheimer Dialectic of Enlightenment.

Walter Benjamin Illuminations.

Tony Bennett “Media Theory and Social theory”, Mass

Communications and Society DE 353

(Open University).

John Docker Postmodernism and Popular Culture.

Simon Frith Sound Effects.

Bernard Gendron “Theodor Adorno Meets the Cadillacs”,

Studies in Entertainment (ed. Tania

Modleski).

Leo Lowenthal Literature, Popular Culture and Society.

Herbert Marcuse One Dimensional Man.

Richard Middleton Studying Popular Music.

Phil Slater Origin and Significance of the Frankfurt

School.

John Storey Cultural Theory and Popular

Culture, sixth edition (chapter 4).

John Storey (ed.) Cultural Theory and Popular Culture: A

Reader, fourth edition (Introduction to

Part Three and Reading 11).

Structuralism and Semiology

Roland Barthes Mythologies.

Roland Barthes Image-Music-Text.

John Berger Ways of Seeing

Jonathan Culler Structuralist Poetics.

Jessica Evans

& Stuart Hall (eds.) Visual Culture: The Reader

Claude Levi-Strauss Structural Anthropology.

Jill Marshall, Angela Werndly Language of Television

Nicholas Mirzoeff An Introduction to Visual Culture

Nicholas Mirzoeff (ed.) The Visual Culture Reader

Jerry Palmer Potboilers: Methods, Concepts and Case

Studies in Popular Fiction.

Rick Rylance Roland Barthes.

Ferdinand de Saussure Course in General Linguistics.

Kaja Silverman The Subject of Semiotics.

John Storey Cultural Theory and Popular Culture, sixth edition (chapter 6).

John Storey (ed.) Cultural Theory and Popular Culture: A

Reader, fourth edition (Part 5, Readings

27 and 28).

Marita Sturken

& Lisa Cartwright (eds.) Practices of Looking

Tony Thwaites et a. (eds.) Tools For Cultural Studies: An

Introduction.

Feminism and Postfeminism

Charlotte Brunsdon (ed.) Women and the Media: A Reader.

Catherine Belsey &

Jane Moore The Feminist Reader.

Sarah Franklin, Celia Lury

& Jackie Stacey (eds.) Off-Centre: Feminism and Cultural Studies

(chapters 3 & 6).

Maggie Humm (ed) Feminisms: a Reader

Sarah Kember “Feminism, Technology and Representation”,

Cultural Studies and Communications, J Curran,

D Morley & V Walkerdine (eds.)

Terry Lovell (ed.) British Feminist Thought.

Myra Macdonald Representing Women

Laura Mulvey 'Visual Pleasure and Narrative Cinema',

Screen 16:3, 1975.

John Storey Cultural Theory and Popular Culture, sixth

edition (chapter 7)

John Storey (ed.) Cultural Theory and Popular Culture: A Reader,

fourth edition (Introduction to Part Four and

Reading 19).

Chris Weedon Feminist Practice and Poststructuralist

Theory.

Imelda Whelehan Overloaded:Popular Culture and the Future of Feminism

Culturalism

Tony Bennett et al. (eds.) Culture, Ideology and Social Process (sections 1

& 2).

John Clarke et al. (eds.) Working Class Culture.

Stuart Hall & Paddy Whannel The Popular Arts.

Richard Hoggart The Uses of Literacy.

Lesley Johnson The Culture Critics.

Alan O’Connor Raymond Williams: Writing, Culture, Politics.

John Storey Cultural Theory and Popular

Culture, sixth edition (chapter 3).

John Storey (ed.) Cultural theory and Popular Culture: A Reader

(Part Two, Readings).

EP Thompson The Making of the English Working Class.

Raymond Williams Culture and Society.

Raymond Williams The Long Revolution.

Political Economy of Culture

Nicholas Garnham Capitalism and Communications (chapters 1/7/10).

Peter Golding

& Graham Murdock 'Culture, Communications and Political

Economy', Mass Media and Society, (eds.) Curran and

Gurrevitch.

Stuart Hall, Media Power and Class Power', Bending

Reality, eds. James Curran et al.

Herbert Schiller Culture Inc: the Corporate Takeover of Public

Expression.

Anthony Smith The Age of the Behemoths: globalisation of the media.

John Storey (ed.) Cultural Theory and Popular Culture: A

Reader, fourth edition (Readings 54 & 55).

Cultural Studies and Hegemony Theory

Antonio Gramsci Selections From Prison Notebooks.

Stuart Hall 'The Rediscovery of Ideology: The Return of the

Repressed', Subjectivity and Social Relations. eds.

Veronica Beechey and James Donald.

Stuart Hall

& Tony Jefferson Resistance Through Rituals.

Stuart Hall et al. Policing the Crisis.

Dick Hebdige Subculture: the meaning of style.

