CREATIVE WRITING HONOURS 2008 ENGL 4402A/B Discipline of English
ENGL 4402A/B CREATIVE WRITING HONOURS 2008
This handbook includes information about the Honours year generally. It provides details on the courses, methods of assessment, style requirements for your essays and thesis, and other matters relevant to your work as an Honours student. It has been made available in booklet form to each student who has been accepted for Honours in Creative Writing, and all students are expected to familiarize themselves with its contents. If you have any queries, do not hesitate to contact the Creative Writing Convenor Dr Phillip Edmonds (see following). Note: Please keep this handbook for reference throughout your Honours year. English Honours Coordinators Professor Dorothy Driver (semester 1) Office: Napier 503 Phone: 8303 5613 Email: dorothy.driver@adelaide.edu.au Professor Penny Boumelha (semester 2) Office: Napier 611 Phone: 8303 4573 Email: penny.boumelha@adelaide.edu.au
Creative Writing Honours Convenor
Dr Phillip Edmonds (on leave July–November 2007) Office: Napier 506 Phone: (+61 8) 830 34563 Email: phillip.edmonds@adelaide.edu.au
School of Humanities
Office: Napier 722 Phone: 8303 5627 / 8303 5130 Email: simone.corporni@adelaide.edu.au
CONTENTS
ENGL 4402A/B Creative Writing Honours 2008 ............................ 2 The Creative Writing Honours Year ............................................ 3 Creative Writing Honours Program and Policies ........................... 6 Core Courses (semester 1) ....................................................... 8 Elective Courses (semester 1)................................................. 10 Advanced Work in Progress Seminar and the Thesis (semester 2) 13 Creative Writing Honours Marking Scale ................................... 16 Honours Assessment Policies .................................................. 17 Staff Research Interests ......................................................... 18 General................................................................................ 20
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THE CREATIVE WRITING HONOURS YEAR
Points value Duration 24 Full year
Broadly speaking, the aims of the Creative Writing Honours year are: to give emerging writers the opportunity to extend their technical range as writers, to develop as critical readers in ways that assist writing practices, and to enable emerging writers to experiment with form, style and voice, as well as developing self-editing skills; to provide an adequate basis for further (i.e. postgraduate) study, most particularly in creative writing; and by requiring the writing of a 12,000 word creative work (the creative writing can be in the form of a novella, a collection of short stories, or equivalent as approved by the supervisor) and a 3,000 word exegesis, the Creative Writing Honours Year aims to introduce students to the discipline, methods, theories and practices of creative writing at a professional level. The thesis is regarded as the outcome of the kinds of research that form the basis of creative writing. The research outcome is equivalent to but in a different literary form from a traditional English thesis.
The English Discipline offers two Honours programs, one in English and the other in Creative Writing (see also the English Handbook). It is also possible for students to undertake a joint program across two disciplines: English and History, English and Philosophy, English and Classics, for example. All students in the English Discipline, whatever their specific program, are required to take the compulsory course Thinking Aloud, which is an introduction to research methodology and current critical and theoretical issues. Part-time Honours (over 2 years): in certain circumstances students are permitted to spread the work of Honours over two consecutive years. Those who may be eligible for permission to do so are: students with care-giver responsibilities students in employment greater than or equal to half time students with a significant illness or disability students enrolled for part of the Honours program at an overseas institution students applying on compassionate grounds.
