BA English Literature and Philosophy

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Philosophy graduates leave with skills in analysis and argument, presentation and teamwork that are highly sought after in a wide range of professions. Our lecturers are highly experienced and active in research. Their specialised findings are the central focus of many taught modules, giving our students direct insight into the latest philosophical understanding and cutting-edge debates.

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The School of Literature, Drama and Creative Writing at the University of East Anglia has a long-established international reputation in literary studies. World famous for our pioneering courses in creative writing, we are also home to prize-winning scholars and translators of literature and drama from all periods.

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"The campus is unique, the philosophy faculty are excellent and the humanities staff are so helpful. I felt completely at home there.”

In their words

Emma Corsan, BA Philosophy

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Studying English Literature and Philosophy means you get to read the literature you love and discuss it with staff and students in our world-famous School of Literature, Drama and Creative Writing, yet at the same time pursue the deep questions of philosophy in the company of students and staff whose ideas will make you think twice and read again.

The degree course includes roughly equal proportions of both subjects, but there’s scope to adjust the balance towards more literature or more philosophy if you wish, as your interests deepen. In fact, there are staff in both departments whose research and teaching interests cross over between the two. So in your second year you get a co-taught module that twines the two together to make something that is a sheer delight. These will be years you’ll never forget, your whole life through.

Overview

According to Socrates the most serious question for humanity is: how are we to live? This question, amongst others, is one that the BA English Literature and Philosophy encourages you to engage with. You will explore a variety of issues during this degree programme, developing your ability to answer questions like: What is justice? How can our minds know the world? What is truth? Can we prove anything about God? How do we tell good reasoning from bad? The study of philosophy considers these questions in a systematic attempt to make sense of human life and the world in which it is lived.

Another one of the most important ways of trying to make sense of human life and the questions it raises is through literature, and we will focus on how these two complex disciplines can be understood through combined study. You will have the opportunity to explore ideas such as:

  • The diverse ways in which philosophers and writers explore existential aspects of the human condition
  • How philosophers such as Plato and Nietzsche developed literary styles to engage with philosophical questions in exciting and unexpected ways
  • Whether novels, poems and dramatic works can uncover special kinds of truth about the world. 

Writers and philosophers consistently consider the same universal questions using different approaches, which is what makes the combination of English literature and philosophy such an excellent resource for philosophical debate and analysis.

This very popular course will be especially suitable for those interested in existential and intellectual themes in literature. You will study a full range of philosophy and literature modules, developing skills in both fields. Interdisciplinary links are emphasised, with some philosophy modules making ample use of literary examples.

Course Structure

Your degree programme may contain compulsory or optional modules. Compulsory modules are designed to give you a solid grounding, optional modules allow you to tailor your degree.

The course modules section below lists the current modules by year and you can click on each module for further details. Each module lists its value (in credits) and its module code, a year of study is 120 credits. 

Assessment

You will be assessed using a variety of methods, including the use of essays, substantial research projects or dissertation, and examinations. Each module will have its own combination of assessment method. Your final result is calculated by combining the results of all of the modules which you have studied in the final two years.

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Study Abroad

Students who are enrolled on three-year programmes in the Faculty of Arts and Humanities have the option of applying to study abroad at one of UEA’s partner universities, for one semester of the second year. Please see our Study Abroad website for further information and criteria.

Course Modules 2017/8

Students must study the following modules for 100 credits:

Name Code Credits

CLASSIC READINGS IN PHILOSOPHY

This introductory module for first year students is designed to invite you into philosophical enquiry by engaging in a conversation with some of the most famous philosophers of the past. We start with a classic work by Plato, from the birth of philosophy in Classical Greece, and we finish with a classic work from modern philosophy that has been of major significance. In between, we typically focus on one other text, usually a famous work by Aristotle, or some later Greek and Mediaeval thinker may be included. The texts are studied in English. You will learn to do philosophy in dialogue with thinkers whose ideas and arguments are not just brilliant "for their time", but brilliant for our time and for all time. You will come away thinking differently about many things that you had never properly asked about before. The module is suitable for those with no prior knowledge of philosophy, and students on other degrees who are taking no other philosophy modules. You should come with an open mind, or willing to open your mind.

PPLP4061A

20

LITERATURE IN HISTORY 1

This is the main introductory module to the study of literature. It aims to help new students to read historically, by offering a range of models of the relationship between literature and history, explored through the study of selected historical and literary moments. The module is taught by a weekly lecture, with an accompanying seminar.

LDCL4008A

20

LITERATURE IN HISTORY II

'Realism' is a key term in understanding the relationship between literary texts and historical reality. The term originated in the nineteenth century, the high period of a certain kind of realist novel that Colin MacCabe called the 'classic realist text'. Yet this nineteenth century novel is only one influential form of realism among many. This module investigates the varieties of realism by exploring the multifarious and innovative ways in which writers have exploited a variety of literary forms with the aim of producing the impression of a faithful representation of historical reality. In so doing, it encourages students to think past a culturally ingrained notion of the nineteenth-century novel as a kind of literary norm, or default setting. For one thing, the nineteenth-century novel was in itself highly diverse, more so than this normative model would allow. But more than that, the impulse to get closer to 'reality' always begs questions such as 'the reality of what?', 'whose reality?' and 'the whole of reality? or, if not, which bit of it?'. Realist impulses have often pulled writers in different directions, suggesting a plurality of different formal strategies. Students will learn to identify the different rhetorical and formal devices that writers across the centuries have used to create realist effects.

LDCL4019B

20

MODERN READINGS IN PHILOSOPHY

This module introduces students to the history of modern philosophy by studying the work of a number of major philosophers from the period 1650 to 1950. Philosophers such as Descartes, Locke, Hume, Kant, Schopenhauer, Nietzsche, Sartre and de Beauvoir may be studied. We look at the different answers they give to a common set of problems, beginning with problems in epistemology, i.e. problems about the nature and limits of human knowledge, about what we can know and how we can know it. These problems connect with questions about what the world must be like in order for us to know it and what we (our minds) must be like in order to know the world, what sort of properties we possess and what this means for our freedom and actions. The module is taught through a detailed reading of original texts by these philosophers, and close reading of texts is developed in the formative exercises and the summative essay work; there is also an examination. The module is suitable for students with little or no prior experience of philosophy, and can be taken by students on other degrees, as your first or sole philosophy module.

PPLP4063B

20

READING TEXTS: TUTORIAL CLASS

This module provides the opportunity to work closely on selected texts within the contexts of a small group. It aims to develop and explore modes of textual analysis. By the end of the module the students will have highly developed reading skills, a sense of the implications of interpreting texts and the individual research skills essential for a university degree. Not available to Visiting Students. Students with A-level or equivalent knowledge of a foreign language can choose to study the Reading Translations strand of Reading Texts. This option relates textual analysis to the issues that arise when we read works in English translation, providing a foundation for a number of LDC modules dedicated to international literature. Reading Translations is available to Visiting Students.

LDCL4009A

20

Students will select 20 credits from the following modules:

Name Code Credits

FOUNDATIONAL TEXTS OF THE GREAT CIVILISATIONS

In this module we explore the ways in which human beings have, from time immemorial, used narratives and poetry to create their models of the universe, and to think about issues relating to mankind's place within it. It focuses on ancient texts from a variety of major civilisations over the last four millenia, many of them still treated as living sources of wisdom and insight, spiritual guidance and moral vision. It has become customary in modern philosophy to privilege rational discourse in prose as the acceptable way of doing philosophy, and to imagine that to be human is to be rational. But is it irrational to explore our world and discover the deeper truths through narrative? Is that even non-rational enquiry? Might it actually be one of the key ways in which philosophy can reach and engage every human being? And might that be why all civilisations have stories and poetry as their foundational texts, not philosophical arguments? Students will acquire a basic knowledge of some key texts (including Homer, key parts of the King James Bible and the Quran) that any citizen of the world should know.

PPLP4067B

20

RADICAL PHILOSOPHY

This module revolves around the close reading of four classic texts from the distant or the recent past, which offer profoundly original perspectives on problems that must constantly be faced and reflected upon by mankind. The specific problem we shall focus on in Spring 2017 is the opposition of liberty and oppression, seen in particular from the point of view of the relation between freedom and revolution. Our main task will be to explore a genealogy of the idea of revolution and then devote ourselves to philosophically central conceptions of revolution, beginning with Marx (and looking at his influence on thinkers and political figures such as Lenin or Rosa Luxemburg) and continuing with critics of Marx who made an effort to reconceive the very idea of revolution, notably the French philosopher and mystic Simone Weil and the Jewish philosopher Martin Buber. These figures and their ideas will naturally attract a number of other texts, some philosophical and some literary (authors may include Homer, LaBoetie, Landauer, Levi, Melville, Todorov), which will be discussed to broaden the context in which our four classics can be situated and explore their theoretical resonance with other classics.

PPLP4065B

20

REASONING AND LOGIC

Consider this argument: 'If two equals one, then, since you and the Pope are two, you and the Pope are one'. This is admittedly odd, but at the same time it feels compelling. The impression is that the argument includes bizarre or false claims, but that these are used in a somewhat consistent manner. What does this mean, exactly? The key to an answer is to draw a distinction between arguments that have true premises and arguments that do not but are nonetheless correct. In this module we shall study this distinction and focus in particular on learning easy ways of finding out whether an argument is correct or not. Since there are simple rules to do so, this module will not only enable you to spot an incorrect argument whenever you see it, but also offer you an especially straightforward way into the study of logic. Moreover, this is one of the few modules in the humanities where you can get a full 100% mark on all of your coursework, if you just know the basic ideas and the way to apply them.

PPLP4064B

20

Students will select 0 - 80 credits from the following modules:

Unless you are taking one of the Semester Abroad modules you must take at least 2 modules from this range, one of which must be LDCL5072A. Students spending the Spring Semester abroad must also take LDCL5072A. If you are taking a semester abroad module, you must take modules in consultation with the Course Director that ensure a good spread of Literature and Philosophy across the year.

Name Code Credits

AUSTEN AND THE BRONTES: READING THE ROMANCE

This module considers texts by Austen and the Brontes in relation to a wide variety of literary and historical contexts: feminisms, colonialism, impact of war, the social status of the woman writer, representations of governesses, madness, mad women and mad men, rakes, foreigners and strangers. We investigate the forms of communication which seem to be offered by and in the romance novel and the ways in which the lives of these authors have been told and read as romances. Opportunities will be available to work on film versions and students will also have, as part of the assessment, the opportunity to produce their own piece of creative writing in response to the primary texts.

LDCL5035B

20

COMEDY AND THE ABSURD IN DRAMA

How and why does comedy work as idea and theatrical practice? This module explores comedy across time and place, using a range of themes, texts, thinkers and practitioners to explore the theory, practice, politics and place of comedy in drama, encompassing comedy as social critique or challenge, resistance or reinforcement, comedy of ideas, language, confrontation, carnival and the grotesque, comic types and bodies, gender and identity politics, clowning, metatheatre and theatricality, as well as forms such as commedia dell'arte, and farce. We will also examine the idea and evolution of 'theatre of the absurd'. Texts will vary each year and you are encouraged to seek out performed comedy in a variety of contexts to text out theories and practice, as well as the particular relationship of comic performance to its audiences. The main mode is seminar discussion complemented by opportunities to participate in and/or observe some practical workshops. You may choose to include a performance element as part of the assessment but this module is open to all.

LDCL5071B

20

CONTEMPORARY FICTION

This module aims to take an open snapshot of different modes of writing in the recent British scene, not a post-war history of the novel. We'll concentrate on more adventurous examples of contemporary fiction, looking at specific aspects of form and style, and thinking about how such aspects speak to broader matters of history and ideology. We'll also consider also what it might mean to be or to call oneself contemporary.

LDCL5069B

20

CRITICAL THEORY AND PRACTICE

Through a combination of lectures and seminars, this module will explore the theory and practice of literary criticism from the origins of the study of English literature as an academic discipline to the present. In order to do this, we examine not only the work of literary critics and theorists, but also engage with developments in linguistics, economics, psychoanalysis and philosophy, tracing the ways in which these overlap with, and inform, literary study. Covering the work of writers as various as Karl Marx, Sigmund Freud, Jacques Derrida, Eve Sedgwick and Gayatri Spivak, and exploring structuralist, feminist, queer and post-colonial theories amongst others, this module engages with ideas and ways of thinking which you will find helpful throughout your degree.