Ernest Laclau Politics and Ideology in Marxist Theory.

Roger Simon Gramsci's Political Thought.

David Harris From Class Struggler to the Politics of

Pleasure: the effects of Gramscianism on

Cultural Studies.

Jim McGuigan Cultural Populism.

David Morley

& Kuan-Hsing Chen (eds.) Stuart Hall: Critical Dialogues in Cultural Studies.

Phil Ransome Gramsci: A new introduction.

John Storey Cultural Theory and Popular Culture, sixth edition

(chapters 4 and 9).

John Storey (ed.) Cultural Theory and Popular Culture: A Reader, fourth

edition (Part 3, especially Readings 12, 13, 14, 15, 16 and

17).

John Storey (ed.) What Is Cultural Studies? A Reader.

VN Volosinov Marxism and the Philosophy of Language.

Raymond Williams 'Base and Superstructure in Marxist Cultural Theory',

New Left Review 82, 1973.

Raymond Williams Marxism and Literature.

Post-structuralism Louis Althusser For Marx.

& Etienne Balibar Reading Capital.

Paul Barker Michael Foucault.

Tony Bennett Formalism and Marxism.

Terry Eagleton Literary Theory: An Introduction.

Terry Eagleton 'Macherey and Marxist Literary Theory',

Against the Grain.

Antony Easthope British Post-Structuralism.

Simon During Foucault and Literature.

Michel Foucault A History of Sexuality, vol. 1.

Michel Foucault Discipline and Punish.

Michel Foucault Knowledge/Power: selected interviews and

other writings.

Robert Lapsley

& Michael Westlake Film Theory: An Introduction.

Pierre Macherey A Theory of Literary Production.

Lois McNay Foucault: A Critical Introduction.

Lois McNay Foucault and Feminism.

Edward Said Orientalism.

Madan Sarup An Introductory Guide to Post-

Structuralism and Postmodernism.

Alan Sheridan Michel Foucault: The Will to Truth.

Kaja Silverman The Subject of Semiotics.

John Storey Cultural Theory and Popular Culture, fourth

edition (chapter 6).

John Storey (ed.) Cultural Theory and Popular Culture: A

Reader, fourth edition, (Part 5, Readings 29, 30,

31 and 32)

John Sturrock Structuralism and Since.

Chris Weedon Feminist Practice and Poststructuralist

Theory.

Chris Weedon Identity and Culture: Narratives of Diffeence and Belonging

Judith Williamson Decoding Advertisements.

Theories of Postmodernism Lisa Appignanesi (ed.) Postmodernism, London: ICA.

Jean Baudrillard Selected Writings.

Steven Best

& Douglas Kellner Postmodern Theory.

Roy Boyne &

Ali Rattansi (eds.) Postmodernism and Society.

Jim Collins Uncommon Cultures: Popular Culture and

Post-Modernism.

Steven Connor Postmodernist Culture.

Thomas Docherty Postmodernism: A Reader.

John Docker Postmodernism and Popular Culture.

Mike Featherstone Consumer Culture and Postmodernism.

David Harvey The Condition of Postmodernity.

Dick Hebdige Hiding in the Light.

Andreas Huyssen After the Great Divide: modernism, mass

culture and postmodernism.

Fredric Jameson 'Postmodernism and Consumer Society',

Postmodern Culture, ed. Hal Foster (US

edition: The Anti-Aesthetic).

Fredric Jameson 'Postmodernism, or the cultural logic of

late capitalism', New Left Review 146,

1984.

EA Kaplan (ed.) Postmodernism and its Discontents.

David Latimer 'Jameson and Postmodernism', New Left

Review 148, 1984.

Elizabeth Long 'Reading Groups and the postmodern crisis

of cultural authority', Cultural Studies 1:3,

1987.

Jean-Francois Lyotard The Postmodern Condition.

Angela McRobbie Postmodernism and Popular Culture.

Kobena Mercer Welcome to the Jungle: New Positions in

Black Cultural Studies.

Meaghan Morris The Pirate's Fiancee: Feminism, Reading,

Postmodernism.

Linda Nicholson (ed.) Feminism/Postmodernism.

Andrew Ross (ed.) Universal Abandon.

Susan Sontag Against Interpretation.

John Storey Cultural Theory and Popular Culture, sixth

edition (chapter 8).

John Storey (ed.) Cultural Theory and Popular Culture: A

Reader , third edition (Part 6, Readings 34, 36,

37, 38, 39, 40 and 41).

John Storey “The sixties in the nineties” In Action TV, eds

Bill Osgerby and Anna Gough-Yates.

Postmodernism and Popular Culture John Beverley 'The Ideology of postmodern music and left

politics', Critical Quarterly, vol. 31, 1989.

Georgina Born 'Modern Music Culture: On Shock, Pop and

Synthesis', New Formations, vol. 2, 1987.