In all cases it should be clear that the student is unable to (rather than chooses not to) complete the requirements on a full-time
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basis. Applications to spread the work of Honours over two years should be made to the Faculty Registrar (robert.ewers@adelaide.edu.au) before 31 March. Permission will not normally be granted if the student has chosen to enrol in another course concurrently. Prerequisites: Students wishing to take Honours in English must have completed a major in English (minimum 20 units at Levels II and III), with results of a high Credit average (70% +). Please note: University Calendar, Vol III, Schedule IV, The Honours Degree: Candidates for the Honours degree in any course shall not begin their Honours work in that course until they have qualified for the Ordinary degree of Bachelor of Arts or Arts (Jurisprudence), or some other degree deemed by the Faculty to be appropriate preparation […] Admission to Honours is always at the discretion of the Honours Convenor and the Honours Sub Committee. In extraordinary cases admission will be granted to students who have not met the above prerequisites, but who for other reasons can satisfy the Honours Convenor and Sub Committee that they are qualified to undertake Honours English. The prerequisites for a joint Honours degree in English and another discipline may vary. If you plan to do a joint Honours degree, please consult the Honours Convenors of both disciplines. Attendance requirements: Full attendance of seminars and other specially arranged classes is a requirement of the course. See Program and Policies below for more detailed information. All Honours students are expected to attend the Preliminary Meeting, at a time and venue to be advised.
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Graduate attributes
The Faculty of Humanities and Social Sciences facilitates an environment in which graduates of the Creative Writing Program take personal responsibility for developing the following attributes: The ability to think creatively and critically The ability to communicate concepts and ideas effectively through writing and discussion Specialised knowledge of creative techniques in relation to a chosen genre A broad knowledge of contemporary writing through directed and self-directed reading The skills and discipline to research, synthesise, and integrate information into a creative form The ability to set appropriate goals and work to a deadline The ability to work independently and cooperatively An understanding of ethical issues in the writing profession The ability to revise and edit written manuscripts A broad understanding of contemporary publishing issues and opportunities
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CREATIVE WRITING HONOURS PROGRAM AND POLICIES
Semester 1: Coursework component
Each student will take the two core courses plus one elective course (each weighted at 20% of the Honours program: i.e. a coursework weighting of 60%). Attendance requirement for the core courses and the elective is a two-hour seminar per week: i.e. 6 hours per week in toto. Assessment details are determined by the lecturers in charge, but one of the core courses and the elective will require students to write formal essays amounting to a total of 6,000 words. In 2008 the core courses are: o Thinking Aloud: Issues in Current Literary Research o Creative Writing Workshop and the elective courses on offer are: o Contemporary Australian Fiction o Deep-Laid Plots: Fictions of Conspiracy o Victorian Poetry
Semester 2: Thesis component
Each student will produce a supervised thesis of 15,000 words (weighted at 40% of the Honours program). The thesis will be on a subject of the student‘s own choice, subject to the availability of suitable supervision. Students may not undertake a thesis topic based on material on which they are to be directly assessed within their coursework. Students will produce a supervised creative work of 12,000 words of creative writing and 3,000 words exegesis. The creative writing can be in the form of a novella, a collection of short stories, or equivalent as approved by the supervisor. Advanced Work in Progress Workshop: attendance requirement is a two-hour workshop per week through the first half of the semester. Students will have the opportunity to discuss various aspects of research and writing. The aim of the workshop is to provide supportive feedback on research and writing in an informal setting. There is no assessment, but attendance is required.
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Policies for Honours students
Please take note of the following policies for Honours students: Attendance at Honours seminars is compulsory. Students who need to miss a class should provide both the Honours Convenor and the staff member concerned with a written request or, failing opportunity for that, a written explanation. Students who miss a seminar or need to extend a deadline on account of ill-health should provide medical certification. To receive adequate supervision of the thesis, each student should establish regular meeting times with their thesis supervisor at least from the start of semester 2, and earlier if possible. By the end of the second week of semester 2, students should provide their supervisor with a detailed proposal including a one-page statement about the thesis, a bibliography of primary and secondary texts, with a time-line finalised in consultation with the supervisor. The time-line should take into account the fact that the supervisor usually needs at least one week to read the drafts. Students should keep a copy of all work submitted during the Honours year. Extensions for essays and thesis will not normally be granted except in special circumstances, such as serious illness. Under such circumstances, applications for extensions should be made to the Honours Convenor, before the submission date, and with supporting documentation. Work submitted late without an extension will incur a penalty of 3% per working day.
