HSP5205 Modern Spanish Fiction Module Outline 2017-18 - QMplus

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School of Languages, Linguistics and Film HSP 5205 MODERN SPANISH FICTION 15 credits, Level 5 Term 1, Thursdays 16.00-18.00 Queens EB2 Organiser (2015-16): e-mail:

Dr Ángela Dorado-Otero a.dorado-[email protected]

Office: Arts One 1.34 (Prof. García's office) Office Hours: Tuesdays 14.00-‐16.00 & by appointment.

This module will introduce students to post-1975 Spanish fiction. Through detailed analysis and discussion of a number of thought-provoking texts it will cover an engaging variety of genres such as the graphic novel, the short story, detective fiction and the Civil War novel. At the heart of this module is the theme of historical memory, the trauma narrative and the changing ways in which the Spanish Civil War and subsequent Franco dictatorship have been represented in contemporary Spanish fiction.

Please note that there are no office hours in Week 7 (Reading Week)

Essential Information: You will be expected to keep up with the reading on a week-‐ ly basis (see syllabus below) and to reflect on what you read in order to con-‐ tribute to weekly interactive lectures and seminars.

As common courtesy, you will be expected to turn off your mobile telephones, and electronic entertainment devices during class, unless on a particular day you have an emergency and need to be contactable.

NOTA BENE: Students taking Intensive Spanish II are welcome, but it is worth noting that this module entails the reading of texts that can be challenging, especially for ex-‐ ab-initio students, although appropriate for a level 5 readership. If you are an ex-‐ beginner in Spanish you will be expected to devote more reading time to this module and you are strongly encouraged to see the course organizer in order to discuss ways to improve your learning experience in this module. SYLLABUS — MODULE CONTENT WITH WEEKLY SCHEDULE OF EXPECTED READINGS: Week 1 (28/9/17) — Introduction. Week 2 (5/10/17) — Novels of the Spanish Civil War: Julio Llamazares, Luna de Lobos,(1985) (Barcelona: Seix Barral, 2011).

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Week 3 (12/10/17) — Novels of the Spanish Civil War: Julio Llamazares, Luna de Lobos,(1985) (Barcelona: Seix Barral, 2011). Week 4 (19/10/17) — Detective Novels in Spain: Manuel Vázquez Montalbán, El delantero dentro fue asesinado al atardecer (1989) (Barcelona: Planeta, 2012). Week 5 (26/10/17) — Detective Novels in Spain: Manuel Vázquez Montalbán, El delantero dentro fue asesinado al atardecer (1989) (Barcelona: Planeta, 2012). Week 6 (2/11/17) — The Contemporary Short Stories in Spain: Jean Andrews and Montserrat Lunati (eds.), Contemporary Spanish Short Stories: Viajeros perdidos (London: Bristol Classical Press, 2002). Week 7 (6/11/17 – 12/11/17) — Reading Week —no classes and no tutorials this week (please plan ahead). Week 8 (17/11/17) — The Contemporary Short Stories in Spain: Jean Andrews and Montserrat Lunati (eds.), Contemporary Spanish Short Stories: Viajeros perdidos (London: Bristol Classical Press, 2002). Week 9 (23/11/17) — The Contemporary Short Stories in Spain: Jean Andrews and Montserrat Lunati (eds.), Contemporary Spanish Short Stories: Viajeros perdidos (London: Bristol Classical Press, 2002). Week 10 (30/11/17) — The Graphic Novel: Antonio Altarriba and Kim, El arte de volar (Alicante: Edicions de Ponent, 2009). Week 11 (7/12/17) — The Graphic Novel: Antonio Altarriba and Kim, El arte de volar (Alicante: Edicions de Ponent, 2009). Week 12 (14/12/17) — Conclusion