LDCL5031A

20

EIGHTEENTH-CENTURY WRITING

The eighteenth century was a time of great literary experimentation in which many new genres emerged, including the periodical essay, the mock-epic, the ballad opera, and the novel. These genres took shape within a commercial revolution that transformed both what it meant to be an author and what it meant to be a reader. In this module you will see how writers like Joseph Addison, Alexander Pope and John Gay created works that both participated in and criticized the culture of commerce. You will explore the fictions created by writers like Henry Fielding and Samuel Richardson, who developed very different versions of the novel in competition and conversation with one another. You will also examine how writers such as Samuel Johnson, Frances Burney, and Olaudah Equiano navigated the new possibilities for authorship that were opening up in the period. In this module you are invited to become an "eighteenth-centuryist" and to make imaginative connections between the exciting range of genres that emerged in this century and the culture that produced them.

LDCL5041A

20

EUROPEAN LITERATURE

This module examines examples of twentieth-century European writing (all read in translation). Rather than (merely) place writers in their national contexts, we will deal with topics, issues and formal experiments that complicate, sometimes transcend, national boundaries. In fact we will interrogate what 'European' might mean in relation to literature - where are the borders? Are continental Europeans fundamentally 'other'? And if so, how does this otherness manifest itself aesthetically, thematically, tonally and formally? We'll look at how writers from different countries frequently challenge the conventions of genre and the conventions of reading and interpreting. Among a range of important innovations (or continuities), we may explore varieties of 'European' modernism, New Objectivity, the absurd, the nouveau roman, noir, or magical realism. We will also ask how European writers have responded to the challenges, upheavals and catastrophes of the twentieth century and how they deal with the ethnic, religious and cultural diversity within Europe. The module includes a weekly lecture. Assessment is by means of an individually chosen project (3500 words) which is supported by individual and group tutorials, a dedicated guidance session and a formative proposal.

LDCL5033B

20

I AM

RESTRICTED TO STUDENTS REGISTERED FOR COURSES Q300, Q3W8, QV31, QT37, W400, WQ43, WW84 ONLY. How do our literary choices inform our sense of self? What do our critical and theoretical interests say about our values and concerns? How do we make connections between our academic studies and the outside world? Using the rubric of Graduate Identity Theory as a starting point, this module allows you to explore notions of personal identity through engaging with a range of texts, from the literary and theoretical to journalism and online blogs. Our inquiry will focus on ideas concerned with notions of identity, self and subjectivity, which might include gender, class, race, sexuality, language and power; and you will have the opportunity to explore your thoughts through discussion, peer review, journaling, online blogging in addition to essay. The module will raise your level of self-awareness and help you to make confident claims, through academic pursuit, about who you are and what you can do. It will also build, in a practical way, on your employability skills.

LDCL5054A

20

LITERATURE AND PHILOSOPHY

This module will offer a series of different approaches to the question of how Literature and Philosophy can speak to each other as academic disciplines, demonstrating the breadth and diversity of the two fields, as well as acquainting students with the research in literary criticism and philosophy currently being pursued at UEA. As well as examining the ways in which literature can illuminate and trouble philosophical argument, it will explore literature and 'the literary' as a topic for philosophical analysis, and the kinds of thinking such a topic would demand. Setting literature and philosophy into dialogue in this way will engender a more capacious understanding of the particular philosophical issues, and literary techniques, under discussion. The course will allow students to develop an awareness of the limits and advantages of various modes of literary and philosophical expression, and to foster more sophisticated skills in both literary and philosophical criticism. The module will be made up of a lecture circus, with two weeks given to each lecturer on a particular topic related to their current research (there will be five in all, David Nowell Smith (module convenor) plus two from PHI and two from LDC). The seminars will discuss issues arising from these lectures, working with texts set by the lecturer. The module is compulsory for VQ53 English Literature with Philosophy students, but is also open for other students in the English Literature and Philosophy degree courses.

LDCL5072A

20

MEDIEVAL WRITING

This module provides an introduction to the study of medieval literature. We explore Chaucer's poetry (The Clerk's Tale, The Nun's Priest's Tale, The Parliament of Fowls), the wonderful Morall Fabillis of Robert Henryson, the work of Julian of Norwich and Margery Kempe, and three Middle English Romances, including the superb Sir Gawain and the Green Knight. The module works in three inter-related ways: by exploring a range of important medieval literary genres (the lyric, allegorical narrative, romance, 'mystical writing', 'life writing', moral fable, dream vision); by considering important aspects of the medieval world (social, political, religious) and their textual representation; and by addressing the material circumstances in and by which medieval texts were written and read, published and circulated (in manuscripts and in the very earliest printed books). The aim, then, is really two-fold: to introduce you to the remarkable riches of medieval literature (one of the pay-offs of the relative linguistic difficulty of Middle English is that it forces us to attend slowly and carefully to the textual details of our material in a way I suspect we don't always find ourselves able to and in a way that the texts we will be reading wonderfully reward), and, at the same time, to allow you to try your hand as medievalists, exploring the distinctive possibilities and practices that come with working with this material.

LDCL5063A

20

MODERNISM

Modernism revolutionised the arts worldwide and peaked in the period between 1918 and 1939. We will focus on modernist literature written in English in this period, studying in detail such major authors as Ezra Pound, H.D., William Carlos Williams, T. S. Eliot, Marianne Moore, James Joyce, Virginia Woolf. Djuna Barnes, Dorothy Richardson, and others. There will be close attention to the radical experiments they conducted with language and form in their attempts to plumb the depths of consciousness. We will trace their origins in earlier literary movements such as Symbolism, Imagism, Aestheticism, and Impressionism, and explore their kinship with foreign literary movements such as Dada and Surrealism. You will be encouraged to do your own research, extending your reading of authors beyond the assigned syllabus material and drawing on the resources of the Modernist Magazines Project. Modernism invented modern methods of criticism and there will be a particular emphasis on the close reading of poetry and poetic prose. A study of modernism is essential for understanding all twentieth century literature and this module is highly recommended for any students wishing to take any modules in twentieth-century literature at Level 6.

LDCL5045A

20

PUBLISHING (SPR)

The module will be conceptual as well as practical including discussions and exercises around the design, editing and publishing of a text and what constitutes an editorial policy. In the seminars students will be taught how to set up, run and market their own publications (a magazine/book/fanzine) as well as to justify their editorial, marketing and business strategies. This course will be assessed by a portfolio and a piece of coursework. Three sessions of training on Indesign publishing software will be provided as part of the course. This module will suit students who wish to engage with publishing on a creative and intellectual level as well as learning useful employability skills.

LDCL5065B

20

READING AND WRITING CONTEMPORARY POETRY

This module will focus on poetry written from the post-war context up to the present day. The poets studied will be drawn principally from an Anglo-American tradition and may include such writers as Frank O'Hara, John Berryman, Elizabeth Bishop, Sharon Olds, James Tate, Yusef Komunyakaa, Carol Ann Duffy, Carolyn Forche and Emily Berry among others. Using the reading and study of post-war poetry and addressing some of the concerns of poetry including form and poetry of witness, students will be able to write creatively and/or critically for assessment. Formative work includes creating a mini-anthology of contemporary poetry. The module builds upon Creative Writing modules and complements modules such as Poetry After Modernism and poetry dissertations. This module is open to Literature and English Literature with Creative Writing Students.

LDCL5073B

20

READING AND WRITING IN ELIZABETHAN ENGLAND

In this module we will study some of the most important poetry and prose of the English Renaissance, including masterpieces by Christopher Marlowe, Sir Philip Sidney, and Edmund Spenser, as well as Shakespeare's early narrative poetry (not covered on the Shakespeare module). We will be studying these writers in a unique way. Behind this great outpouring of Elizabethan writing lay a vibrant literary culture which valued rhetoric, argument, elaborate and often playful self-presentation, and which insisted that good reading helped you to develop an individual style as a writer. In response to your reading of Renaissance literature, you will put the tenets of this culture into practice, building up over the course of the module an assessment portfolio of short pieces of writing in prose (or sometimes, if you wish, poetry). When reading Sidney's groundbreaking 'Defence of Poetry', for instance, you will draw on his rhetorical and argumentative techniques to write your own defence of any modern genre of your choice. Or when looking at the way Thomas Nashe plays with the form of his printed books you will have the opportunity to experiment with innovative ways of presenting your own portfolio to readers. This module allows you to think critically in genres other than conventional academic essays, and in doing so aims to foster connections between critical and creative writing. You will have the chance to develop more confidence and self-awareness as a writer and critic through studying some of the greatest English literature. THIS MODULE FULFILLS THE PRE-1789 REQUIREMENT.

LDCL5062B

20

READING AND WRITING TRANSLATIONS

This course focuses on reading translated texts from around the world, and analysing them in the context of translation theory. Texts explored will range from the Bible and Latin poetry (Virgil, Catullus) through the Arabian Nights to non-fiction works (Nietzsche, Freud) and Harry Potter; translation theories studied will include historical examples (Jerome, John Dryden, Friedrich Schleiermacher) and more recent theoretical work in translation studies, with a particular emphasis on the way translation theory intersects with cultural movements such as feminism and postcolonialism. There is one piece of summative coursework assessment, which involves either an original translation with commentary or a comparative analysis of existing translations or an essay on a theoretical issue in translation studies. Other pieces of formative assessment to be completed over the course of the module include analyses of translated texts, sample translations, and self-commentaries on translations. A thorough reading knowledge of another language besides English is advisable, but not essential.

LDCL5061A

20

ROMANTICISM 1780-1840

Romantic Literature is often thought of as poetry, primarily work by Blake, Wordsworth, Shelley, Keats and Bryon. But the signs and forms of Romantic sensibility can also be found in a much broader constituency of writing practice: the novel, letter writing, the essay, political and aesthetic theory, and writing of all kinds taken as social critique. This module is taught through a combination of lectures and seminars.

LDCL5034B

20

SEVENTEENTH-CENTURY WRITING: RENAISSANCE AND REVOLUTION

This module introduces you to the poetry, drama and prose of one of Britain's most exciting and turbulent periods of cultural, political and intellectual transformation: the seventeenth century. The module works through lectures, which establish larger questions we might ask of the week's material, and seminars, in which we close read passages of texts together intensively. We begin in the early-seventeenth century by exploring the ways English writing was transformed by its encounters with classical texts and by religious experience, before turning to explore women writers' complicated relationship to early-modern literary culture. In the module's second half, we ask how literary forms were transformed by the extraordinary upheavals of the English civil war and the execution of the monarch. Throughout, we learn how knowledge of the circumstances of texts' publication and readership can help us to interpret literature. Authors we study include famous figures such as Ben Jonson, Andrew Marvell, and John Milton (including a look at his masterpiece, Paradise Lost), as well as many lesser-known writers, including women like Lucy Hutchinson and Amelia Lanyer, and Norwich's greatest writer, Thomas Browne. You will have the chance to read translations of several of the classical authors (including Horace and Martial) who influenced them. The module includes a visit to the Norfolk Heritage Centre (in the centre of Norwich) to see their remarkable collection of seventeenth-century books.

LDCL5042A

20

SHAKESPEARE

The aim of this lecture-seminar module is to help you become a better reader of Shakespearean drama. He was writing between about 1590 and about 1610; obviously his plays speak to us over a great cultural distance, and we can find fresh ways of reading them by exploring the theatrical, generic and historical frameworks in which they were written and staged. The lectures, then, will introduce a range of contexts, and the seminars will seek to turn them to account in the reading of the dramatic texts themselves.

LDCL5070B

20

THE SHORT STORY (AUT)

What is a short story? What do short story writers have to say? What about short story critics and theorists? Is the short story a narrative in miniature? Or is there more to a short story than simply being 'short'? And why are critics so concerned with whether the short story is alive or dead? These are the kind of questions this module will investigate by asking you to think as a short story reader, theorist, critic and writer. Reading will be drawn from short story writers - and writing about the short story - roughly spanning the 19th century to the present, and from a range of cultural contexts. Our interest will not be to establish a history of the short story, but instead to explore the range of thematic preoccupations, changing definitions, and critical debates surrounding the form. Students will have the opportunity to respond to these questions in critical and/or creative forms of assessment. Writers studied might include Edgar Allan Poe, Katherine Mansfield, Julio Cortazar, Anton Chekov, Ali Smith and Ryunosuke Aqutagawa.