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CORE COURSES (SEMESTER 1)
Below are summaries of the courses and information about assessment; detailed schedules will be made available in 2008. Note that you should choose one out of the three available electives.
Core courses: Creative Writing Workshop and Thinking Aloud
Creative Writing Workshop Convenor: Dr Phillip Edmonds Time and venue: To be advised Students will undertake writing exercises throughout the semester. All students will present an oral class paper of 15 minutes duration (no assessment) during the semester, as a precursor to the exegesis. Assessment Creative Writing Workshop (20% of overall year’s mark) a 3,000 word creative writing piece (or 20 pages of poems) based on (if only loosely) exercises conducted in Creative Writing Workshop. 3,000 word creative writing piece based on (if only loosely) exercises conducted in Creative Writing Workshop. DUE DATE 4 April. Weighting 50%
b
13 June.
50%
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Thinking Aloud: Issues in Current Literary Research Convenor: Professor Dorothy Driver Time and venue: To be advised What are the academics in the English Discipline researching and writing about? What are the literary critical issues and questions of writing, editing and publishing that consume them now? In this course, students and academics will meet once a week to discuss the research into literature and writing that English Discipline academics are currently engaged in, as well as their writing practice. In the seminar students will have the opportunity to hear at firsthand the key issues, concerns and even the difficulties of that research and writing, as well as to pose questions about the methodology, theory or approach informing the research and writing process. To prepare for the seminars, you will read the seminar papers and the critical articles that informed them. Then in advance of the meetings, you will take turns leading student discussion and encouraging your co-students to ask questions of the academics presenting their work. From your active engagement in the seminars, you will advance your understanding of key current concepts, and will develop your own critical, research and writing skills in preparation for your second semester entry into literary critical research and creative writing. The weekly seminars will cover various topics in contemporary theory, including canonisation, historicism, memorialisation and nationalism; and it will engage with the usefulness of psychoanalytic and poststructuralist concepts such as hysteria and hybridity in literary studies, the salience of current critical approaches, and the relation between writing and research. Its set texts in creative writing will range from medieval to contemporary literature, and in literary theory from Aristotle to Lacan. This year the course will be taught by Penny Boumelha, Phil Butterss, Dorothy Driver, Sue Hosking, Nick Jose, Heather Kerr, Rosemary Moore, Amanda Nettelbeck, Lucy Potter, Ken Ruthven and Dianne Schwerdt. Assessment: Set texts: Course Reader: Available 4 February from Image and Copy. An additional reading list will be emailed to you on request, from 1 February. 2 essays of 3,000 words each.
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ELECTIVE COURSES (SEMESTER 1)
Deep-Laid Plots: Fictions of Conspiracy Convenor: Professor Penny Boumelha Time and venue: To be advised The focus of this course is a range of texts featuring some form of conspiracy (such as political, religious, corporate, criminal or familial conspiracies), read for the ways in which they are exemplars or limit cases of some significant elements of narrative technique (such as modes of narration, manipulation of reader positions, plotting, reaching an ending). We will also give attention to narrative theory addressing these issues. A reader of critical and theoretical material, and suggestions for further reading, will be provided. Set texts will include: Choderlos de Laclos, Les Liaisons Dangereuses, trans. P.W.K. Stone (Penguin Classics) George Eliot, The Lifted Veil Charlotte Brontë, Villette Wilkie Collins, The Woman in White Joseph Conrad, The Secret Agent Edith Wharton, The Age of Innocence Graham Greene, The Quiet American Thomas Pynchon, The Crying of Lot 49 Don De Lillo, Libra Margaret Atwood, Oryx and Crake Assessment: Two essays to a total of approximately 6,000 words
