MA Philosophy and Literature (Part time)

"I was really impressed by the number of modules i could take, allowing me to custom my degree to my expectations. The modules i took were both challenging and intellectually stimulating"

In their words

Kristin Fryer, MA Philosophy and Literate graduate

Suited to graduates who majored in philosophy or English literature or both, this Master’s programme will allow you to investigate the links between the two disciplines and to discover areas for your own research.

Over two years you will take a selection of taught modules, both from Philosophy and from our world-famous School of Literature, Drama and Creative Writing. These will be complemented by a programme of workshops, shared with our PhD students, which develops your skills in presenting your research to others and helps you get a sense of what it is to work on a PhD.

You will also write a dissertation on a topic of your choosing; this typically engages both your literary and philosophical interests, and usually follows on from some work done in the taught modules.

This degree will prepare you for applying for a PhD, but is also a strong postgraduate qualification that will be an advantage for many other possible paths and careers.

Overview

Philosophy and literature is one of the most exciting growth areas in modern Anglo-American philosophy. Over the last 30 years, under the influence of such major figures as Stanley Cavell and Martha Nussbaum, the subject has transformed from a minority interest to a major component in the philosophical world as well as in the curriculum. It is now widely acknowledged that because the literary form of philosophy is part of its philosophical value, and the philosophical knowledge provided by literature is part of its literary value, both subjects suffer impoverishment when kept unnaturally apart.

Course structure

Like the Philosophy MRes, this programme is designed as a research training Master’s. One part (80 credits) is dedicated to the four Master’s-level modules, each of which must be passed separately – and a second part (100 credits) is dedicated to your dissertation (inclusive of attendance at a course-long workshop) in the summer of the second year. It is also very well suited to students who want to continue their studies beyond the MA, purely for interest or to add value to their existing qualifications and take the subject further, and with no special intention of pursuing a PhD. Because it encourages initiative, the ability to reflect on one’s own studies, and a range of literary skills, and since it culminates in a substantial piece of research, this MA provides a good foundation for many leadership roles and graduate career routes.

The MA in Philosophy and Literature encourages you to explore the deep links between the two subjects at many levels. You can choose from a wide range of modules in both subjects, working alongside students in the renowned School of Literature and Creative Writing, and sharing the postgraduate workshop module and some core modules with the MRes Philosophy students. In the second semester there is a co-taught module featuring experts from both fields; this makes the MA a genuinely joint degree, and not one in which the two subjects are only taught in parallel.

In the autumn of the first year you take a research-led module called Criticism/Critique, which is an interdisciplinary exploration jointly taught by experts from our departments of Philosophy, Politics and the School of Literature, Drama and Creative Writing. In the spring you will take the Philosophy of Literature module, where you will explore the core philosophical (aesthetic, ethical, and so on) questions we face in creating and engaging with the literary arts. You will also engage with a variety of influential readings concerning notions of truth, authority, meaning, morality and other themes in relation to literature and its value.

In the second year’s autumn semester you will take a module in Methodology and Epistemology of Philosophy. In the summer, after completing the taught modules, you will undertake a dissertation, written on a subject of your own devising and under the guidance of a supervisor.

You may also choose one further module, either in your first or second year, from options in literature or philosophy. These include Ludic Literature; Creative-Critical Writing; and Free Speech; and you may also request supervision on a topic of your own design in a series of essays and one-on-one tutorials, as is the case for the MRes students. In addition, throughout the first year you will attend the Philosophy Postgraduate Workshop, in which you and other students will exchange ideas and present your work for discussion, and take part in a variety of research activities in both departments. 

Skills and experience

As part of this course you will benefit from a rich programme of frequent research events, from the Wittgenstein workshop and specialist reading groups on topics ranging from ancient philosophy to philosophy of mathematics, to the regular Thursday seminar at which visiting academics deliver papers in all branches of philosophy, after which graduates can meet the speaker in the bar or over dinner. A highlight of the week is the postgraduate workshop, a friendly and supportive forum for developing embryonic ideas and testing polished work.