LDCL5074A

20

THE SHORT STORY (SPR)

What is a short story? What do short story writers have to say? What about short story critics and theorists? Is the short story a narrative in miniature? Or is there more to a short story than simply being 'short'? And why are critics so concerned with whether the short story is alive or dead? These are the kind of questions this module will investigate by asking you to think as a short story reader, theorist, critic and writer. Reading will be drawn from short story writers - and writing about the short story - roughly spanning the 19th century to the present, and from a range of cultural contexts. Our interest will not be to establish a history of the short story, but instead to explore the range of thematic preoccupations, changing definitions, and critical debates surrounding the form. Students will have the opportunity to respond to these questions in critical and/or creative forms of assessment. Writers studied might include Edgar Allan Poe, Katherine Mansfield, Julio Cortazar, Anton Chekov, Ali Smith and Ryunosuke Aqutagawa.

LDCL5075B

20

THREE WOMEN WRITERS

The writings of Edith Wharton, Katherine Mansfield and Virginia Woolf intersect with discourses of 'new women' and gender as well as feminism, and social and cultural history. This second level seminar develops historicist and generic understanding as well as exploring women's identity through these authors' writings, which move between realism and modernism. Special attention to just one writer is possible in the final essay. Particular attention will be given to some of Virginia Woolf's lesser known writing.

LDCL5050B

20

VICTORIAN WRITING

This module aims to equip you with a knowledge of writing from across the nineteenth century, in a variety of modes (fiction, poetry, science, journalism, cultural criticism, nonsense). We will examine authors such as George Eliot, Tennyson, Dickens, Darwin, Arnold, Charlotte Bronte, and the Brownings. You will thus develop an awareness of how different kinds of writing in the period draw on, influence, and contest with each other. Likewise, you will acquire a sense for the cultural, political and socio-economic contexts of nineteenth-century writing, and some of the material contexts in which that writing took place (serial publication, popular readership, periodical writing, public controversy).

LDCL5067B

20

WORDS AND IMAGES

The module aims to explore the relationship between words and images in contemporary literature. As well as developing a critical vocabulary with which to discuss how these two media can be combined, the module will survey shifts in the generic conventions of such literature over the last few decades so that students will develop an awareness of the various narrative techniques that such texts employ and be able to discuss these aspects in an informed and critical manner. The theoretical approach will consider narrative, ekphrasis, and critical work in the area by Scott McCloud, Perry Nodelman, Matthew Smith and Randy Duncan, amongst others. The module will analyse established texts by writers and artists such as Art Spiegelman, Guy Delisle and Alison Bechdel. Students will be assessed through critical and/or creative engagement. The module will build upon the level one Writing Texts module and will complement Words and Music and Children's Literature at level three.

LDCL5068B

20

WRITING THE WILD

It is a popular conception that writing about the natural world and its fragility is a particular fixation of the late twentieth and early twenty first century. However, concern about the natural world and man's place in his environment became a major preoccupation in the eighteenth century. Writing the Wild asks to what extent nature writers in our period may be read as being in dialogue with their eighteenth century predecessors. Texts will be predominately non-fiction and will give students the opportunity to study the less familiar writings of such authors as Mary Shelley, Mary Wollstonecraft and Jane Austen alongside contemporary nature writing by Richard Mabey, Robert Macfarlane, Kathleen Jamie and Tim Dee. Topics will include: nostalgia, the impact of war on writing about the countryside, the relationship between nature, writing and the mind and the notion of 'landscape'. This module offers students the opportunity to write 'creatively' as well as 'critically'.

LDCL5059B

20

Students will select 0 - 80 credits from the following modules:

Unless you are taking a semester abroad you must take at least two modules from this range. If you are taking a semester abroad you must take modules in consultation with the Course Director that ensure a good spread of Literature and Philosophy modules across the year.

Name Code Credits

AESTHETICS AND PHILOSOPHY OF ART

This module will explore some of the major themes and problems in aesthetics and the philosophy of art, asking questions about the value of art, aesthetic experience and judgement, artistic creativity, interpretation and representation. The module begins by looking at Plato's reflections on the place of the arts in society and includes an exploration of classics of the 18th and 19th Century aesthetic tradition such as Hume's Of the Standard of Taste, Kant's Critique of the Power of Judgment, and Nietzsche The Birth of Tragedy, as well as more contemporary works from various traditions. We end with a reading of one of the most influential essays on art in the last century, Heidegger's Origin of the Work of Art, drawing together and attempting to reappraise many of the issues tackled in the module as a whole. This module is taught biennially.

PPLP5091B

20

ANALYTIC PHILOSOPHY TO 1939

Analytic Philosophy has been the dominant model of philosophy in the English-speaking world for about a century, and most philosophy degrees still privilege this way of doing philosophy. But what is it and what is its history? According to its original promises this approach should make possible progress in philosophy that is comparable to scientific progress. But has this really happened? Could a revision of some of the original methodological ideas make this possible? In this module we examine the heritage of famous pioneers in this kind of philosophy, particularly Gottlob Frege, Bertrand Russell, the early work of Ludwig Wittgenstein, and the work of Rudolf Carnap.

PPLP5171A

20

EMPIRICISM AND NATURALISM: EXPERIENCE, EXPERIMENTS, AND PHILOSOPHY

The birth of modern science went hand in hand with the rise of Empiricist styles of philosophy that have exerted a huge philosophical and cultural influence, ever since. This module will critically assess this key tradition, explore how it has evolved over time, and examine how it influences exciting philosophical debates today. We will cover classical (early modern) empiricism, logical (20th century) empiricism, and current naturalism with a focus on methodological naturalism and the potentially transformative movement of experimental philosophy.

PPLP5169B

20

ETHICS FOR LIFE

Moral problems impinge directly on our lives. These may be either issues pertaining to oneself and to people close to one, or they may be connected with public policies, the law and issues of global justice. Though we shall discuss classic topics of practical ethics such as justice, equality, death and civil disobedience, our main interest will be in discerning the underlying patterns in our thinking about such problems. Another focus will be issues relating to philosophy's practical role. How exactly might philosophy help us in thinking about real moral problems and how best to live our lives? Are there ways in which literature might help us in thinking about morality and life? Using examples from literature and life we seek to expose over-simplifications in moral theory, develop sensitivities to the complexity of situations, and explore how tragedy, may, in the end, be a fundamental and unavoidable aspect of the human condition. This module is offered biennially.

PPLP5083B

20

FILM AS PHILOSOPHY

The module will present and evaluate the thesis that film not only exemplifies particular philosophical problems, but also provides its own distinctive style of answer to those problems. Students will be encouraged to develop their skills in distinguishing between genres. They will, for example, examine the differences and overlap between film, literature, and drama, and explore the implications of these differences. A range of different kinds of film and different themes in film will be studied.

PPLP5089B

20

LOGIC

This module will look at the conceptual foundations of logic with an especial emphasis on the relationship between logic and natural language. After a brief introduction to (recap on) first-order logic with identity (semantics and proof), the unit will proceed to look at a number of interconnected themes, including the semantic paradoxes, Russell's theory of descriptions, the nature of truth, logical syntax, and natural language quantification. Although PPLP4064B Reasoning and Logic is not a pre-requisite, those students who did not get at least 60% on that module, or did not take the module at all, should see the Module Organiser before enrolling.

PPLP5080A

20

NATURE, HUMANITY and ENVIRONMENTAL VALUES: THE PHILOSOPHY OF THE ENVIRONMENT

The aim of this module is to look at some of the philosophical and ethical issues underlying environmental concerns. In particular, we will ask in what sense it is possible to speak of a moral relationship of humans with their non-human environment. We will focus on understanding whether environmental value is intrinsic or relative to human interests, and look at how this distinction relates to arguments about the nature of our obligations towards other species and the natural environment. Finally we will examine some of the difficulties that debates about environmental policy face.

PPLP5167B

20

PHENOMENOLOGY AND EXISTENTIALISM

In this module we explore the genesis and development of the phenomenological tradition, one of the most significant and influential movements of the twentieth century. Beginning with Edmund Husserl's attempt to investigate the intentionality of pure consciousness in all its forms, we will investigate the critique of these ideas put forward by Husserl's most famous student, Martin Heidegger. Rooting phenomenological analysis in the lived world of anxiety, mortality, freedom, and temporality, Heidegger's work gave rise to important debates in existential philosophy, especially in the work of Jean-Paul Sartre and Maurice Merleau-Ponty. Phenomenological analysis and existential philosophy share a commitment to understanding human life as an integrated whole that does away with traditional philosophical divisions between metaphysics, epistemology, ethics, aesthetics and political thought. Time permitting, we will also look at some later immanent criticisms of phenomenology and existentialism developed by such thinkers as Emmanuel Levinas and Jacques Derrida. This module is offered biennially.

PPLP5082A

20

PHILOSOPHY OF MIND

What is it to have a mind? Are we humans the only things to have a mind? Is a mind even a unitary thing? This module will investigate these fundamental questions by way of considering two so-called marks of the mental. Firstly, to have a mind is to be able to represent or think about things (intentionality). Secondly, having a mind involves qualitative states: e.g., what it's like to feel pain or see red. The status of both of these marks is highly controversial. The module will seek to explain why they are controversial and assess possible solutions to the problems to which they give rise.

PPLP5098B

20

POLITICAL PHILOSOPHY

The dominant political philosophy of our time is liberalism (and 'neo-liberalism'). This module will examine topics in contemporary political philosophy including the liberalism of John Rawls's 'A Theory of Justice' (1972) together with the critical responses to it of Marxists, ecologists, free-market libertarians, and communitarians. It thus puts students in a position to understand and criticise the mainstream 'received wisdom' in this area, and potentially to formulate alternatives to it. Is liberalism a suitable political philosophy for our time? If not, what is?

PPLP5088A

20

WORLD PHILOSOPHIES

'World philosophies' is a chance to study 'non-Western' philosophy at Honours level. In this module, UEA philosophers present and examine a package of philosophical ideas, approaches and arguments from the non-Christian world. These include traditions such as Mediaeval Jewish and Islamic philosophy, Buddhist philosophy, Zen, Daoism, and the applied philosophy of Mahatma Gandhi. Throughout the unit, connections will be made, where appropriate, to 'Western philosophy', especially to ancient Greek thought; but the main point of this module is to provide a serious opportunity for the student to immerse themselves in approaches which have been relatively removed from the dominant influences upon philosophy in the English-speaking and European world.

PPLP5170B

20

Students will select 0 - 60 credits from the following modules:

Students will choose any remaining credits from this Option Range. If you select PPLP5072A or PPLP5073B from this Option Range, you will choose three modules from Option Range A and B in consultation with the Course Director, to take account of the subjects you will study whilst abroad.

Name Code Credits

ADVANCED ENGLISH I - B2 CEFR

Advanced English I and Advanced English II are free-standing modules. Students can choose to take the Autumn course (Sept-Dec) or the Spring course (Jan-Apr) only, or both courses. Both courses are designed for people who already have an advanced level of English (IELTS 6.5 or above/CEFR strong B2) and who want to develop their current skills to reach a more competent level. There will be a range of contemporary topics discussed and skills practised during the course. The programme may be modified from time to time in response to the needs and interests of the group and where necessary to deal with common grammatical, lexical and phonological issues in spoken and written English. Students may not enrol on this module if they already have a knowledge of English equivalent to 7.5/8.00 IELTS/C1/C2 CEFR or above, i.e. if they are a native speaker or near-native speaker of English.