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Contemporary Australian Fiction Convenor: Associate Professor Amanda Nettelbeck Office: Napier 609 Phone: 8303 5621 Email: amanda.nettelbeck@adelaide.edu.au Time and venue: To be advised This course will invite students to undertake a critical exploration of the state of recent published work in Australia. Alongside the primary fictional works on the reading list, the course will examine the social and political climate in which Australian creative and critical works have appeared and circulated. Issues under consideration will include: the selection choices (and selection absences) of Australian literary anthologies since the 1980s; the changing character of Australian literary festivals over the past two decades; the rise of the public intellectual in the Australian literary arena; and the various ways in which the concepts of ‗Australianness‘ and of ‗nation‘ have been thematized or aestheticized in a contemporary climate of globalization. Set texts include: Andrew McGahan, The White Earth Brenda Walker, The Wing of Night Kate Grenville, The Secret River Gail Jones, Sixty Lights Delia Falconer, The Lost Thoughts of Soldiers Raymond Gaita, Romulus, My Father Brian Castro, Shanghai Dancing Robert Dessaix, (and so forth) Ross Gibson, Seven Versions of the Australian Badlands A course reader of additional essays. Assessment Mid-term essay: 2,000 words End of term essay: 4,000 words
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Victorian Poetry Convenor: Associate Professor Tom Burton Office: Napier 504 Phone: 8303 5618 Email: thomas.burton@adelaide.edu.au Time and venue: To be advised This elective deals with English poetry published during the reign of Victoria (1837-1901), after the Romantic period and before the onset of Modernism—a period of great richness in English poetry, though nowadays relatively neglected. The chief focus will be on the three writers traditionally regarded as the major poets of the period (Alfred Tennyson, Robert Browning, and Matthew Arnold), but there will be plenty of scope for discussion of, and for students to pursue interests in, other poets such as (for example) Elizabeth Barrett Browning, William Barnes, the Brontë sisters, and Christina and Dante Gabriel Rossetti. Set text: There is no set book, but a list of required reading and of poems set for discussion will be issued during the first seminar. Assessment: two essays to a total of about 6,000 words on topics of the student‘s choice approved by the course convenor.
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ADVANCED WORK IN PROGRESS SEMINAR AND THE THESIS (SEMESTER 2)
Your attention is drawn to the following formal requirements for the thesis: Students will attend and participate in all meetings of the Advanced Work in Progress seminar held in semester 2. Students will keep to all the due dates for submission of work in the seminar. The thesis topic must be finalised before the start of semester 2 and must have the approval of the Creative Writing Honours Convenor. The length of the thesis should be approximately (and not more than) 15,000 words, including notes, excluding abstract and bibliography. The length of the creative work should be 12,000 words, and 3,000 for the exegesis. Two copies of the thesis should be submitted to the English Office by the due date. If corrections are required by the markers, you will need to make these for the library copy, before your marks can be finalised for graduation. The office staff will provide the University library with a bound copy (once you have made any required corrections) without any charge to you. The thesis due date is the last Friday of teaching in semester 2: 31 October, 4.30 pm, 2008. Extensions are not normally available except under special circumstances (e.g. continuing, serious illness during the semester). Applications for extensions should be made in writing to the Honours Coordinator, before the submission date and with supporting documentation (e.g. medical certificates).
Creative work and exegesis
The creative work can be in the form of a novella, a collection of short stories, or equivalent as approved by the supervisor. If your creative work submission is incomplete (for example, some chapters of a novel), you need to include a one-page synopsis of how you see the work developing in order to give a reader a sense of the shape and structure of the completed work. The exegesis should explore the ideas and reading which inform your creative work. It should show that you are able to discuss your own writing critically, that you can explore a range of concepts and ideas, and that you are conscious of your chosen methodology and craft. You need to examine the conceptual framework of your creative work, ideally both in terms of literary theory and more general reading. You may draw upon a range of writers, ideas and research materials, including:
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factual research; for example, historical records, letters, photos, newspaper articles, interviews, maps, other artforms; literary criticism and theory; writers on writing, their diaries about and expositions of the writing process, or material from talks and interviews; and fiction/poetry—you should be reading a range of writers working in a similar vein to yourself, who can help you develop your ideas and techniques.