Assessment

You will be assessed on your taught modules, which are 20 credits each, and the research training workshop and dissertation module, which together comprise 100 credits. So, just over half of the final mark will rest on the workshop and dissertation. For the dissertation module you prepare a 12,000–15,000-word dissertation over the summer of your second year under the guidance of a supervisor, on a subject approved by the Course Director. You must pass all the components of the course separately.

Course tutors and research interests

We offer a distinctive research environment, with an interdisciplinary outlook and a focus on methodological and meta-philosophical reflection. We are a leading centre for research on Ludwig Wittgenstein. The research interests of our staff include: philosophy of language and linguistics; philosophy and social science; environmental philosophy; metaphilosophy; philosophy of literature, film and the arts; Wittgenstein and the Wittgensteinian tradition; and ancient philosophy.

Much of our research integrates topical and historical research, and engages with influential contributions from all key periods of Western philosophy. You are welcome to discuss your research plans with academic staff. For contact details and research interests go to www.uea.ac.uk/phi/people.

Where next?

You will develop many intellectual skills on this course, including the ability to express yourself clearly and articulately, structure an argument, conduct rigorous reasoning and analysis, be aware of critical distance, interpret texts carefully, and empathise with different ways of thinking.

Our graduates go on to work in professions including higher education, computing, politics, teaching, journalism and the media. As a research student, you will be offered a variety of workshops and sessions focused on career development, including opportunities for teaching and attending conferences. 

Course Modules 2018/9

Students must study the following modules for 40 credits:

Name Code Credits

CRITICISM/CRITIQUE

This module tracks the notion of 'Critique' in philosophical and political thought, as well as literary criticism and artworks' own self-reflection, from the late 18th century to the present. 'Critique', from the Greek term krinein ('to discern'), brings together questions of philosophical method, from the relation between concept and intuition to the project of understanding a historical moment through its cultural artefacts and practices; however, it also engages the 'criticality' of artworks: how they reflect on their own processes and socio-economic conditions. But if these various intellectual projects converge around a shared sense that they are doing 'critique', then it is not clear that political critique and aesthetic critique aspire towards the same thing; the concept of critique thus also permits us to grasp discrepancies and points of dissensus between different forms of intellectual, and 'critical', praxis. The module starts by providing a historical grounding in debates around 'Critical Philosophy', linking Immanuel Kant's 'critical' distinction of concept and intuition to German Romanticism's model of a 'literary absolute' in which literature actualises itself as 'critique', such that through its ironic relation to its own linguistic medium, it assumes the place of philosophy itself. We consider Hegel's responses both to Kant's critical philosophy and to the literary theorising of the Schlegels and Novalis, with readings from the Phenomenology of Spirit, the Logic and the Aesthetics, before turning to the development of Hegelian thought in Marx. Having established this basic historical narrative, we then trace the different intellectual projects and problematics that the notion of 'critique' opens up, from the 'critical theory' of the Frankfurt school through thinkers including Althusser, Fanon, Foucault, Braidotti, and Ranciere. Against this we encounter an alternative series of responses to 'critical' philosophy, notably via Heidegger, Deleuze, and Simone Weil. At the crux of these different approaches to 'critique' is the relation between different philosophical, political and literary intellectual movements, and central to this module is the question of how 'critique' extends beyond scholarly activity, whether it is the ways in which avant-garde art and poetics incorporate self-critique into their understanding of support, medium, process, etc., or whether it is in practices of political resistance. To this end, the module is overtly forward-looking, not only charting a contested history from Kant to the present, but also asking what forms future attempts at critique can, and should, take.

LDCE7010A

20

PHILOSOPHY OF LITERATURE SEMINAR

In a collaborative seminar or group-study format, you'll explore (together with the teacher) a range of topics in the philosophy of literature. Topics that you'll study will typically include: the definition and purpose of literature; the status of fictional characters; the relevance of author's intention and the role of interpretation in fixing meaning; aesthetic evaluation, taste, subjectivity and objectivity; the value of fakes and copies; the emotional effect of literature; whether literature can convey truth and knowledge, and the relationship between aesthetic judgement and ethics. You'll prepare a package of two essays relating to different parts of the course, preceded by formative drafts and essay tutorials.