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TEACHING AND LEARNING PROFILE This module will involve interactive lectures and seminars/workshops. ASSESSMENT PROFILE This course will be examined by coursework only. (You MUST use QMPlus to submit all essays ANY TIME BEFORE 23:55 p.m. on the due date). Assessment: One 1500-word essay (40%) and one 2,500-word essay (60%). Essay 1 is due on Sunday 12 November 2017 (by 23:55 p.m.) —End of week 7, Term 1. Make an appointment for feedback in weeks 10 & 11. Essay 2 is due on Sunday 14th January 2018 (by 23:55 p.m.) —End of week 1, Term 2 — (to be moderated by a second marker). Make an appointment for PROVISIONAL feedback (weeks 4 & 5). Deadline for any Associate students not returning in term 2: Sunday, 17th December 2017 by 23:55 p.m. PLEASE NOTE: Extensions (if needed) can only be given by the relevant Senior Tu-‐ tor for your year (see the Student Handbook). LEARNING OUTCOMES By the end of this module students will be able to: Knowledge • • • • • •

know the historical setting informing the literature studied in this module. define concepts (e.g. in relation to migration, exile, gender, subjectivity) and literary contexts. show a comprehensive understanding of literary analysis. identify different literary periods in Spain post-‐1975. describe arguments and material on recent Spanish literary studies. understand key processes of change within Spanish history.

Comprehension • •

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discuss issues of gender, subjectivity and marginality and explain ethical dilemmas where they arise. review a range of research methods (both theoretical and analytical) and conclude on the ideological implications that affect the evaluation of Span-‐ ish literature today. summarize the main trends in recent Spanish literature.

Application

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interpret knowledge in the discipline. apply such knowledge in the discipline in the analysis of selected texts. examine critically theories and literary practices. demonstrate a conceptual understanding that enables you to evaluate crit-‐ ically current research in the area of Spanish Studies. classify authors and texts in relation to the literary history of the country.

• • • • • Analysis

critically appraise qualitative evidence underpinning public debate related to Spanish studies. differentiate between opinions and facts, 'absolute' and 'relative' truths and question issues of 'truth' and 'reality' particularly concerning ideologi-‐ cally charged analyses. debate effectively and constructively in relation to the analysis of texts studied in this module and beyond. compare and contrast the literary production of writers. distinguish between theoretical debates across contexts (e.g. in relation to gender studies, exile literature, migration, diaspora, cultural and historical memory, etc). analyse recent literature and examine literary responses to social changes.

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Synthesis • • •

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plan, organize and undertake research relevant to level 5 of study in order to produce high quality essays. propose new readings based on current scholarship. organize concepts and present convincing arguments, articulating both orally (in classroom discussions) and in writing (2 essays) in a concise manner. specify and develop a corpus of textual and critical material to challenge established analytical practices. construct own synthesis (recognizing the advantages and disadvantages of the methodology used) drawing on various critical approaches attempting to reconstruct the past and analyse the present, in relation to class, race, gender, culture, religious belief, politics and literary history.

Evaluation • • • •

judge the effectiveness of literature in challenging state practices and as-‐ sess to what extent writers have been able to challenge the state. evaluate critically the literary production of Spain, particularly post-‐1975. argue effectively and write confidently in a professional manner. defend your opinions based on factual information and textual analysis, paying particular attention to the role of textual interpretation.

Graduate Attributes (Students will acquire transferable skills): •

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Students will be able to use information for evidence-‐based analysis and will develop expertise in linking ideology, literary production and public opinion. Students will be able to adapt previous understanding to new settings. Students will be able to work independently and in collaboration with oth-‐ ers, particularly when assessing textual and critical sources. This will be part of professional development and lifelong learning. Students will develop coherent and solid arguments and communicate them effectively, both orally and in writing. Students will be able to acquire expertise in gathering and processing of new information. Students will be able to respond appropriately to constructive criticism in order to improve written work.