Your exegesis should cite at least five works by other writers, properly referenced (see below) and listed at the end of your exegesis. Thesis style and presentation: The thesis should be typed in double spacing on A4 paper, on one side of the paper and with a margin of 4 cm on the left. It should include a title page giving at the top the title of the thesis in full (creative work and exegesis), your name and degree. You should include at the bottom of the title page the following rubric: ―Submitted in part fulfilment of the Honours degree in Creative Writing [and other disciplines where appropriate] at The University of Adelaide, [month] 2008.‖ The pages of the creative work and exegesis should be numbered separately and each should have a separate title page in addition to the title page of the thesis. The creative work and exegesis should together not exceed the word limit of 15,000 words, including notes.
Students should follow the English Discipline‘s Guide to Referencing, available on the English discipline webpage and from outside the School of Humanities office, for handling referencing and bibliography. Assistance with research is available from Alan Keig in the library. Before making an appointment with him, students are expected to have completed the Library Skills Tutorial and also to have absorbed the techniques described on the Literature Search Techniques pages of his English Resources website: www.adelaide.edu.au/library/guide/hum/english/bib_assign/. Remember that you are not expected to present the kind of original research expected of a postgraduate student. You are, however, expected, in the exegesis, to present a substantial and welldocumented argument in which you show that you have understood the topic, the key concepts, and the relevant creative and critical literature.
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In the Advanced Work in Progress seminar, which meets once a week during semester 2, you will be expected to discuss your progress with the Creative Writing Honours Convenor and other students, and to present your work to the group.
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CREATIVE WRITING HONOURS MARKING SCALE
Category First Division I: 90%+ Division II: 85-90% Division III: 80 to 84% Second Class A Division I: 76 to 79% Division II: 73 to 75% Division III: 70 to 72% Second Class B Division I: 66 to 69% Division II: 63 to 65 % Division III: 60 to 62% Third Division I: 56 to 59% Division II: 53 to 55 % Division III: 50 to 52% Fail Below 50% Criteria Exceptional. Original in concept. Excellently crafted and conceived. Outstanding. Original in use of material. Well crafted. Very competent. Does not show the same independence of thought and development of craft as is required to achieve a First. There are a range of IIB characteristics. These can include: a lack of self-editing, a pedestrian approach to craft, incomplete development in the creative process. Limited achievement. Basic flaw or flaws in the conception of the creative project. Difficulties with expression. Substantial weaknesses in content and understanding of the project.
You will be given a handout of the English Honours marking scale (relevant to assessment of Thinking Aloud and your elective).
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HONOURS ASSESSMENT POLICIES
At the start of semester 2 students will receive their marked final essays, with a grade category and written comments. Please note that these grades are provisional, pending a final Honours result at the end of the year. All coursework is double-marked by examiners internal to the English Discipline. Theses are double-marked by one internal and one external examiner. The Honours results for the year‘s work are considered at a meeting of the English Discipline‘s Honours Sub-committee at the end of the year. In 2008, the Honours Sub-committee will consist of the following staff: Professor Dorothy Driver (Honours Co-ordinator, semester 1) Professor Penny Boumelha (Head of Discipline, Honours Co-ordinator, semester 2) Associate Professor Amanda Nettelbeck (semester2) Dr Dianne Schwerdt (Postgraduate Co-ordinator)
The English Discipline follows the Faculty of Humanities and Social Sciences‘ recommendations on Honours assessment practice. Those recommendations are as follows: That marks obtained through the double-marking process for Honours work be submitted to the discipline‘s Honours Coordinator, who has the responsibility for reconciling the two marks, as appropriate. That the following steps be undertaken to resolve significant discrepancies (i.e. more than 5%) between Honours marks: 1) discussion should take place between the two markers to resolve the discrepancy; 2) if this discussion does not resolve the discrepancy, a third marker should be sought, whose assessment of the piece of work will be entirely independent; 3) if two of the resultant three marks fall within a 5% range, those two marks should be averaged to produce the final mark for that particular piece of work; 4) if all three marks are significantly divergent (i.e. more than a 5% range), then the two highest marks should be averaged to determine the final mark for that particular piece of work. That Honours coursework be returned to students in a timely manner (i.e. not later than 4 weeks after the completion of a component of the Honours program), with an indication of the grade awarded (even when that grade is provisional, pending the year‘s final result). That work produced for Honours not be redeemable. That late submission of the Honours thesis, where no extension has been granted, incur a penalty of 3 per cent per day late, up to a limit of two weeks.