Simon Frith &

Howard Horne Art into Pop.

Andrew Goodwin 'Popular Music and Postmodern Theory',

Cultural Studies 5:2, 1991.

Lawrence Grossberg We Gotta Get Out of this Place.

EA Kaplan Rocking around the clock: Music television,

postmodernism, and consumer culture.

George Lipsitz 'Cruising Around the Historical Bloc -

Postmodernism and Popular Music in East

Los Angeles', Cultural Critique, vol. 5,

1986-7.

Tony Mitchell 'Performance and the Postmodern in Pop

Music', Theatre Journal, vol. 41, 1989.

John Storey Cultural Theory and Popular Culture, fourth

edition (chapter 8).

John Storey (ed.) Cultural Theory and Popular Culture: A

Reader, fourth edition (Readings 35, 38,39 and

40).

Jon Stratton 'Beyond Art: Postmodernism and the Case

of Popular Music', Theory, Culture &

Society, vol. 6, 1989.

Postmodernism and Globalisation

CWE Bigsby Superculture.

E. Cohen 'The "hyperreal" vs. the "really real": if

European intellectuals stop making sense

of American culture can we still dance?',

Cultural Studies 3:1, 1989.

Dick Hebdige 'Towards a Cartography of Taste 1935-

1962', Popular Culture: Past and Present,

eds Bernard Waites et al.

Dominic Strinati 'The Taste of America: Americanization

and popular culture in Britain', Come on

Down? eds. Dominic Strinati and Stephen

Wagg.

Duncan Webster Looka Yonder! The Imaginary America of

Populist Culture.

John Storey Cultural Theory and Popular Culture, sixth

edition (chapter 8).

John Storey Inventing Popular Culture (chapter 8).

John Storey Cultural Studies and the Study of Popular

Culture, third edition (chapter 8).

John Tomlinson Globilization and Culture

Useful Journals in the Library

The following list of journals should be consulted to find examples of current research in cultural studies.

Critical Studies in Mass Communications

Cultural Studies

Feminist Review

Journal of Communication Inquiry

Journal of Popular Culture

Literature and History

Media, Culture and Society

New Formations

Popular Music

Screen

Textual Practice

Theory, Culture and Society

Women: A Cultural Review

Women's Studies

PLAGIARISM

What is Plagiarism? The University’s Rules and Procedures Governing Infringement of Assessment Regulations define

plagiarism as “the unacknowledged insertion into a student’s work of material taken from the work,

published or unpublished, of another person”. It is an offence that, if you don’t take steps to guard against

it, can lead to a range of penalties, from being required to resubmit work to being withdrawn from your

programme of study.

Examples of plagiarism are

a) including in your work a piece, or pieces, from someone else’s work (e.g. from a lecture, video,

book, journal or website) without indicating - by the use of references in the text or

footnotes/endnotes - where the work is taken from

b) using someone else’s ideas without identifying that person’s name in your work

c) paraphrasing someone else’s work - i.e. expressing someone else’s ideas in your own words -

without acknowledgement

d) copying, without acknowledgement, the work of someone else, including the work of another

student.

Plagiarism isn’t just about written work: it covers other people’s ideas, designs and inventions.

Essentially, plagiarism is the act of representing someone else’s work as your own. If academic staff

suspect that you have submitted work which is, in whole or in part, not your own, then they will not be

able to accurately assess your performance and, therefore, not be able to mark it as your own work.

And remember, whether you do this intentionally or accidentally, you are liable to be penalised. 1.4

Collusion - defined in the same University Rules and Procedures – is another form of plagiarism,

which can result in your being similarly penalised. Whilst, during your programme of study, you may

often be required to work collaboratively with other students - exchanging ideas and submitting work

as a team - you must always be clear about the guidelines covering this kind of work. If you write up

and submit a team assignment because you’re required to work as a group, that’s fine. If, on the other

hand, you submit work which is set as an individual assignment, but which you’ve done in

collaboration with another person without acknowledgement - this is not acceptable.

How to Avoid Plagiarism Obviously, when preparing your assignments, you will be making use of someone else’s words, ideas or

conclusions. That’s fine providing that, whenever you do so, you make sure that the source of those words,

ideas or conclusions is clearly identified and attributed at the points in your work where they are used.

Remember that you’re doing this in the body of your text through the use of quotation marks, the citing of

authors and the other standard conventions for referencing which will be given to you or which are

otherwise available on the University’s website (see Information Services Help and Support which

provides notes on plagiarism and on standard referencing systems). It is not sufficient to merely list your

sources in a bibliography at the end of your work.