PPLB5043A

20

ADVANCED ENGLISH II - B2 CEFR

Advanced English I and Advanced English II are free-standing modules. Students can choose to take the Autumn course (Sept-Dec) or the Spring course (Jan-Apr) only, or both courses. Both courses are designed for people who already have an advanced level of English (IELTS 6.5 or above/CEFR strong B2) and who want to develop their current skills to reach a more competent level. There will be a range of contemporary topics discussed and skills practised during the course. The programme may be modified from time to time in response to the needs and interests of the group and where necessary to deal with common grammatical, lexical and phonological issues in spoken and written English. Students may not enrol on this module if they already have a knowledge of English equivalent to 7.5/8.00 IELTS/C1/C2 CEFR or above, i.e. if they are a native speaker or near-native speaker of English

PPLB5044B

20

BEGINNERS' ARABIC I

This course is a pre-requisite to the study of Arabic language. Its aim is the mastery of the alphabet: the script, the sounds of the letters, and their combination into words. Also, it introduces basic Arabic phrases and vocabulary to help you have introductory conversations. The student will develop essential speaking, listening, reading and writing skills as well as a solid understanding of the structure of the language in Modern Standard Arabic (MSA). Some aspects of the Arab world and culture(s) are covered. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4029A

20

BEGINNERS' ARABIC II

This is the second part of a beginners' course in Arabic following on from Beginners' Arabic I (PPLB4029A). Students with a GCSE grade C or below (or equivalent experience) may join this module. Alternative slots may be available, depending on student numbers. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4030B

20

BEGINNERS' CHINESE I

This module aims to introduce Standard Chinese (Mandarin) to learners with no (or very little) experience with the language and to develop basic listening, speaking, reading and writing skills. Students speaking other varieties of Chinese (e.g. Cantonese) are not eligible for this module. Teaching will include pronunciation, vocabulary and basic grammar of Mandarin. Word processing and cultural topics will also be covered in class. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4034A

20

BEGINNERS' CHINESE II

A continuation of the beginners' course in Chinese. Students with a GCSE grade C or below (or equivalent experience) may join this module. It cannot be taken by final-year language and communication students. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4035B

20

BEGINNERS' FRENCH I - A1 CEFR

This module is for students at beginners' level who have little or no prior experience of French (if you have a recent French GCSE grade C or above, or an international equivalent, then this module may not be appropriate for you - please contact the module organiser as soon as possible to be sure). The module will develop students' reading, writing, listening and speaking skills at the A1 level of the Common European Framework of Reference (CEFR) for Languages. The aim is to equip them with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where French is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module, at the Teacher's discretion.

PPLB4013A

20

BEGINNERS' FRENCH I - A1 CEFR (SPRING START)

This module is for students at beginners' level who have little or no prior experience of French (if you have a recent French GCSE grade C or above, or an international equivalent, then this module may not be appropriate for you - please contact the module organiser as soon as possible to be sure). The module will develop students' reading, writing, listening and speaking skills at the A1 level of the Common European Framework of Reference (CEFR) for Languages. The aim is to equip them with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where French is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4015B

20

BEGINNERS' FRENCH II - A2 CEFR

A continuation of the beginners' course in French (Beginners' French I). This module can be taken in any year, but not by final-year language and communication students. (If you have a recent French GCSE grade B or above, or an international equivalent, then this module may not be appropriate for you - please contact the module organiser as soon as possible to be sure). The module will develop students' reading, writing, listening and speaking skills at the A2 level of the Common European Framework of Reference for Languages. The aim is to equip them with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where French is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Alternative slots may be available depending on student numbers. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4014B

20

BEGINNERS' GERMAN I - A1 CEFR

This module is for students at beginners' level who have little or no prior experience of German. The module will develop students' reading, writing, listening and speaking skills. The aim is to equip students with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where German is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4018A

20

BEGINNERS' GERMAN II - A2 CEFR

A continuation of the beginners' course in German (PPLB4018A). Students with a GCSE grade C or below (or equivalent experience) may join this module. This module cannot be taken by final-year language and communication students. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4019B

20

BEGINNERS' GREEK I - A1 CEFR

This module is for students at beginners' level who have little or no prior experience of Greek. The module will develop students' reading, writing, listening and speaking skills. The aim is to equip students with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where Greek is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4036A

20

BEGINNERS' GREEK II - A2 CEFR

A continuation of Beginners' Greek I. Students with a GCSE grade C or below (or equivalent experience) may join this module. It cannot be taken by final-year language and communication students. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4037B

20

BEGINNERS' ITALIAN I - A1 CEFR

This module is for students at beginners' level who have little or no prior experience of Italian. The module will develop students' reading, writing, listening and speaking skills. The aim is to equip students with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where Italian is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4038A

20

BEGINNERS' ITALIAN II - A2 CEFR

A continuation of the beginners' course in Italian. Students with a GCSE grade C or below (or completed A1 level from CEFR - Common European Framework of Reference) may join this module. It cannot be taken by final-year language and communication students. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4039B

20

BEGINNERS' JAPANESE I

This module is for students at beginners' level who have little or no prior experience of Japanese. The module will develop students' reading, writing, listening and speaking skills. The aim is to equip students with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where Japanese is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4040A

20

BEGINNERS' JAPANESE I (SPRING START)

This module is for students at beginners' level who have little or no prior experience of Japanese. The module will develop students' reading, writing, listening and speaking skills. The aim is to equip students with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where Japanese is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4042B

20

BEGINNERS' JAPANESE II

A continuation of the beginners' course in Japanese (Autumn or Spring). Students with a GCSE grade C or below (or equivalent experience) may join this module. It cannot be taken by final-year language and communication students. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4041B

20

BEGINNERS' RUSSIAN I - A1 CEFR

This module is for students at beginners' level who have little or no prior experience of Russian. The module will develop students' reading, writing, listening and speaking skills. The aim is to equip students with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where Russian is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled (A1 CEFR or equivalent) may be asked to withdraw from the module at the Teacher's discretion.

PPLB4043A

20

BEGINNERS' RUSSIAN II - A2 CEFR

A continuation of Beginners' Russian I. Students with a GCSE or A Level in Russian (or equivalent to A2 CEFR - Common European Framework of Reference) may join this module. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4044B

20

BEGINNERS' SPANISH I - A1 CEFR

This module is for students at beginners' level who have little or no prior experience of Spanish. The module will develop students' reading, writing, listening and speaking skills. The aim is to equip students with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where Spanish is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. This module is NOT open to students who have GCSE Spanish (or GCSE equivalent). Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4022A

20

BEGINNERS' SPANISH I - A1 CEFR (SPRING START)

This module is for students at beginners' level who have little or no prior experience of Spanish. The module will develop students' reading, writing, listening and speaking skills. The aim is to equip students with the linguistic understanding of a number of real life situations, as well as the ability to communicate effectively in those situations. There will also be opportunities to explore aspects of the cultures where Spanish is spoken. Particular emphasis is placed on acquiring a sound knowledge of grammar. This is a repeat of module PPLB4022A for those who wish to start their course in the Spring. This module is not available to language and communication students. This module is NOT open to students who have GCSE Spanish (or GCSE equivalent). Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4024B

20

BEGINNERS' SPANISH II - A2 CEFR

A continuation of the beginners' course in Spanish (Autumn or Spring). Students with a GCSE grade C or below (or equivalent experience) may join this module. It cannot be taken by final-year language and communication students. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4023B

20

CREATIVE WRITING: INTRODUCTION (AUT)

An introductory module open only to second year students. It is not available to students on the Creative Writing Minor and is offered as an alternative to other Level 5 Creative Writing modules. The aim of the module is to get students writing prose fiction and/or poetry, using structured exercises based on objects, handouts, discussion and visualisation to stimulate the production of work. At the outset students will be encouraged to write about 'what they know', drawing on notebooks, memories and family stories. Throughout attention will be given to the work of established authors, using exemplary texts both as a basis for discussion and as a stimulus to students' own writing. Along the way students will begin to develop an understanding of the craft of writing - the technical nuts and bolts. They will also acquire some of the disciplines necessary to being a writer - observation, writing in drafts, reading as a writer, submitting to deadlines, etc.

LDCC5005A

20

CREATIVE WRITING: INTRODUCTION (SPR)

An introductory module open only to second year students. It is not available to students on the Creative Writing Minor and is offered as an alternative to other Level 5 Creative Writing modules. The aim of the module is to get students writing prose fiction and/or poetry, using structured exercises based on objects, handouts, discussion and visualisation to stimulate the production of work. At the outset students will be encouraged to write about 'what they know', drawing on notebooks, memories and family stories. Throughout attention will be given to the work of established authors, using exemplary texts both as a basis for discussion and as a stimulus to students' own writing. Along the way students will begin to develop an understanding of the craft of writing - the technical nuts and bolts. They will also acquire some of the disciplines necessary to being a writer - observation, writing in drafts, reading as a writer, submitting to deadlines, etc.

LDCC5004B

20

INTERMEDIATE FRENCH I - A2 CEFR

This is an intermediate course in French and is intended for students who have enough pre-A-Level experience of French and wish to develop their knowledge to a standard comparable to A-Level / Baccalaureate / B1 in the Common European Framework of Reference (CEFR). The module is made up of four elements: Listening Comprehension, Writing, Translation and Grammar. While the emphasis is on comprehension, the speaking and writing of French are also included. The module is NOT available to students with AS or A-Level French /Baccalaureate / Level B1 in the CEFR. This module can be taken in any year. (Alternative slots may be available depending on student numbers.) Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5150A

20

INTERMEDIATE FRENCH II - A2/B1 CEFR

This is a continuation of PPLB5150A (Intermediate French I). This is an intermediate course in French and is intended for students who wish to develop their knowledge to a standard comparable to A-Level / Baccalaureate / B1 in the Common European Framework of Reference (CEFR). The module is made up of four elements: Listening Comprehension, Translation, Writing and Grammar. This module can be taken in any year. (Alternative slots may be available depending on student numbers.) Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. The module is NOT AVAILABLE to students with AS or A-Level / Baccalaureate / Level B1 in the CEFR. Students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5032B

20

INTERMEDIATE GERMAN I - A2 CEFR

An intermediate course in German for those students who have taken Beginners' German I and II or who have a GCSE or an AS level grade D (or below, or equivalent to A2 CEFR - Common European Framework of Reference) in the language. This module aims to enable students to build on, and further enhance, existing reading, writing, speaking and listening skills. A key component is the exploration of themes that develop interculturality. Specific aspects of language are revisited and consolidated at a higher level. The emphasis lies on enhancing essential grammar notions and vocabulary areas in meaningful contexts, whilst developing knowledge of contemporary life and society that focuses on culture and current affairs. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5151A

20

INTERMEDIATE GERMAN II - A2/B1 CEFR

A continuation of Intermediate German I. Open for students with AS-Level (below grade C or equivalent to A2 CEFR - Common European Framework of Reference). Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5033B

20

INTERMEDIATE SPANISH I - A2 CEFR

An intermediate course in Spanish for those students who have taken Beginners' Spanish I and II or who have a GCSE in the language (or A2 CEFR or international equivalent). This module aims to enable students to build on, and further enhance, existing reading, writing, speaking and listening skills. A key component is the exploration of themes that develop interculturality. Specific aspects of language are revisited and consolidated at a higher level. The emphasis lies on enhancing essential grammar notions and vocabulary areas in meaningful contexts, whilst developing knowledge of contemporary life and society that focuses on culture and current affairs. Students will attend a seminar and a one hour oral. This module is NOT open to students who have AS-level or A level Spanish (or AS-level or A level equivalent). Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5152A

20

INTERMEDIATE SPANISH II - A2/B1 CEFR

A continuation of Intermediate Spanish I. Alternative slots available depending on student numbers. This module is NOT open to students who have A-level Spanish (or A-level equivalent). Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB5034B

20

INTRODUCTION TO BRITISH SIGN LANGUAGE I

A beginners' course in British Sign Language assuming no prior, or minimal knowledge of the language. It is designed to provide students with basic training in communication with deaf people and an awareness of life and culture in the deaf world. Teaching and learning strategies include the use of signed conversation, role play, games and exercises to embed vocabulary and principles unique to a visual language. Assessment is based on a Sign Language conversation and one written assessment. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4031A

20

INTRODUCTION TO BRITISH SIGN LANGUAGE I (SPRING START)

A beginners' course in British Sign Language assuming no prior or minimal knowledge of the language. It is designed to provide students with basic training in communication with deaf people and an awareness of life and culture in the deaf world. Teaching and learning strategies include the use of signed conversation, role play, games and exercises to embed vocabulary and principles unique to a visual language. Assessment is based on a Sign Language conversation and in-class assessments. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. More classes will be put on if demand for PPLB4032B is low. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4033B

20

INTRODUCTION TO BRITISH SIGN LANGUAGE II

A continuation of Introduction to British Sign Language I and Introduction to British Sign Language I (Spring Start). Teaching and learning strategies continue with the use of signed conversation, role play, games and exercises to embed vocabulary and principles unique to a visual language. It is designed to provide students with a follow-on in their understanding and awareness of life, culture and use of equipment in the Deaf World. Assessment is based on a Sign Language conversation and one written assessment. Please note that very occasionally subsidiary language modules may be cancelled due to low enrolment. Please note that students who are found to have a level of knowledge that exceeds the level for which they have enrolled may be asked to withdraw from the module at the Teacher's discretion.