At level 5 you are expected to master level 4 benchmarks: 'Basic factual and con-‐ ceptual knowledge of the field of study; command of the essential terminology; basic research, analytical and problem-‐solving skills; basic awareness of the complexity of the subject, and of the issues and implications of tasks set; awareness of the basic historical, theoretical and/or critical approaches to the subject; capacity to apply this knowledge, with guidance, to the tasks set; ca-‐ pacity to analyse primary texts or other relevant cultural products and to put them into context; basic awareness of the formal attributes of primary texts and cultural products; capacity to synthesise findings and to communicate them effectively and concisely, and to present them in a format appropriate to the discipline; ability to construct a coherent argument'. Additionally, you are expected to master level 5 benchmarks: Detailed knowledge of major discipline(s) and awareness of a variety of relevant con-‐ cepts/contexts/frameworks; capacity to analyse a range of texts/cultural products and to place them in their contexts with minimum guidance; aware-‐ ness of the complexity of the subject and of the tasks set; ability to identify key issues and to discern the most appropriate approaches; ability to work within major theoretical/critical frameworks of discipline; capacity to distinguish be-‐ tween theoretical/critical approaches, to compare them and their implications; ability to synthesise a range of ideas and to re-‐think them in the light of a given task; capacity to challenge received opinion and to begin to develop own crite-‐ ria and judgement; awareness of the formal attributes of primary texts and cul-‐ tural products; capacity to communicate findings effectively and in a format appropriate to the discipline; ability to construct a coherent argument.' ATTENDANCE AND PARTICIPATION: PHYSICAL ATTENDANCE IS REQUIRED IN THIS MODULE. All students are expected to attend 100% of classes unless a very good reason is given. ‘The teaching which you receive and the discussions you take part in during classes are a vital part of the learning process at Queen Mary. You will not be able to keep up with a module for which you are missing classes by reading for it at other times. This is an essential complement to class attendance, but not a substitute for it. Copying another student’s notes will also not give you the deeper understanding of the issues discussed which you gain from taking part in those discussions.

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Of course, there are legitimate excuses for short-‐term absence: illness, religious obli-‐ gations or bereavement, would be examples. But you do need to keep us informed of any reasons (medical or personal) that will prevent you from attending a class or classes. You should inform the teacher before the class that you are unable to attend, and give reasons. You may be asked to submit a medical certificate or similar docu-‐ ment to cover absences of more than five days, or a series of shorter absences. We are well aware that many students have to find employment to finance their uni-‐ versity studies. However, employment commitments will not be regarded as a suffi-‐ cient excuse for absence. If you have to work, you must harmonise your work com-‐ mitments with your academic timetable. QMUL offers bursaries and students can apply for hardship funds if they find that their financial circumstances are impeding their academic progress. The Advice and Counselling Service, in the Geography Building, have Welfare Officers who can help students to apply for financial support. See their webpages for more information: www.welfare.qmul.ac.uk/money. If your attendance is regarded as unsatisfactory, we may ultimately take steps to de-‐ register you from that module. A student deregistered from a module is not permit-‐ ted to replace it with a new module: it remains on your transcript, and although you will receive any marks for work submitted up to the point of your deregistration, it will inevitably be a fail mark overall. If, as a result of de-‐registration, you are regis-‐ tered for fewer credits than you require to progress to your next year of study, your enrolment is at risk of termination: that is, you may be unable to continue as a stu-‐ dent of the College. We will always try to help students who are experiencing genuine problems, but we cannot do so if you do not keep us informed of them. Of course, you may not want to discuss personal matters with all of your teachers, but you must make sure that the Student Experience Manager, Rosine Smyrl, or your Adviser is aware of what is hap-‐ pening so that he or she can offer a generalised explanation on your behalf. Even if your attendance is jeopardised by genuine problems, it is unreasonable to delay in-‐ forming us of these until you have already been deregistered from a module for non-‐ attendance. By that time, it may be too late to reinstate you. With very few exceptions, all classes are timetabled for a full hour or multiples of an hour. By a College-‐wide agreement, they actually run from five minutes past the hour until five minutes to the next hour, to allow everybody to get from one venue to an-‐ other. (SLLF’s Handbook for Undergraduate Students). ‘STUDENT ACADEMIC ENGAGEMENT POLICY -‐ INTRODUCTION For the timely and effective administration of support, the School wishes to use the following markers of student engagement. This is to ensure that students are well supported and given every opportunity to progress with their studies and to achieve to their fullest potential whilst here. MARKERS OF STUDENT ENGAGEMENT 1. ATTENDANCE:

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All undergraduate students are expected to attend all scheduled taught sessions in-‐ cluding lectures, practical classes, group work, workshops, tutorials, seminars, field work, computer lab sessions, problem-‐solving classes, exercise classes, lab sessions, project meetings, and other events which are associated with the modules for which they are registered as part of their programme of study. Attendance at classes is rec-‐ orded and kept by the class teacher. Missing more than 3 sessions, or 2 consecutive weeks, of a module will cause concern and trigger the actions as described. 2. COURSEWORK SUBMISSION: All undergraduate students are expected to submit reports, exercises, essays, and other pieces of coursework associated with each module for which they are regis-‐ tered as part of their programme of study, by the individually advertised deadlines and method of submission. All assessed coursework deadlines in SLLF are on Sun-‐ day night, midnight, and submission is via QM+. Late submission, without an agreed extension due to extenuating circumstances, will be penalised according to the SLLF regulations relevant to your level of study. Work submitted within 5 DAYS of the deadline will be accepted but subject to a late submission penalty against the marks awarded. The work will be marked normally, and then a late submission penalty of five marks (or 5% of the marks if not marked out of 100) per 24 hour period will then be applied. Work that is more than 5 DAYS late will not be accepted and will not be marked and will receive a mark of ZERO. Records of submission are kept on QM+.