Ignorance of the rules is no defence against an accusation of plagiarism. So please do

a) read, understand and comply with the University’s published policies, rules and procedures

b) make sure that you fully understand the referencing conventions which are used in your subject

area and that you ask for information on these if you have not already received it

c) if, before you begin work on an assignment, you feel uncertain about how to apply the rules and conventions in the subject area in question, always seek guidance from the member of staff setting

the assignment and/or the Module Leader. You can expect clear guidelines relating to all

coursework requirements and, indeed, early warning, in cases in which you, or a relevant member

of the academic staff, believe that you are at risk of breaking plagiarism rules

Referencing Guidelines:

The order of a bibliography is as follows: Books Journalism and magazines Internet sites TV/Filmography

Arrange your bibliography in alphabetical order Books: Should include: Author, surname first; title (in italics); editor; translator or compiler (if applicable); edition (if not the first); volume (if applicable), place of publication, publisher; date of publication Books - Example: Brierley, S., The Advertising Handbook, London and New York: Routledge, 1995 Cook, G., The Discourse of Advertising, London: Routledge, 1992 Dyer, G., Advertising as Communication London: Methuen, 1982 Ewen, S. and E., Channels of Desire, New York: McGraw Hill, 1982 Goldman, R., Reading Ads Socially , London: Routledge, 1992 Jhally, S., The Codes of Advertising: Fetishism and the Political Economy Of Meaning in the Consumer Society. London: Routledge, 1990 Chapters in edited books: Brundson, C., ‘Post-feminism and Shopping Films’ in The Film Studies Reader, eds. Joanne Hollows, Peter Hutchings & Mark Jancovich, New York & Oxford: Oxford U P, 2000 Articles in Journals: Author, surname first; title of article (in single quotation marks); title of periodical (in italics); volume number and part; date of publication Examples: Arthurs, J., ‘Sex and the City and Consumer Culture: Remediating Postfeminist Drama’, Feminist Media Studies, Vol.3, No.1, March 2003 Lotz, A., ‘Post-feminist Television Criticism: Rehabilitating Critical Terms and Identifying Postfeminist Attributes’, Feminist Media Studies, Vol.1, No.1, March 2001 Academic Articles on the Web: Should give the details expected for journal articles and include the website address and date accessed. Example: Negra, D., ‘Quality Postfeminism? Sex and the Single Girl on HBO’, Genders Online, Issue 39, 2004, http://www.genders.org/g39/g39_negra.html (21.06.05) Websites: Internet references should give the site’s full address, followed by the date that you consulted it. Examples: http://www.uib.no/herrmann (14.05.03) http://filmsound.studienet.org (09.08.03) http://www-viz.tamu.edu/courses.viza615/97spring/history.html (20.09.03)

TV/Filmography Title of the film/programme, in italics, the country of origin, date, director and, where information is available, place and date of broadcast – for television programmes you should also include series and episode information. Examples: Hearts of Darkness: A Filmmaker's Apocalypse (USA 1991 96 mins.) d. Fax Bahr, Eleanor Coppola (documentary footage), George Hickenlooper The Sopranos (USA, 2005, series 6 episode 1), d. David Chase, Home Box Office, transmitted E4, 31.08.06

ASSESSMENT CRITERIA Coursework is assessed according to the learning outcomes of the module and in relation to the specific mode of assessment (e.g. essay; exam; portfolio of work; critical report; practical & production; evaluation). Class I Percentage: 70+ Critical understanding of the scope and possible implications of the question. Critical and fluent engagement with main issues and approaches. Clear, coherent and complex response to topic/learning outcomes. Clearly structured argument, including introduction and conclusion. Justification of argument with appropriate evidence and referencing. Effective use of a range of critical reading, including primary sources where appropriate. Class II:1 Percentage: 60 – 69 Critical understanding of the scope of the question. Critical engagement with main issues and approaches. Clear and coherent response to the topic/learning outcomes. Argument has sense of structure, including introduction and conclusion. Justification of argument with appropriate evidence and referencing. Effective use of critical reading, including primary sources where appropriate. Class II:2 Percentage: 50 – 59 Understanding of the scope of the question. Engagement with main issues and approaches. Clear response to the topic/learning outcomes. Argument has sense of structure, including introduction and conclusion. Argument uses appropriate evidence and referencing. Use of critical reading, including primary sources where appropriate.

Class III

Percentage: 40 - 49 Some understanding of the scope of the question. Some engagement with issues and approaches. Lack of clear response to the topic/learning outcomes. Argument has sense of structure, including introduction and conclusion. Argument uses some evidence and referencing. Some use of reading, including primary sources where appropriate.

Fail

Percentage: 1 - 39 Little understanding of the scope of the question. Little engagement with issues and approaches. Lack of clear response to the topic/learning outcomes. Little sense of structure, including introduction and conclusion. Insufficient evidence and referencing. Insufficient use of reading, including primary sources where appropriate. Fail

Percentage: 0 Plagiarism/Collusion