PPLB4032B

20

PHILOSOPHY SEMESTER ABROAD - AUTUMN

The Philosophy Sector, PPL School, and HUM Faculty have various ERASMUS arrangements with European Universities where it is possible to spend a semester abroad. Arrangements for a semester abroad must have been made in advance with the PPL ERASMUS Director for Politics and Philosophy, Dr Liki Koutrakou.

PPLP5172A

60

PHILOSOPHY SEMESTER ABROAD - SPRING

The Philosophy Sector, PPL School, and HUM Faculty have various ERASMUS arrangements with European Universities where it is possible to spend a semester abroad. Arrangements for a semester abroad must have been made in advance with the PPL ERASMUS Director for Politics and Philosophy, Dr Liki Koutrakou.

PPLP5171B

60

Students will select 60 credits from the following modules:

Name Code Credits

ADOPTING/ ADAPTING/ UPDATING

Is all creative writing a form of re-writing? From Virgil's imperialist taming of Homer, via Jean Rhys's postcolonial 'prequel' to Jane Eyre, to Helen Fielding's homage to Jane Austen by way of Bridget Jones, writers have always engaged their literary predecessors in ways that claim new imaginative and critical space. This creative-critical module explores the many modes in which homage, parody, borrowing, repositioning, intervention and creative (mis)reading may be practised and developed, and considers what, in turn, they reveal about moments and movements in literary history. Whether re-writing's compositional strategies are theorised as (for example) indebtedness, anxiety, irreverence or intertextuality, we will consider how they may also be a rogue and subversive form of reading; one that functions both as critique of the 'parent' text, and a means of generating fresh directions in creative writing.

LDCL6140B

30

CHARLES DICKENS: BEYOND REALITY

Charles Dickens has been described, and cherished, as one of the great chroniclers of the panorama of mid-Victorian society. At the same time, much modern criticism has rightly emphasised what a strange and innovative writer he is, less a documentary social realist than an early practitioner of what might now be called 'magical realism'. This module will examine works from across Dickens's writing career, in a variety of different modes - fiction, journalism, drama, and public speaking - reading them not only in the context of Dickens's times, but also in the context of how other writers in those times dealt with comparable questions. As a result, students will be able to develop their larger interests in the relationships between social reality and its literary representations, in a module which combines in-depth study of Dickens with a broader engagement with theories of realism.

LDCL6136A

30

CHAUCER

This module explores the rich and complex writings of Geoffrey Chaucer which we read in relation to their social and cultural contexts (literary, political, theological, philosophical). The module is structured in three parts: after an introduction via a selection of Chaucer's shorter poems and one of his dream visions (the "Prologue" to The Legend of Good Women), we spend four weeks concentrating on Troilus and Criseyde (in my opinion Chaucer's very greatest work) and then another four on the riches of the Canterbury Tales. We approach Chaucer's writing in a number of complementary ways. We attend to the brilliance of Chaucer's poetry formally by considering his use of literary and generic convention; we approach his writing comparatively by looking at Chaucer's engagement with classical (Ovid, Boethius, the traditional stories of Troy) and older French and Italian writing (Dante and Boccaccio); we consider the ways in which Chaucer's writing records and responds to the historical circumstances of late-fourteenth-century England (particularly in the royal court and within London); and we look at the manner in which Chaucer's works were written and read ('published' and circulated) within a medieval manuscript culture and at the implications this has for an understanding of his work. For we might propose that the aim of this module is essentially twofold: to explore together some superlative Chaucerian poetry and, at the same time, to allow you to develop further as medievalists and Chaucerians, encountering the distinctive challenges and possibilities that come with working with this material.

LDCL6053A

30

DRAMA AND LITERATURE: THE QUESTION OF GENRE

This seminar will explore the boundaries between drama and other genres (kinds, art-forms, media) in an attempt to investigate a number of interrelated theoretical questions. We shall explore these issues via various types of activity - practical criticism, critiques of literary theory, performance analysis, personal theatrical adaptations. The set texts are works of literature which do not quite fit generically - particularly plays that seem to be in some sense 'epic', or novels in some sense 'theatrical', ranging from Shakespeare in the 17th century through to Gay and Fielding in the 18th and Dostoyevsky and Chekhov in the 19th.

LDCL6017B

30

FEMINIST WRITING

We are witnessing an upsurge in feminist activism which some claim is forming the fourth wave of feminism. It is timely then to reconsider how feminist writing (literary texts, literary theory and literary criticism) has helped to shape, influence and articulate debates about gender, sexuality and society in the past and how contemporary feminist writing is continuing to be part of that conversation now. This course offers an opportunity to read and analyse some of the most influential feminist literary texts and literary theory. Writers studied on the course may include Margaret Atwood, Henrik Ibsen, Angela Carter, Jean Rhys, Jeanette Winterson, Sylvia Plath and Virginia Woolf, Ali Smith, Beyonce and Chimamanda Ngozi Adichie. Students will study the ways in which feminist criticism and theory (including Kristeva, Cixous, bell hooks, Haraway and Butler) has reshaped the canon, challenged the ways literature is taught as well as making us consider what literature can, might and ought to be. Feminism has also exacted different forms of writing and challenged dominant modes of representation. We will take a particularly close look at the relationship between feminism and the gothic, the short story and experimental writing. Assessment will be by course work and project and students will be required to be assessed in both critical and creative modes. Male and female students are equally welcome.

LDCL6132B

30

LATIN AMERICAN NARRATIVES

While the term 'narrativa' in Spanish is often used to denote fiction it is not restrictive to the genre. The aim of this module is to explore the core of storytelling that underpins Latin American literature and which surfaces in various forms of writing from the 'microrelato' to the short story, the prose poem as well as the 'rewriting' exercise/critical appraisal, such as Alejandra Pizarnik's The Bloody Countess. A further aspect of this module is to attempt to disentangle the web of literary influences woven into some of these Latin American narratives as well as to trace the itinerary of these influential threads as they travelled from the South of the American continent to other literatures. As the editors of Issue 113 of Granta have stated 'who would have imagined fifteen years ago that writings of the outcast Chilean Roberto Bolano who washed ashore in Barcelona via Mexico, would exercise so wide an influence on writers in Spain, Latin America and across the world?' And yet, Bolano's literary output is unthinkable without Borges, just as the Colombian Juan Gabriel Vasquez's Secret History of Costaguana is inconceivable without Conrad's Nostromo. Readings will include works by Borges, Cortazar, Bolano, Juan Gabriel Vasquez, Clarice Lispector, Alejandra Pizarnik, Valeria Luiselli, amongst others.

LDCL6093A

30

LITERATURE AND DECONSTRUCTION

In an interview with Derek Attridge, Jacques Derrida describes literature as 'this strange institution which allows one to say everything'. This module explores the writings of Derrida and related thinkers alongside a range of literary texts, including works by Keats, Ali Smith, Shakespeare and Joyce. Through wide-ranging seminar discussions, we will think about the strangenesses of literature, look at the ways in which it is an 'institution' and consider the kinds of freedom - of speech, writing and thinking - it permits. Our aim throughout will be to establish the possibilities for literary criticism opened up by deconstruction, and also to think about how deconstruction might give us ways to think about what is taking place in the world and - sometimes - in our own lives too. The module is open to everyone, but may be of particular interest to those who studied critical or cultural theory in the second year. The second assignment will permit you to experiment with the form of your own critical and theoretical writing.

LDCL6048A

30

LITERATURE AND HUMAN RIGHTS

From protests against torture and censorship to justice and reconciliation trials, from the Holocaust to Apartheid, from testimony to the postcolonial novel, a distinctive literary sensibility informs our contemporary sense of rights. This module traces the emergence of human rights as a cultural and literary idea from their revolutionary conception in the eighteen century, through the United Nations of Declaration of Human Rights (UDHR) to the present, taking in key literary responses to injustice, suffering and atrocity. We will ask how literature has contributed to understanding human rights and examine how writing has been thought of as a form of 'righting'. This module suits students who enjoy the challenges of literary theory and politics, and who are interested in thinking seriously about the relationship between literature and its 'real world' applications and significance. You will also be encouraged to develop your own writing practice in relation to contemporary rights debates.

LDCL6031B

30

LITERATURE DISSERTATION: POST-1789 (AUT)

This module is an advanced-level module, for final year students only. It provides students with the opportunity to write an 8000-word dissertation on literature of the period from 1789 to the present day (excluding American literature). The dissertation topic must be agreed by a supervisor, and both topic and supervisor approved by the module organiser by the end of the previous semester.

LDCL6018A

30

LITERATURE DISSERTATION: POST-1789 (SPR)

This module is an advanced-level module, for final year students only. It provides students with the opportunity to write an 8000-word dissertation on literature of the period from 1789 to the present day (excluding American literature). The dissertation topic must be agreed by a supervisor, and both topic and supervisor approved by the module organiser by the end of the previous semester.

LDCL6019B

30

LITERATURE DISSERTATION: PRE-1789 (AUT)

This module is an advanced-level unit, for final year students only. It provides students with the opportunity to write an 8000-word dissertation on literature of the period up to 1830 (excluding American literature). The dissertation topic must be agreed by a supervisor, and both topic and supervisor approved by the module organiser by the end of the previous semester.

LDCL6061A

30

LITERATURE DISSERTATION: PRE-1789 (SPR)

This module is an advanced-level module, for final year students only. It provides students with the opportunity to write an 8000-word dissertation on literature of the period up to 1830 (excluding American literature). The dissertation topic must be agreed by a supervisor, and both topic and supervisor approved by the module organiser by the end of the previous semester.

LDCL6062B

30

LYRIC

The module will incorporate a historical survey of Western lyric, looking at its inception in the poetry of Pindar and Sappho, and the Aristotelian division of poetic arts in lyric, dramatic and epic. It will cover lyrics from Provencal troubadour poets through the Italian and English renaissance to Romantic lyric. Finally, it will cover the fate of lyric in the present day, from 'conceptual writing' and 'post-humanism' which offer a thoroughgoing rejection of lyric, to the embrace of lyric in contemporary young poets. The module will start by considering the question: 'What is lyric'? The purpose is not to establish a transhistorical concept of lyric as genre or mode, but rather to see how different thinkers at different times have approached it. This is a particularly timely question for literary criticism and poetics. We will isolate certain tropes, ethics, and focal points that are taken to be characteristic of lyric, whilst at the same time probing the historicity of lyric as a concept, especially regarding the ideology of the lyric 'I' that is associated with romanticism. This module fulfils the pre-1789 requirement.

LDCL6087A

30

MADNESS AND MEDICINE: WOMEN'S WRITING IN THE REGENCY

This module will study late 18th-century and early 19th-century writings in the context of scientific and medical innovation. We consider whether it may be appropriate to view the work of novelists such as Maria Edgeworth, Jane Austen and Mary Shelley as a response to, and even a protest against these newly (or, more correctly, nearly) professionalised, male-dominated worlds. These women writers often concern themselves with the 'consumers' as well as the providers of the services offered by these professions; this module considers why that might be and how this kind of contextualisation might impact upon our readings of their work.

LDCL6042A

30

MEDIEVAL ARTHURIAN TRADITIONS

From Welsh folklore to Monty Python, the tales of Arthur and the Knights of the Round Table have excited and intrigued generations. Why? To answer this question we explore the development of the legend from its twelfth-century Celtic roots through to a number of twentieth-century film adaptations. How the legend has been translated across form, genres, cultures and ages will be studied through creative and critical exercises, including examples from Middle English Arthurian manuscripts, translations of the Welsh Mabinogion, of Monmouth's Latin chronicle and French romance texts. This module will enable students familiar with Sir Gawain and the Green Knight to enhance their awareness of the wider Arthurian traditions within which this text belongs, but is also suitable for students who are encountering medieval literature for the first time.

LDCL6066B

30

MEDIEVAL MONSTROSITIES

Giants, dragons and half-human hybrids are just some of the fantastical creatures that populate Middle English literature. Too readily dismissed by modern readers as mere whimsy, or else the product of credulous minds, instead this module takes monsters seriously as revealing facets of a sophisticated myth-making society. We will consider monsters in a range of genres including romance, saints' legends, travel writing and visual imagery, as well as their reception by medieval and modern readers and critics. We will interrogate the various discourses of monstrosity and consider what makes a monster, including: the horror and allure of the monstrous body; monstrous appetites; sexuality and sexual deviance; geography and racial alterity. We will also explore the literary and cultural construction of 'human monsters' (women, pagans, Jews) rendered 'other' due to their perceived divergence from societal and religious norms. Throughout the module you will be able to apply your developing understanding of the discourse of monstrosity in a range of practical contexts including field trips and engagement opportunities. Previous experience of Middle English literature will be an advantage but is not required. This module fulfils the pre-1789 requirement.

