Course Information
SchoolEnglish Language and Literature
Cycle / Level1st / Undergraduate
Teaching PeriodWinter/Spring
Course ID600007108

Programme of Study: 2018-2019

Registered students: 0
OrientationAttendance TypeSemesterYearECTS
KORMOSElective CoursesWinter/Spring-6

Class Information
Academic Year2016 – 2017
Class PeriodSpring
Faculty Instructors
Weekly Hours4
Total Hours52
Class ID
Course Type 2016-2020
  • Scientific Area
Course Type 2011-2015
Specific Foundation / Core
Mode of Delivery
  • Face to face
Digital Course Content
The course is also offered to exchange programme students.
Language of Instruction
  • English (Instruction, Examination)
Learning Outcomes
Students are expected to have acquired • A general knowledge of the theory of narrative fiction • A deeper insight into the theory of media studies, semiotics and play and game theory. • Basic skills in a comparative analysis of different media-based texts.
General Competences
  • Apply knowledge in practice
  • Retrieve, analyse and synthesise data and information, with the use of necessary technologies
  • Adapt to new situations
  • Work autonomously
  • Generate new research ideas
  • Appreciate diversity and multiculturality
  • Respect natural environment
  • Demonstrate social, professional and ethical commitment and sensitivity to gender issues
  • Be critical and self-critical
  • Advance free, creative and causative thinking
Course Content (Syllabus)
This course is offered for further specialization in the study of narrative and is recommended to students who have already taken relevant courses (related to the study of narrative). After defining the theoretical field within which it becomes possible to examine novels and films on an equal basis—despite any differences in media manifestation, that is, verbal or (audio)visual—the course will focus on a comparative analysis of the narrative structure of sample texts, short-stories and novels, films, even comic strips. The emphasis falls on the examination of novels and films as primarily narrative texts. An analysis of textual relationships, such as those between author ant text, reader and text, the fictional and the “real,” will aim to explore the essence of narrative fiction and to show that the same, more or less, aesthetic, rhetorical and other artistic issues apply to the construction of narrative text, whether literary or cinematic.
narratology, cinema, the novel, comparative analysis, narrative structure
Educational Material Types
  • Notes
  • Slide presentations
  • Audio
  • Multimedia
  • Book
Use of Information and Communication Technologies
Use of ICT
  • Use of ICT in Course Teaching
  • Use of ICT in Laboratory Teaching
  • Use of ICT in Communication with Students
Part of the course which concerns the study of cinema is taught audiovisually in a a/v teaching room. Course teaching material is offered in an electronic platform ( Student communication is conducted through the internet as well.
Course Organization
Reading Assigment301.2
film screenings80.3
Student Assessment
There is only a final written exam as the overall student evaluation method. Students are asked to write a critical essay and they are assessed on their knowledge of the topics as well as on their critical thinking and their writing abilities. Take-home may be given on special cases in arrangement with the teacher. Evaluation terms are included in the course syllabus
Student Assessment methods
  • Written Exam with Extended Answer Questions (Formative, Summative)
  • Written Assignment (Formative, Summative)
Course Bibliography (Eudoxus)
Breakfast of Champions by Kurt Vonnegut, Jr. (book) If on a Winter’s Night a Traveller, by Italo Calvino (book) The Stunt Man dir. Richard Rush, with Peter O’Toole, Barbara Hershey, Steve Railsback. Simon (film) Rear Window, dir. Alfred Hitchcock, with Jimmy Stewart, Grace Kelly. Paramount (film)
Additional bibliography for study
Narrative Theory Chatman, Seymour. Story and Discourse: Narrative Structure in Fiction and Film. Ithaca & London: Cornell Univ. Press, 1978. Genette, Gérard. Narrative Discourse. 1972. Ithaca, N.Y.: Cornell Univ. Press,1980. Lodge, David. Modes of Modern Writing: Metaphor, Metonymy, and the Typology of Modern Fiction. Ithaca: Cornell Univ. Press, 1977. McHale, Brian. Postmodernist Fiction. London & N.Y.: Methuen, 1987. Metz, Christian. Film Language: A Semiotics of the Cinema. N.Y.: Oxford Univ. Press, 1974. _______. The Imaginary Signifier: Psychoanalysis and the Cinema. Trans. Celia Britton, Annwyl Williams, Ben Brewster and Alfred Guzzetti. Bloomington, Ind: Indiana Univ. Press, 1977. Monaco, James. How to Read a Film. N.Y.: Oxford Univ. Press, 1981. Rimmon-Kenan, Shlomith. Narrative Fiction: Contemporary Poetics. London: Methuen, 1983. Stam, Robert, Robert Burgoyne and Sandy Fitterman-Lewis. New Vocabularies in Film Semiotics. London & New York: Routledge, 1992. Waugh Patricia. Metafiction: The Theory and Practice of Self- Conscious Fiction. London: Methuen, 1984. authorship Caughie, John. Ed. Theories of Authorship: A Reader. London: Routledge and Kegan Paul, 1981. reader-response: Freund, Elizabeth. The Return of the Reader: Reader-Response Criticism. London: Methuen, 1987. play and game theory Huizinga, Johan. Homo Ludens: A Study of the Play-Element in Culture. Trans. R.C.F. Hull. 1938. N. Y.: Harper & Row, 1970. Hutchinson, Peter. Games Authors Play. London and New York: Methuen, 1983. a) Vonnegut Giannone, Richard. Vonnegut. Port Washington, N.Y.: Kennikat, 1977. b) Calvino Carter, A. H. Italo Calvino: Metamorphoses of Fantasy. Ann Arbor, Michigan: U.M.I. Research Press, 1987 d) Hitchcock Stam, Robert. Reflexivity in Film and Literature: From Don Quixote to Jean-Luc Godard. Ann Arbor, Michigan: UMI Research Press, 1985. Weis, Elizabeth. The Silent Scream: Alfred Hitchcock’s Sound Track. London & Toronto: Associated Univ. Presses, 1982.
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