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STAFF RESEARCH INTERESTS
Please also consult the English and Creative Writing webpages. Professor Penny Boumelha Nineteenth-century British and Irish fiction Feminist Criticism Narrative Theory Thomas Hardy Associate Professor Tom Burton Semantic Change Editing of Middle English Texts Middle English Lexicography and Dialectology Oral Performance of Old and Middle English Literature Historical and Regional Differences in English Pronunciation Annotated Bibliographies of Old and Middle English Literature Dr Philip Butterss Nineteenth and Twentieth Century Australian Literature Australian Cultural Studies Gender Studies Australian Film Dr Moya Costello Experimental (innovative/crossgenre/intergeneric) Writing Contemporary Australian Writing Online writing Creative Writing Pedagogy Professor Dorothy Driver Southern African Studies Colonial and Postcolonial Studies Writing and Gender Dr Phillip Edmonds The Contemporary Australian Short Story The Teaching of Creative Writing Social and Cultural Intersections Dr Jan Harrow (on leave semester 1 2008) Creative Writing (fiction, non fiction and poetry) Writing Process and Teaching Practice Ethics and Writing Practice Borders and Margins (Representation of Class and Gender) Irish Identity in Literature Gender and Autobiography Dr Susan Hosking Contemporary Australian Writing Indigenous Cultural Studies Postcolonial Writing and Theory Emily Dickinson Gothic Writing
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Professor Nicholas Jose Australian Literature New Writing and Publishing Contemporary China Dr Heather Kerr (on leave semester 2 2008) Early Modern English Culture Ecocriticism Cultural Studies Fictocriticism Dr Joy McEntee American Literature and Film Gothic and related speculative genres Dr Rosemary Moore Psychoanalysis and Narrative Feminist Literary Theory and Criticism Women‘s Writing Gothic Fiction Barbara Baynton Henry James Associate Professor Amanda Nettelbeck Australian Studies Colonial and Postcolonial Studies Gender Studies Life Writing (autobiography, journals, oral history) Fictocriticism Lucy Potter The Plays of Christopher Marlowe Early Modern English Tragedy The Critical History of Catharsis Early Modern Uses of Virgil's Aeneid Dr Dianne Schwerdt African Literature Australian Literature World Literature Post-Colonial Writing and Theory African Women Writers Dr Mandy Treagus (on leave 2008) Nineteenth-Century Fiction The Bildungsroman Postcolonial Fiction, especially Australasian and Pacific Contemporary Popular Culture Sport
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GENERAL
Higher degrees
Honours students are welcomed to the English Discipline as potential higher degree researchers. At Honours level, the research interests of students and staff can fruitfully interact, and Honours students should not hesitate to establish contact with staff of the English Discipline, or its postgraduates, whenever they feel this can help them in their studies. The Co-ordinator of Honours is very happy to arrange introductions or meetings. In semester 2, Honours students will be made aware of the procedure for applying for postgraduate scholarships.
Inter-library loans
A limited amount of money is available for inter-library loans. Ask at the English office for details.