LDCL6081B

30

MINOR LITERATURES: RESISTANCE, RADICALISATION AND READING

This module explores writing as a site of resistance and protest and considers representation itself as inherently political. Does this make the work of a reader radical, or how can that work be radicalised? Taking a lead from the thinking of Gilles Deleuze and Felix Guattari the module will ask what does it mean to write or speak a dominant language in such a way that it stutters or stammers? What would such writing or speaking look or sound like? Deleuze and Guattari suggest that minor literature (minoritarian form in general) takes a dominant, hegemonic, major language and force it to 'say' something different, and to do so differently, dislocating (deterritorialising) it so that a new voice (speaking from a new constituency) can be heard. They use the works of Kafka, a Czech Jew writing in 'official' German, as a representative example of how a dominant, major language can be pressed into the service of a minor literature, as a way of inscribing new constituencies, while other critics have considered sub-cultures' re-appropriation of language, post-colonial writing back, musical subgenres and alternative/underground cinema as also being iterations of minoritarian impulses. This module explores various aspects of writing or speaking back, writing against the grain, saying the things major language finds itself unable or uncomfortable to speak about, and articulating the unheard. Writers and texts might include Kathy Acker, William Burroughs, Elias Khoury, Dana Spiotta, Jennifer Egan, along with punk 'zines, samizdat writing and manifestoes.

LDCL6146A

30

NERVOUS NARRATIVES

'We all say it's nerves, and none of us knows what it means', says a character in Wilkie Collins' 1860 novel, The Woman in White. Our aim is to think about how a discourse of the 'nerves' - the 'nervous temperament' and nervous illness - can be both so pervasive culturally and so slippery in its meaning. This interdisciplinary module takes you from the late 17th century, when the concept of 'neurologie' first emerged, to the 21st century, linking literary, medical and philosophical writing to explore the representation of the 'nerves'. The historical range of the module is not meant to imply a transhistorical understanding of nervous illness or temperament, but rather will enable us to analyse the historically specific nature of the nervous body and what it is made to mean, culturally, within different contexts. In this way, we will be working with issues as diverse as religious 'enthusiasm', hysteria and hypochondria, sensibility, sensation, fear of modernity, manliness and effeminacy, shell-shock, PTSD and the concepts of the healthy or fragile body of the nation. Spanning time and genre, the literary texts studied will take us from the earliest, Jonathan Swift's satire, A Tale of a Tub (1704) up to the contemporary: Siri Hustvedt's novel, What I Loved (2003) and her analytical memoir, The Shaking Woman, Or, A History of My Nerves (2010).

LDCL6046A

30

NEW WORLDS: SCIENCE FICTION AND BEYOND

It has been suggested that science fiction was the authentic literature of the twentieth century, yet it has also been seen as a genre cut off from the literary mainstream, its provenance, tropes and generic limits contested. Are there distinctions betwen science fiction, speculative fiction and even sci-fi? This module aims to explore science fiction as a mode by investigating various definitions of science fiction and asking: what possibilities does it offer to writers? How does it mediate the relationship between literature and science (and technology): And how have writers gone beyond the conventional limits of the genre (and we will also consider other media)? The module will look at thematic clusters of texts, often pushing the boundaries of the conventional sci-fi canon and encouraging students to think across different literary periods about the antecedents of science fiction. We will consider such themes as interplanetary travel, time travel, ecological catastrophe, speculative fiction, experiments with scale, and steam punk and writers studied might include H.G. Wells, John Wyndham, Ursula K. Le Guin, J.G. Ballard, Margaret Atwood and China Mieville.

LDCL6116B

30

QUEER LITERATURE AND THEORY

This module offers students the chance to learn about LGBTQ literature and its development in English-speaking countries, as well as approaches to queer theory. This means analysing sexuality and gender and the representation of such identities in literature and also connections between literature and the broader culture. Authors studied may include James Baldwin, Alison Bechdel, David Levithan, Maggie Nelson, and Sarah Waters. Authors of theoretical texts looked at may include Beatriz Preciado, Eve Kosofsky Sedgwick, Judith Butler, Leo Bersani, and Teresa de Lauretis. Understanding how LGBTQ characters are featured in literature also helps us to see how queer people are understood in a given society in general. This course also aims to look at a variety of genres in order to see how these different text types work and how they approach similar material in different ways, as well as analysing current events. This module also includes presentations and a writing workshop.

LDCL6033B

30

SATIRE

'Satire is problematic, open ended, essayistic, ambiguous in relation to history, uncertain in its political effects, resistant to final closure, more inclined to ask questions than provide answers, ambivalent about the pleasures it offers' (Dustin Griffin). The aim of this module is to investigate the problematic territory of satire. Using examples from modern and contemporary fiction, journalism, and television alongside early modern and classical satire, we will formulate a critical and conceptual map, which will in turn allow us to discuss some of the problems of satire (those of genre, of gender, of politics, of morality, of history), and to explore some of the paradoxes of its strategies and functions (freedom versus limits; subversion versus conformity; transformation versus stasis).Writers under discussion will include Juvenal, Horace, Persius, Swift and Pope; John Dryden, Evelyn Waugh, and Malcolm Bradbury. Television examples will include Brass Eye and The Thick of It. This module offers the opportunity for one or more of the assessments to be a creative writing piece. This module counts towards the pre-1789 requirement.

LDCL6085B

30

SHAKESPEARE: SHADOW AND SUBSTANCE

Platonist epistemology permeated Elizabethan culture: the aim of this module is to explore the relationship of Shakespeare's topic of the world as a stage to Neoplatonic conceptions of perception, politics, poetry and love.

LDCL6056B

30

T.S. ELIOT AND TWENTIETH CENTURY POETRY

The poetry of T.S. Eliot has a unique place in modern verse as a body of writing that combines mass popular appeal with intense intellectual challenge. The first half of this module will take students chronologically through the various stages of Eliot's Collected Poems, from the nineteenth-century influences that combined to produce 'The Love Song of J. Alfred Prufrock' (1915) to the wartime contexts of his final major poem, Four Quartets (1943). It will also offer an introduction to Eliot's literary criticism as well as criticism written about him. The first coursework essay will take the form of an editorial commentary on a chosen poem or passage, giving students an opportunity to follow up allusions and interpretations through wider reading. The second half of the module will look more broadly at Eliot's influence as a poet, critic, and editor. Beginning with his own views of the need to reinvent poetry's cultural significance for the twentieth century, we will consider the importance of Eliot's example to later poets in Britain (W.H. Auden, W.S. Graham, Geoffrey Hill, Ted Hughes, J.H. Prynne, Lynette Roberts, Rosemary Tonks) and America (John Ashbery, John Berryman, Peter Gizzi, Jorie Graham, Susan Howe, Sylvia Plath). The final project will be a 3,000-word essay on any Eliot-related topic of the student's choosing, and may take the form of a creative-critical poetry portfolio and self-commentary in response to the reading for the course.

LDCL6122B

30

THE ART OF EMOTION: LITERATURE, WRITING AND FEELING

According to Roland Barthes, emotion is 'a disturbance, a bordering on collapse: something perverse, under respectable appearances; emotion is even, perhaps, the slyest of losses'. This module takes this 'perversity, under respectable appearance' as the starting point for asking how an attention to our emotions - our feeling, affects, and intimacies, as well as our aversions - can make us rethink what it means to be critical and creative readers and writers. Drawing on a range of theoretical and critical work from literary studies, cultural theory, art, philosophy, sociology, neuroscience, psychology, creativity and creative writing studies, cognitive science, history and anthropology, we will ask what it means to read, and write, 'with feeling'. What is the relationship between language and feeling? Between the body and emotion? How does literature touch and move us? Are our 'aesthetic' emotions real? How does technology - the digital, virtual, prosthetic and online - affect our ideas about emotion? Are emotions universal and timeless, or historically and culturally specific? Private and personal, or collective and public? How do emotions construct gender, class, race, nationality, and other kinds of identity? Why do some feelings attract more critical interest than others? How does an attention to emotion affect our work as readers and writers? We will begin by building a theoretical and critical literacy for thinking feeling, before focusing our inquiry around specific themes that might include: Animal Passions; Psyche, Pathology and Resistances to Psychoanalysis; Feeling Texts: Touch, Texture and Fictional Fabrications; Moving Fictions: Cinema, Virtuality, and E-motion; Zombies: Can Dead Subjects Feel?; Affective Economies; Queering Feeling; and Feeling Human: Robots, Artificial Intelligence and Clones. We will engage with a range of literary texts and other aesthetic forms (such as art, film, etc.) chosen to correspond with our critical concerns. You will have the opportunity to engage both as critical and creative readers and writers, and there will be critical and creative assessment options. This module is open to all students. It will complement level 3 options such as 'Literature and Deconstruction', 'Nervous Narratives', 'Traumaturgies', ' Literature and Human Rights' and 'Queer Theory'.

LDCL6118B

30

THE ART OF MURDER

Crime, like death, has always been with us, yet it was only in the nineteenth century that de Quincey proposed considering murder as one of the fine arts and Poe established many of the central tenets of crime fiction with his 'tales of ratiocination'. Currently, crime fiction is the most bought, and read, literary genre and one diverse enough to include 'whodunits'; Baker Street's most notable resident; the genteel amateur detectives of the 'Golden Age'; hard-boiled thrillers; noir; psychological fiction and even the post-modern iterations of anti-detective fiction. Narratives about crime and criminals, detection and sleuths (not forgetting the violence and victims) can be both conservatively formulaic and radically diverse. It can articulate dangerous and disturbing transgressions against society (the crime) while also revealing the ideological forces of law (what constitutes a crime) order (the various detective figures) and the systems of justice and ill-justice (courts and punishment, state and government) with which a society protects and proscribes itself. Crime fiction is also concerned with interpreting clues, discovering secrets and solving enigmas, much in the way that critical theory investigates and analyses literary texts. This module aims to explore key texts and writers in the development of crime fiction as well as examining critical and theoretical responses to such texts. It will allow students to respond both creatively and critically to the concerns of, and thinking about, this diverse genre.

LDCL6130A

30

THE CONTESTED PAST: LITERATURE AND THE POLITICS OF MEMORY

How do we negotiate the darker aspects of our past, particularly when individuals' experiences clash with official history? This module explores the public and private practices of remembering and forgetting in the aftermath of civil war, totalitarianism, colonialism or otherwise repressive rule. In particular, we will examine the writer's role as collaborator, witness, archivist or dissident: how does the writer facilitate access to, and debate about, contentious, painful or obfuscated history? Our approach to the politics of commemoration is interdisciplinary and draws on ideas from philosophy, historiography, memory and cultural studies as well as heritage and museum studies. The primary material encompasses a range of fictional, non-fictional and visual material from a wide range of genres; most of it postwar and relatively recent. Since this is a global issue you will encounter writers from formerly colonised nations in Africa and Asia, from Central and Eastern Europe, and South America.

LDCL6097A

30

THE EIGHTEENTH-CENTURY NOVEL

In the eighteenth-century the novel was in a state of flux, with writers experimenting with different possibilities for writing extended fictional narratives. In this module we will be reading three of the most important novels of the eighteenth-century over several weeks so that we can attend to them closely as they unfold in time. Our novels are Samuel Richardson's Clarissa, Henry Fielding's Tom Jones, and Frances Burney's Evelina. Our secondary readings will engage the central debates happening in novel studies today. Students will have the opportunity to experiment with ways of working with texts beyond close reading and draw on the methodologies of book history and of the digital humanities. This module fulfils the pre-1789 requirement.