Assessment Offences: You must avoid plagiarism; fraudulent reporting of source material; collusion in the preparation or production of submitted work, unless such joint or group work is explicitly permitted (for example, in presentations and group work); use, or attempted use, of ghost writing services for any part of assessment; submission of work, or sections of work, for assessment in more than one module or assignment (including work previously submitted for assessment at another institu-‐ tion). All are grounds for disciplinary action. DOCUMENTING YOUR ESSAY The rule is that, whatever sources you use, you must acknowledge them. Not to do so is dishonest since it is seeking CREDIT for someone else’s work (see Pla- giarism in the Student Handbook). To acknowledge a source means: (i) to list it in a bibliography; (ii) to give references in the text of your essay itself. Both are essential. The form these acknowledgements take is largely a matter of convention. Other de-‐ partments may require you to do things slightly differently. But when submitting es-‐ says to the School of Languages, Linguistics and Film, please make sure you keep to the following guidelines. The School of Languages, Linguistics and Film prefers the so-‐called ‘Author-‐date’ (or ‘Harvard’) system. This means that, rather than having to add a footnote or endnote every time you need to document the source of an idea, you simply add a bracket in the text giving the surname of the author, the date of the publication referred to, a colon, and the relevant page numbers. Thus, if you found a particular point on page 330 of an article by Charles A. Ferguson, published in 1950, you should, after making that point in your essay, add a brief reference in the form (Ferguson 1950: 330). To

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enable your reader to make sense of these references, you will then need to include at the end of your essay a bibliography giving the full details of all the material you read for that essay. These should be listed alphabetically by author and chronologi-‐ cally by date (i.e. they should begin with exactly the information included in the brackets in your text). They should contain enough information to enable the reader to check the reference for him or herself, including the exact title and the exact place of publication. Ferguson’s article is entitled ‘Diglossia’ and appeared in the 15th is-‐ sue of a journal called Word. In a bibliography therefore it would appear as: Fergu-‐ son, Charles A (1950), ‘Diglossia’, Word, 15: 325-‐40. Notes: Besides the bibliography, you may also want to add information to your essay other than in the text. This is best done through notes, with a number superscripted in the text referring to the note which then appears either at the bottom of the page (‘footnotes’) or after the end of the essay itself (‘endnotes’). However, notes should always be kept to a minimum, and in many essays are quite unnecessary. SLLF WRITING SUPPORT CENTRE SLLF Writing Support Centre, Bancroft Building 1.32 The School of Languages, Linguistics and Film recognises how closely writing is linked to thinking ; and how important writing skills are both in the academic and professional worlds. A large part of your assessment, for example, while you are at university is based on your academic writing. The School therefore supports all its students in developing their writing skills throughout their university career. The SLLF runs a Writing Support Centre, coordinated by Dr Kirsteen Anderson, and located in Bancroft Building 1.32. It is available to all SLLF students on languages, linguistics, comparative literature and film programmes. (IFP students have their own dedicated support provided by ELSS tutors). This service is separate from the College writing support facilities which are located in the QM Library (check www.learningdevelopment.qmul.ac.uk or ask at the Library ground floor information desk for more details about these resources) although we share the same goals : to help you become a more confident and effective writer. The SLLF Centre offers free weekly workshops at fixed times (semesters 1 and 2) to any student who would like to develop their university writing further. You are wel-‐ come to come along to these sessions at any point in the academic year, on a drop-‐in basis or more regularly. You can also arrange an individual, half-‐hour session at oth-‐ er times (semesters 1, 2 and 3). Both workshops and individual sessions are informal, non-‐judgmental and friendly. This is not remedial work but a chance to enhance your skills – we are all learners at whatever stage in the writing proces we find ourselves. You can bring along essays or other coursework that you are drafting, or essays which have already been marked and commented on by a tutor, or simply aspects of your work that you would like to discuss and explore. Some of the areas that we cov-‐ er are: how to structure an argument clearly, how to use the SLLF referencing con-‐ ventions accurately, how to re-‐read your own work critically, how to interpret what an essay title is asking you to do ; and, if necessary, we can also do some refresher work on grammar, sentence structure, appropriate vocabulary.