Procedures for plagarism and complaints
Plagiarism No credit will be given for work in which plagiarism is detected, and a further offence will be dealt with severely. Colin Norman‘s Writing Essays: A Short Guide suggests the following as some forms of avoidable plagiarism: 1. Direct quotation of someone else’s words. Acknowledge quotations long and short, including apt turns of phrase. Always place direct quotation within quotation marks, and acknowledge the source. 2. Paraphrases of someone else’s words. A good essay will often present derived material, not as direct quotation, but in your own words. The source of the paraphrase must nonetheless be scrupulously acknowledged. 3. Ideas derived from someone else. Acknowledge not only those ideas which the original source states plainly or emphatically, but also someone else‘s broad line of argument, or specific method of leading towards a particular conclusion. The University‘s plagiarism policy, including a statement on plagiarism and guidelines on plagiarism, can be found at the following website: http://www.adelaide.edu.au/policies/?230 Complaints In March 2001 the University introduced its Policy and Procedures for the Prevention, Handling and Resolution of Student Complaints. Under this policy students can make a formal complaint about the delivery of any academic or administrative service offered by the University. Further information can be found at the following
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website: http://www.adelaide.edu.au/student/current/complaint.html.
Learning and disability
If you have a disability you believe will affect your study, you should discuss this with the Creative Writing Convenor as soon as possible after enrolment. It may be necessary for you to undertake a Learning and Assessment Agreement. It is the student‘s responsibility to inform the Creative Writing Convenor if appropriate arrangements have to be made. General information: Disability Liaison Officer (ph 8303 5962). Website: http://www.adelaide.edu.au/services/disability/, http://www.adelaide.edu.au/disability/contact/.
Occupational health and safety arrangements
The Discipline of English is committed to upholding the University‘s Policy on Occupational Health and Safety (OH&S). Also, all staff and students have a legal responsibility to act in the interests of themselves and others with respect to OH&S. To assist us, and to comply with your responsibilities, you are asked to become informed about the following arrangements and personnel. Emergency evacuation procedures: fire or bomb threat Napier Building Fire Wardens Chief Warden: Robert Ewers Deputy Warden: Martin Kusabs 5 Floor Warden: Dominique Wilson 6 Floor Warden: Emily Heylen/Craig Faulkner 7 Floor Warden: Sue Mleczko /Shirley Ball 8 Floor Warden: Christine Crothers 9 Floor Warden: Peter Gell Lower Ground: Robert Ewers Room Faculty Office Napier Undercroft Faculty Office Napier Undercroft Napier 527 Napier 621 Napier 722 Napier 816 Napier 906 Faculty Office Napier Undercroft Phone x 35245 x 35179 x 36438 x 35647 x 35130 x 35641 x 34774 x 35245
Evacuation areas The evacuation assembly areas for the Napier Tower and Ligertwood Building are the lawns on the crescent and the area south of the University Club above the Walter Young Garden, west
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of Napier. For the Hughes Building it is the Plaza outside Security and for the Education Building precinct it is North Terrace. Evacuation procedures Staff and students must leave the building via the fire stairs once the notice to evacuate has been raised. The lifts should not be used. Those experiencing difficulties leaving need to notify the floor warden. Staff and students may return only after the Warden has granted permission. Medical emergencies and first aid In life threatening situations (only) ring 35444. Contact a First Aid Officer (see below). A First Aid kit is kept in Napier 722. Please record any usage in the notebooks provided. Your nearest sick bay/rest room is to be found in Ligertwood building. Please contact the Law office to obtain a key. Representatives and officers First Aid officers are trained to deal with first aid situations. Departmental Safety Officers represent the Head of School/Discipline in OH&S matters. The elected OH&S Representative can represent staff and students in OH&S issues. School/discipline OH&S representatives Position/Role First Aid officer(s) OH&S representative Name Dagmar Theil Denise Gamble Ben McCann Room Napier 707 Napier 704 Hughes 815 Phone x 35637 x 35302 x 35149
Accident and incident reporting OH&S legislation demands that all accidents and near-miss incidents be reported to the Office Manager or School/Discipline Head. An Accident/Incident Report and Investigation Form must be completed (preferably within 48 hours) by the person involved and the supervisor, and a copy given to the OH&S Safety Officer. Copies are available from the OH&S Representative or Safety Officer and from staff in the School of Humanities Office, Napier 722, and from the Faculty website.
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