LDCL6144A

30

THE ITALIAN RENAISSANCE: TRANSLATING LOVE, DEATH AND ADVENTURE

For something to be reborn it must first die. The Italian Renaissance ('rebirth') sought to disinter the past in order to reanimate the present, but in order to do so the present had to come to terms with its loss - as Petrarch asked, 'who can doubt that Rome would rise again instantly if she began to know herself?'. How can we best understand this process of loss and reanimation? How did Renaissance writers understand it, and how did they bridge the gulf between death and rebirth? And can we do the same? In order to answer these questions this module examines the twin practices of imitation and translation in English responses to some of the most exciting and influential texts of the Italian Renaissance. It does so in two ways: through a sustained analysis of those practices in their diverse forms and genres (sonnets, epic, dialogue, drama), and by imitating the process of creative imitation ourselves. In other words, we step into the shoes of the Renaissance imitator. The module allows us to understand how Italian poets such as Dante, Petrarch and Ariosto responded to the classical past (and each other), and how English poets and playwrights such as Wyatt, Spenser, Shakespeare and Jonson responded to Italian models. By imitating the imitators - for example by writing sonnets - we gain a deeper understanding of how imitation is both a creative practice and a critical process, both a reading and a rewriting. Students are not expected or required to know any Italian in advance. THIS MODULE FULFILS THE PRE-1789 REQUIREMENT.

LDCL6124B

30

THROUGH THE LOOKING-GLASS: NONSENSE AND MODERN WRITING

It's widely recognised that modernist literature is characterised by a revolution of the word. Less widely recognised, and little explored, is the relationship between modernist linguistic experimentalism and literary nonsense, as practised by Lewis Carroll, Edward Lear, and others. This course will begin with these well-known nonsense writers and explore their roots in seventeenth and eighteenth-century nonsense, and parallels to Emily Dickinson, before going on to examine some of the adventures in language of major modernist and postmodernist writers. Modernist and postmodernist authors studied are likely to include the Joyce of Finnegans Wake, early Auden, Virginia Woolf, Sylvia Plath, John Ashbery and some surrealist writers. We will also conduct our own games with the dictionary and with contemporary discourse. This is not a course on children's literature, but on some very challenging modern literature, mostly poetry. It should appeal to those who take a childish pleasure in wordplay and fantasy. You will need to enjoy uncertainty and have good close-reading skills. There will be opportunities for creative writing of nonsense and creative writers are encouraged to take the module. To do this module you must have studied Modernism, Critical Theory, or one of the 2nd year Creative Writing modules, unless you obtain a waiver from the lecturer.

LDCL6015A

30

TRAVEL LITERATURE

The eighteenth-century reading public eagerly devoured narratives of travels around the world. In this course we will survey the diverse range of travel literature this century produced. We will read accounts of actual and fictional travels, as well as narratives that fall somewhere between the real and the imaginary. Key questions for us will be how travellers' identities and ideas are reshaped through the experience of journeying, how our texts both articulate and question the ideologies underpinning Britain's maritime empire, and how voyage literature connects to other literary genres, including the novel, romance, history, utopia, and anecdote. Texts include Aphra Behn's Oroonoko, James Cook's Endeavour Journal, Mary Wortley Montagu's Letters from Turkey, Olaudah Equiano's The Interesting Narrative of Olaudah Equiano, and Janet Schaw's Journal of a Lady of Quality. THIS MODULE FULFILS THE PRE-1789 REQUIREMENT.

LDCL6108B

30

URBAN VISIONS: THE CITY IN LITERATURE AND VISUAL CULTURE

This interdisciplinary module explores the idea and representation of 'the city' through a range of writings (fiction, poetry, essays, theory), visual (painting, photography, film) and occasionally other sensory material (sound, smell), spanning from the mid-19th to the 21st century and focused on two great capitals of modernity, Paris and London. In this period, the growth of the great European cities created a new and diverse set of environments and possibilities. Utopias, dystopias, sites of ruin and construction of all kinds; what different, contradictory or coherent versions of urban experience do these texts and images offer? What kinds of writing, art, discourses and attitudes do cities seem to generate? Was modernism 'an art of cities'? How do textual and pictorial techniques intersect, for example, in the case of Impressionist art and writing, Surrealism and Situationist provocations, or street art and photography? In the company of the flaneur (or flaneuse?), the detective and other urban wanderers, we'll explore aspects such as space, place, urban being and time, love and eroticism, hauntings, memory and the presence of the past, the individual and the crowd, the role of consumer capitalism, nature and the natural, psychogeography, and the pressures, preoccupations and thrills peculiar to urban living. Writers to be studied vary and may include Balzac, Dickens, Edgar Allan Poe, Baudelaire, Zola, Gissing, Conan Doyle, Andre Breton, Virginia Woolf, Maureen Duffy, Iain Sinclair, Peter Ackroyd, Zadie Smith and China Mieville alongside a selection of theorists, poets, artists and photographers and a selection of city films. Assessment is individually designed and there is scope to work in both critical and creative-critical modes, and to incorporate visual material.

LDCL6138A

30

VIRGIL'S CLASSIC EPIC

After the Bible, the Aeneid is probably the single most important and influential work in the Western cultural tradition. For T. S. Eliot, it is the "classic of all Europe." It is also one of the most extraordinary - moving, complex, formally and philosophically subtle and ambitious - poems we have. This module is devoted to exploration of the Aeneid and to its medieval reception. The first half of the module looks at Virgil's poem in relation to its literary models, particularly in Homer's great epics, The Iliad and The Odyssey, within its own Roman (Augustan) context, and in its formal complexity. The second attends to the medieval reception of the Aeneid: the accommodation of its challenging pagan difference and the co-option of its remarkable cultural authority within new religious, political, and literary contexts. We explore Dante's response to Virgil's poem in the Divine Comedy alongside those of Augustine and Chaucer; we read medieval Romance reworkings of Virgil's classical epic; and we consider the variety of ways in which medieval writers looked to continue the Aeneid in their own distinctive ways.

LDCL6054B

30

WRITING LIFE: BIOGRAPHY AND CREATIVE NON-FICTION

How do writers attempt to capture 'life' in all its various forms? What, if any, are the different requirements in writing the life of a famous (or not so famous) person and that of a city or landscape? What about the 'life' of travel or food and how do you approach writing about the natural world? These are just some of the questions that this module sets out to address. We will be reading a wide variety of texts, from the 'traditional' biography to some of the more experimental examples of creative non-fiction. From Samuel Johnson to essays in The New Yorker, all human (and non-human) life will be there! Students may choose between writing their own piece of Biography or creative Non-Fiction as their final project or submitting a critical essay.

LDCL6026B

30

WRITING RELIGION IN EARLY-MODERN ENGLAND

This module begins by introducing you to the central mythic drama of Christianity: in the Garden of Eden, Adam and Eve ate the forbidden fruit, and 'fell' from perfection; to save humankind, God had to turn his own son into a mortal man and let him be crucified. This story raises the most profound questions about the origins of evil, free will, redemption, and the nature of God. This module's seminars unfold through intensive close-reading of a series of early-modern literary masterpieces (works from the sixteenth and seventeenth centuries) which were shaped by these questions, culminating in an in-depth study over five weeks of the major late poetry of John Milton: Paradise Lost, Paradise Regained and Samson Agonistes. Before reaching Milton, we read major works by authors such as John Donne and Edmund Spenser, and we also pay close attention to writing by women, especially that of Lucy Hutchinson (1620-1681), who wrote her own poetic account of the Fall at the same time as John Milton wrote Paradise Lost. Summative assessment takes the form of a 5000-word project (to be submitted after Christmas) in which you will explore the module's central questions by tackling at least two of the texts we've studied. You will be given formative questions every week (and writing exercises in some weeks) to help structure your learning. The module assumes no knowledge of religion or of early-modern literature, although it should certainly be of interest to those who have taken the second-year 'Seventeenth-Century Writing' module. THIS MODULE FULFILS THE PRE-1789 REQUIREMENT.

LDCL6134A

30

Students will select 60 credits from the following modules:

Name Code Credits

ADVANCED AESTHETICS AND PHILOSOPHY OF ART

This module will explore some of the major themes and problems in aesthetics and the philosophy of art, asking questions about the value of art, aesthetic experience and judgement, artistic creativity, interpretation and representation. The module begins by looking at Plato's reflections on the place of the arts in society and includes an exploration of classics of the 18th and 19th Century aesthetic tradition such as Hume's Of the Standard of Taste, Kant's Critique of the Power of Judgment, and Nietzsche The Birth of Tragedy, as well as more contemporary works from various traditions. We end with a reading of one of the most influential essays on art in the last century, Heidegger's Origin of the Work of Art, drawing together and attempting to reappraise many of the issues tackled in the module as a whole.

PPLP6121B

30

ADVANCED THEMES IN NATURE, HUMANITY and ENVIRONMENTAL VALUES: THE PHILOSOPHY OF THE ENVIRONMENT

The aim of this module is to look at some of the philosophical and ethical issues underlying environmental concerns. In particular, we will ask in what sense it is possible to speak of a moral relationship of humans with their non-human environment. We will focus on understanding whether environmental value is intrinsic or relative to human interests, and look at how this distinction relates to arguments about the nature of our obligations towards other species and the natural environment. Finally we will examine some of the difficulties that debates about environmental policy face. This module runs alongside a Level 5 module in the same area, PPLP5100B, but students at Level 6 have a separate seminar/tutorials and they prepare a distinctive independent project for assessment. This is a 20 credit module and is designed for PPE students, students in SSF and Science degrees, and students on degrees in the LCS sector of PPL.

PPLP6134B

20

ADVANCED THEMES IN PHENOMENOLOGY AND EXISTENTIALISM

In this module we explore the genesis and development of the phenomenological tradition, one of the most significant and influential movements of the twentieth century. Beginning with Edmund Husserl's attempt to investigate the intentionality of pure consciousness in all its forms, we will investigate the critique of these ideas put forward by Husserl's most famous student, Martin Heidegger. Rooting phenomenological analysis in the lived world of anxiety, mortality, freedom, and temporality, Heidegger's work gave rise to important debates in existential philosophy, especially in the work of Jean-Paul Sartre and Maurice Merleau-Ponty. Phenomenological analysis and existential philosophy share a commitment to understanding human life as an integrated whole that does away with traditional philosophical divisions between metaphysics, epistemology, ethics, aesthetics and political thought. Time permitting, we will also look at some later immanent criticisms of phenomenology and existentialism developed by such thinkers as Emmanuel Levinas and Jacques Derrida.

PPLP6112A

30

ADVANCED THEMES IN POLITICAL PHILOSOPHY

The dominant political philosophy of our time is liberalism (and 'neo-liberalism'). This module will examine topics in contemporary political philosophy including the liberalism of John Rawls's 'A Theory of Justice' (1972) together with the critical responses to it of Marxists, ecologists, free-market libertarians, and communitarians. It thus puts students in a position to understand and criticise the mainstream 'received wisdom' in this area, and potentially to formulate alternatives to it. Is liberalism a suitable political philosophy for our time? If not, what is?

PPLP6118A

30

ANALYTIC PHILOSOPHY TO 1939 (EXTENDED VERSION)

Analytic Philosophy has been the dominant model of philosophy in the English-speaking world for about a century, and most philosophy degrees still privilege this way of doing philosophy. But what is it and what is its history? According to its original promises this approach should make possible progress in philosophy that is comparable to scientific progress. But has this really happened? Could a revision of some of the original methodological ideas make this possible? In this module we examine the heritage of famous pioneers in this kind of philosophy, particularly Gottlob Frege, Bertrand Russell, the early work of Ludwig Wittgenstein, and the work of Rudolf Carnap.

PPLP6137A

30

DISSERTATION OR SPECIAL SUBJECT I

This module is open only to students who have achieved an overall average of 60% or above in their second year assessment. When enrolling you MUST include a second choice on your enrolment form, so that if your marks are below 60% you can transfer smoothly to another module. Students are enrolled either on a one-to-one supervised dissertation (for which you must submit the relevant form to the module organiser for approval) or on one of the group study programmes ('Special Subjects') advertised at the module enrolment event and in the philosophy module booklet. Students who have not identified themselves with one of these groups or with a supervised dissertation will be removed from this module. NB Students may not take more than one supervised dissertation on any degree, but you may take up to two of these philosophy modules as group study programmes ('Special Subjects'). Students from other Schools should contact the module organiser for details. The assessment project is a dissertation of up to 10,000 words. Teaching arrangements will be settled after enrolments are known.

PPLP6102A

30

DISSERTATION OR SPECIAL SUBJECT II

This module is reserved for students who achieve an average of 60% or above in their second year. Applicants MUST include a second choice on the enrolment form, so that they can be automatically transferred to an alternative taught module if their summer grades are below what is required. Students are enrolled either on a one-to-one supervised dissertation (for which you must submit the relevant form to the module organiser for approval) or on one of the group study programmes ('Special Subjects') advertised at the module enrolment event and in the philosophy module booklet. Students who have not identified themselves with one of these groups or with a supervised dissertation will be removed from this module. NB Students may not take more than one supervised dissertation on any degree, but you may take two of these modules, so long as at least one is a group study programme ('Special Subjects'). Students from other Schools should contact the module organiser for details. The assessment project is a dissertation of up to 10,000 words prepared during the Spring semester. Teaching arrangements will be settled after enrolments are known.