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To arrange an individual session, email [email protected] Feel free to come along at any point in the academic year ; and to come as often as you feel you need to. Enjoying your writing and being interested in it as a resource for life is really all that matters. For workshop times, please see the LCD SCREENS in the Arts One Building, look for details on staff office door, or email Kirsteen Anderson on [email protected] MARKING CRITERIA FOR YOUR ESSAYS: Examiners bear in mind a number of different criteria when determining what mark to award. One relates to the coverage of the particular topics or questions addressed: relevant issues should be identified and implications addressed. You are expected to display an understanding of relevant criticism. Argumentation is expected to be clear, consistent and balanced, and should be supported by relevant evidence and exemplification. Depending on the nature and difficulty of the topic, an appropriate level of originality, imagination, insight or ingenuity in exemplification, argument, approach, problem statement or solution is expected. From a presentational point of view, work should be neat and tidy, clearly structured, well written, precise and di-‐ rectly relevant to the topic, without unnecessary digression or errors in spelling or grammar, with proper attention to presentation of examples, citation and the form in which bibliographical information is presented. Technical terms should be used cor-‐ rectly. Conciseness is important (e.g., length restrictions should be adhered to). Not all of the criteria below apply equally to all kinds of assignments (essays, exer-‐ cises, transcriptions, practical projects, sequence analyses, etc.). In general, weak-‐ ness in one area may be compensated by extra strength in another. A brief outline of the qualities expected of a piece of work in a non-‐language module at a given level is presented below: Work of A-grade Standard: A piece of work will normally be awarded an A grade, and be considered of excellent standard, if it displays the following: 1. Follows the assignment brief; is confident in handling key terms and con-‐ cepts; may also productively challenge and question key terms and concepts 2. Excellent knowledge/understanding of the topic of the assignment; excellent knowledge/understanding of the wider subject area, including relevant theo-‐ retical/critical approaches; the assimilation and integration of additional ma-‐ terial not directly covered in the module 3. A coherent line of argument throughout the assignment backed up with excel-‐ lent analysis; an ability to go beyond the arguments presented in the critical literature; evidence of independent and/or original thinking 4. An appropriate and elegant structure that ensures excellent organisation of material and detail 5. Excellent command of language, including accurate spelling, grammar and punctuation; the use of a suitable scholarly register; fluency, flair and an as-‐ sured use of difficult and specialised terminology 6. Impeccable referencing and bibliography presented according to the School of Languages, Linguistics and Film's preferred referencing system

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7. Excellent presentation of work (word processed in at least 11 point font, one and a half line spacing, pages clearly numbered, etc.). From September 2017 content work of A-grade standard will be marked in the range 70% to 100% according to the following bands: 90-100 Exceptional This work significantly exceeds the threshold for grade A. It is exceptional in its un-‐ derstanding of the relevant material and its analysis is sophisticated, original and authoritative. Presentation is immaculate and arguments draw on an impressive range of primary and secondary reading as appropriate. At the highest end of this range, the work would benefit from no further improvement. 80-89 Outstanding This work clearly exceeds the threshold for grade A. It shows unusually thorough understanding of the relevant material, and its analysis is sophisticated and original. Presentation is logical, clear and elegant, and arguments draw on a range of primary and secondary reading as appropriate. Work in this band will still contain minor el-‐ ements that would benefit from further improvement. 70-79 Excellent This work meets or exceeds the threshold for grade A. It shows thorough under-‐ standing of the relevant material, and its analysis is sophisticated. Presentation is logical and clear, and arguments draw on primary and secondary reading as appro-‐ priate. Work in this band will still contain elements that would benefit from further improvement or development. Work of B-grade Standard: A piece of work will normally be awarded a B-‐grade mark, and be considered good, if it displays the following: 1. Follows the assignment brief; is confident in handling key terms and concepts 2. Good knowledge/understanding of the topic of the assignment; good knowledge/understanding of the wider subject area, including relevant theo-‐ retical/critical approaches 3. A coherent line of argument throughout the assignment backed up with good analysis; good understanding and synthesis of the arguments presented in the critical literature 4. An appropriate structure that ensures good organisation of material and de-‐ tail 5. Good command of language, including accurate spelling, grammar and punc-‐ tuation; the use of a suitable scholarly register 6. Good referencing and bibliography presented according to the School of Lan-‐ guages, Linguistics and Film's preferred referencing system 7. Good presentation of work (word processed in at least 11 point font, one and a half line spacing, pages clearly numbered, etc.). Work of C-Grade Standard: A piece of work will normally be awarded a C-‐grade mark, and be considered satisfactory, if it displays the following: 1. Follows the assignment brief; satisfactory handling of key terms and concepts 2. Satisfactory knowledge/understanding of the topic of the assignment; satis-‐ factory knowledge/understanding of the wider subject area, including rele-‐ vant theoretical/critical approaches