PPLP6104B

30

EMPIRICISM AND NATURALISM: EXPERIENCE, EXPERIMENTS, AND PHILOSOPHY (EXTENDED VERSION)

The birth of modern science went hand in hand with the rise of Empiricist styles of philosophy that have exerted a huge philosophical and cultural influence, ever since. This module will critically assess this key tradition, explore how it has evolved over time, and examine how it influences exciting philosophical debates today. We will cover classical (early modern) empiricism, logical (20th century) empiricism, and current naturalism with a focus on methodological naturalism and the potentially transformative movement of experimental philosophy.

PPLP6135B

30

ETHICS FOR LIFE (WITH EXTENDED ESSAY)

Moral problems impinge directly on our lives. These may be either issues pertaining to oneself and to people close to one, or they may be connected with public policies, the law and issues of global justice. Though we shall discuss classic topics of practical ethics such as justice, equality, death and civil disobedience, our main interest will be in discerning the underlying patterns in our thinking about such problems. Another focus will be issues relating to philosophy's practical role. How exactly might philosophy help us in thinking about real moral problems and how best to live our lives? Are there ways in which literature might help us in thinking about morality and life? Using examples from literature and life we seek to expose over-simplifications in moral theory, develop sensitivities to the complexity of situations, and explore how tragedy, may, in the end, be a fundamental and unavoidable aspect of the human condition. This third year module runs alongside a second year module on the same topic, but has more advanced seminars, reading lists and assessment tasks. This module is offered biennially.

PPLP6113B

30

FILM AS PHILOSOPHY WITH ADVANCED ESSAY

The module will present and evaluate the thesis that film not only exemplifies particular philosophical problems, but also provides its own distinctive style of answer to those problems. Students will be encouraged to develop their skills in distinguishing between genres. They will, for example, examine the differences and overlap between film, literature, and drama, and explore the implications of these differences. A range of different kinds of film will be studied.

PPLP6119B

30

LOGIC AND LANGUAGE

This module will look at the conceptual foundations of logic with an especial emphasis on the relationship between logic and natural language. After a brief introduction to (recap on) first-order logic with identity (semantics and proof), the unit will proceed to look at a number of interconnected themes, including the semantic paradoxes, Russell's theory of descriptions, the nature of truth, logical syntax, and natural language quantification. Although PPLP4064B Reasoning and Logic is not a pre-requisite, those students who did not get at least 60% on that module, or did not take the module at all, should see the Module Organiser before enrolling. This third year module runs alongside a second year module (entitled Logic). It covers the same topics as that module in the taught elements, but third year students have a dedicated seminar and are required to submit work from additional research-based tasks in the final assessment. It is taught biennially.

PPLP6127A

30

PHILOSOPHY OF MIND: ADVANCED THEMES

What is it to have a mind? Are we humans the only things to have a mind? Is a mind even a unitary thing? This module will investigate these fundamental questions by way of considering two so-called marks of the mental. Firstly, to have a mind is to be able to represent or think about things (intentionality). Secondly, having a mind involves qualitative states: e.g. what it's like to feel pain or see red. The status of both of these marks is highly controversial. The module will seek to explain why they are controversial and assess possible solutions to the problems to which they give rise. This third year module runs alongside a second year module on the same topic, but has more advanced seminars, reading lists and assessment tasks. It is taught biennially.

PPLP6030B

30

PHILOSOPHY OF SOCIAL SCIENCE

This module examines different approaches to understanding the social world, tracing their philosophical presuppositions and their implications for the study of economics and politics. It focuses on two contrasts: between the positivist and the hermeneutic approaches, and between individualistic and holistic styles of explanation. This module is designed for PPE students and is also open to SSF and Science students, and students on degrees in the LCS sector of PPL. STUDENTS IN THE PHI and PSI SECTORS OF PPL SHOULD TAKE PPLP6128A, WHICH IS A 30 CREDIT VERSION THAT RUNS ALONGSIDE.

PPLP6103A

20

PHILOSOPHY OF SOCIAL SCIENCE

This module examines different approaches to understanding the social world, tracing their philosophical presuppositions and their implications for the study of economics and politics. It focuses on two contrasts: between the positivist and the hermeneutic approaches, and between individualistic and holistic styles of explanation. This 30 credit version of the module is suitable for PHI students and for those from other HUM Schools. A 20 credit version is also available.

PPLP6128A

30

WORLD PHILOSOPHIES (EXTENDED VERSION)

'World philosophies' is a chance to study 'non-Western' philosophy at Honours level. In this module, UEA philosophers present and examine a package of philosophical ideas, approaches and arguments from the non-Christian world. These include traditions such as Mediaeval Jewish and Islamic philosophy, Buddhist philosophy, Zen, Daoism, and the applied philosophy of Mahatma Gandhi. Throughout the unit, connections will be made, where appropriate, to 'Western philosophy', especially to ancient Greek thought; but the main point of this module is to provide a serious opportunity for the student to immerse themselves in approaches which have been relatively removed from the dominant influences upon philosophy in the English-speaking and European world.

PPLP6136B

30

Disclaimer

Whilst the University will make every effort to offer the modules listed, changes may sometimes be made arising from the annual monitoring, review and update of modules and regular (five-yearly) review of course programmes. Where this activity leads to significant (but not minor) changes to programmes and their constituent modules, there will normally be prior consultation of students and others. It is also possible that the University may not be able to offer a module for reasons outside of its control, such as the illness of a member of staff or sabbatical leave. Where this is the case, the University will endeavour to inform students.

Further Reading

  • Power of Thought

    Philosopher Dr Eugen Fischer and psychologist Dr Paul Engelhardt are pioneering the use of psycholinguistic methods in philosophy.

    Read it Power of Thought
  • Are Some Risks Too Big To Take?

    As human capability reaches the point where we think we can remould the fundamentals of nature itself, what's guiding us – and how can we avoid becoming the architects of our own extinction?

    Read it Are Some Risks Too Big To Take?
  • #ASKUEA

    Your University questions, answered

    Read it #ASKUEA

Entry Requirements

  • A Level ABB including English Literature or the combined English Language and Literature
  • International Baccalaureate 32 points including 5 in Higher Level English
  • Scottish Advanced Highers ABB including English
  • Irish Leaving Certificate AABBBB including English Literature or combined English Language and Literature or 2 subjects at H1 and 4 at H2 including English Literature or combined English Language and Literature
  • Access Course An ARTS/Humanities/Social Science pathway preferred. Pass with Distinction in 30 credits at Level 3 including modules in English Literature and Merit in 15 credits at Level 3
  • BTEC DDM alongside a GCE A-Level or equivalent in English Literature
  • European Baccalaureate 75% including 70% in English

Entry Requirement

You are required to have Mathematics and English Language at a minimum of Grade C or Grade 4 or above at GCSE.

A GCE A-level in English Literature is required.

UEA recognises that some students take a mixture of International Baccalaureate IB or International Baccalaureate Career-related Programme IBCP study rather than the full diploma, taking Higher levels in addition to A levels and/or BTEC qualifications. At UEA we do consider a combination of qualifications for entry, provided a minimum of three qualifications are taken at a higher Level. In addition some degree programmes require specific subjects at a higher level.

Students for whom English is a Foreign language

Applications from students whose first language is not English are welcome. We require evidence of proficiency in English (including writing, speaking, listening and reading):

  • IELTS: 6.5 overall (with no less than 6.0 in any component)

We also accept a number of other English language tests. Please click here to see our full list.

If you do not meet the University's entry requirements, our INTO Language Learning Centre offers a range of university preparation courses to help you develop the English skills necessary for successful undergraduate study.

Interviews

The majority of candidates will not be called for an interview and a decision will be made via UCAS Track. However, for some students an interview will be requested. You may be called for an interview to help the School of Study, and you, understand if the course is the right choice for you.  The interview will cover topics such as your current studies, reasons for choosing the course and your personal interests and extra-curricular activities.  Where an interview is required the Admissions Service will contact you directly to arrange a convenient time.

Gap Year

We welcome applications from students who have already taken or intend to take a gap year.  We believe that a year between school and university can be of substantial benefit. You are advised to indicate your reason for wishing to defer entry and to contact admissions@uea.ac.uk directly to discuss this further.

Intakes

The School's annual intake is in September of each year.

  • A Level ABB including English Literature (or the combined English Language and Literature A-level)
  • International Baccalaureate 32 including 5 in Higher Level English. If no GCSE equivalent is held, offer will include Mathematics and English requirements.
  • Scottish Highers Only accepted in combination with Scottish Advanced Highers.
  • Scottish Advanced Highers ABB including English Literature. A combination of Advanced Highers and Highers may be acceptable.
  • Irish Leaving Certificate 3 subjects at H2, 3 subjects at H3 including English Literature
  • Access Course Distinction in 30 credits at Level 3 including English Literature modules and Merit in 15 credits at Level 3. Humanities or Social Sciences pathway preferred. Other pathways are acceptable, please contact the University directly for further information.
  • BTEC DDM accepted alongside Grade B in English Literature A-level (or equivalent). BTEC Public Services is not accepted.

Entry Requirement

UEA recognises that some students take a mixture of International Baccalaureate IB or International Baccalaureate Career-related Programme IBCP study rather than the full diploma, taking Higher levels in addition to A levels and/or BTEC qualifications. At UEA we do consider a combination of qualifications for entry, provided a minimum of three qualifications are taken at a higher Level. In addition some degree programmes require specific subjects at a higher level.

Students for whom English is a Foreign language

We welcome applications from students from all academic backgrounds. We require evidence of proficiency in English (including speaking, listening, reading and writing) at the following level:

  • IELTS: 6.5 overall (minimum 6.0 in any component)

We will also accept a number of other English language qualifications. Please click here for further information.

INTO University of East Anglia 

If you do not yet meet the English language requirements for this course, INTO UEA offer a variety of English language programmes which are designed to help you develop the English skills necessary for successful undergraduate study:

Gap Year

We welcome applications from students who have already taken or intend to take a gap year.  We believe that a year between school and university can be of substantial benefit. You are advised to indicate your reason for wishing to defer entry and to contact admissions@uea.ac.uk directly to discuss this further.

Intakes

This course's annual intake is in September of each year.

Alternative Qualifications

We welcome a wide range of qualifications - for further information please email admissions@uea.ac.uk

 

GCSE Offer

GCSE Requirements:  GCSE English Language grade 4 and GCSE Mathematics grade 4 or GCSE English Language grade C and GCSE Mathematics grade C.

Fees and Funding

Undergraduate University Fees and Financial Support

Tuition Fees

Information on tuition fees can be found here:

UK students

EU Students

Overseas Students

Scholarships and Bursaries

We are committed to ensuring that costs do not act as a barrier to those aspiring to come to a world leading university and have developed a funding package to reward those with excellent qualifications and assist those from lower income backgrounds. 

The University of East Anglia offers a range of Scholarships; please click the link for eligibility, details of how to apply and closing dates.

How to Apply

Applications need to be made via the Universities Colleges and Admissions Services (UCAS), using the UCAS Apply option.

UCAS Apply is a secure online application system that allows you to apply for full-time Undergraduate courses at universities and colleges in the United Kingdom. It is made up of different sections that you need to complete. Your application does not have to be completed all at once. The system allows you to leave a section partially completed so you can return to it later and add to or edit any information you have entered. Once your application is complete, it must be sent to UCAS so that they can process it and send it to your chosen universities and colleges.

The UCAS code name and number for the University of East Anglia is EANGL E14.

Further Information

If you would like to discuss your individual circumstances with the Admissions Service prior to applying please do contact us:

Undergraduate Admissions Service
Tel: +44 (0)1603 591515
Email: admissions@uea.ac.uk

Please click here to register your details via our Online Enquiry Form.

International candidates are also actively encouraged to access the University's International section of our website.

    Next Steps

    We can’t wait to hear from you. Just pop any questions about this course into the form below and our enquiries team will answer as soon as they can.

    Admissions enquiries:
    admissions@uea.ac.uk or
    telephone +44 (0)1603 591515