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3. An identifiable line of argument throughout the assignment backed up with satisfactory analysis; some problems understanding and synthesising the ar-‐ guments presented in the critical literature 4. A functional structure that ensures satisfactory organisation of material and detail 5. Satisfactory command of language, including reasonably accurate spelling, grammar and punctuation; the use of a suitable scholarly register 6. Satisfactory referencing and bibliography presented according to the School of Languages, Linguistics and Film's preferred referencing system 7. Satisfactory presentation of work (word processed in at least 11 point font, one and a half line spacing, pages clearly numbered, etc.). Work of D-grade Standard: A piece of work will normally be awarded a D-‐grade mark, and be considered weak, if it displays the following: 1. Does not always stick to the assignment task set; problems handling key terms and concepts 2. Weak knowledge/understanding of the topic of the assignment; weak knowledge/understanding of the wider subject area, including relevant theo-‐ retical/critical approaches 3. Weak argument throughout the assignment not well integrated with weak analysis; problems understanding and synthesising the arguments presented in the critical literature 4. A weak and incoherent structure that does not ensure satisfactory organisa-‐ tion of material and detail 5. Weak command of language, including inaccurate spelling, grammar and punctuation; failure to use a suitable scholarly register 6. Inconsistent and/or incomplete referencing and bibliography; does not fol-‐ low the School of Languages, Linguistics and Film preferred referencing sys-‐ tem 7. Weak presentation of work (not word processed, illegible font, pages not numbered, etc.). Work of E-grade Standard: A piece of work will normally be awarded an E-‐grade mark, and be considered poor, if it displays the following: 1. Does not always stick to the assignment task set; problems handling key terms and concepts 2. Poor knowledge/understanding of the topic of the assignment; poor knowledge/understanding of the wider subject area, including relevant theo-‐ retical/critical approaches 3. Poor argument throughout the assignment not well integrated with weak analysis; problems understanding and synthesising the arguments presented in the critical literature 4. A poor and incoherent structure that does not ensure satisfactory organisa-‐ tion of material and detail 5. Poor command of language, including inaccurate spelling, grammar and punc-‐ tuation; failure to use a suitable scholarly register 6. Inconsistent and/or incomplete referencing and bibliography; does not fol-‐ low the School of Languages, Linguistics and Film preferred referencing sys-‐ tem 7. Poor presentation of work (not word processed, illegible font, pages not numbered, etc.).

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Work of less than E-grade Standard: A piece or work will normally be awarded a fail if it shows a number of significant shortcomings, such as the following: 1. Does not stick to the assignment task set; severe problems handling key terms and concepts 2. Little or no knowledge/understanding of the topic of the assignment; little or no knowledge/understanding of the wider subject area, including relevant theoretical/critical approaches 3. No argument throughout the assignment and no analysis; no understanding or synthesis of the arguments presented in the critical literature 4. Non-‐existent structure that leads to disorganised presentation of material and detail 5. Very poor command of language, including inaccurate spelling, grammar and punctuation; failure to use a suitable scholarly register; the marker may find it impossible to actually read the assignment 6. No references or bibliography; does not follow the School of Languages, Lin-‐ guistics and Film preferred referencing system; may contain plagiarised ma-‐ terial. 7. Extremely poorly presented. Note - narrative or descriptive (rather than analytical) essays will not normally be given a grade higher than C.