PPLP7001B

20

Students will select 0 - 20 credits from the following modules:

Students must select one module in addition to their compulsory modules. This can be chosen in either year.

Name Code Credits

CREATIVE-CRITICAL WRITING

Too often, academic critical writing seems to bring pre-packaged language to bear on works whose whole essence and aim is to change the ways in which we see and describe our world. And too often such writing fails to acknowledge the ways in which it itself participates in the literary 'creativity' it is also about. How, then, to write criticism? Criticism which responds inventively to the literature which it analyses? Criticism which registers, in its own form, language, method and the ways in which it has been transformed by the work(s) of art it encounters? Criticism which recognises that it cannot rest on received concepts and categories? In this module you'll explore these questions. Over the course of the semester we'll read, ponder and experiment with a broad range of possible ways of practising creative-criticism, including the essay form, auto-commentary, conceptual writing, inventive 'theoretical' writing, and diaristic writing. Your assessed work for the module will be in two parts: a piece of creative-critical writing of your own and a critical reflection on a particular aspect of the theory and practice of creative criticism.

LDCE7004B

20

EAST ANGLIAN LITERATURE

Throughout the medieval and Early-Modern periods Norwich was one of England's most important cities - probably second only to London - and East Anglia one of the country's culturally liveliest and richest areas. You will explore the literature of these periods in its material contexts (the region's prosperity and power may still be seen in its architecture and in the rich holdings of its libraries and museums) and ask whether there was a specifically East Anglian cultural tradition. You will explore East Anglia's rich dramatic traditions, its devotional literature and practices (in orthodox forms and in those that brush against the heterodox), and, insistently, the manner in which its literature participates in its broader social and cultural worlds.

LDCE7002B

20

FREE SPEECH

You'll examine one of the pressing issues of political theory, constitutional law, democracy, and media regulation: why is free speech important and what if any should be its limits? You'll compare and contrasts the conditions of free speech in China, the UK, and the United States. You'll be introduced to some of the classic defences of free speech found in the writings of J.S. Mill and the judicial decisions of Oliver Wendall Holmes. Following on from this you'll examine the question of free speech as it relates to freedom of the press and new media. You'll also explore the question of the limits of free speech, particularly in relation to hate speech. At this point you will have a chance to examine human rights instruments and laws pertaining to the issues, including the ECHR, the Human Rights Act 2008, and the Racial and Religious Hatred Act 2008, as well as a range of legal cases from courts across the world. You'll be exposed to a range of deeper ideological debates among liberals, libertarians, multiculturalists, and critical theorists. The approach will be multidisciplinary drawing on politics, philosophy, and law. The format will be a two-hour class each week, comprising research-led teaching, seminar discussions, practical exercises, textual reading, balloon debate, and essay writing and research-skills mini-sessions. The assessment comprises of formative feedback on the presentation of an essay plan and summative assessment of two essays. The module compares and contrasts the conditions of free speech in China, the UK, and the United States. Students are introduced to some of the classic defences of free speech found in the writings of J.S. Mill and the judicial decisions of Oliver Wendall Holmes. Following on from this they will examine the question of free speech as it relates to freedom of the press and new media. Students will also explore the question of the limits of free speech, particularly in relation to hate speech. At this point students will have a chance to examine human rights instruments and laws pertaining to the issues, including the ECHR, the Human Rights Act 2008, and the Racial and Religious Hatred Act 2008, as well as a range of legal cases from courts across the world. During the module the students will be exposed to a range of deeper ideological debates among liberals, libertarians, multiculturalists, and critical theorists. The approach will be multidisciplinary drawing on politics, philosophy, and law. Finally, the format of the module will be a two-hour class each week, comprising research-led teaching, seminar discussions, practical exercises, textual reading, balloon debate, and essay writing and research-skills mini-sessions. The module assessment is as follows: formative feedback on the presentation of an essay plan; summative assessment of two essays.

PPLX7007B

20

GOOD GOOD GIRLS AND GOOD BAD BOYS? AMERICAN FICTIONS OF INNOCENCE

Oscar Wilde wrote that 'The youth of America is their oldest tradition; it has been going on now for three hundred years'. Is this true? If so, why? This module aims to account for the preoccupation with youth in America, focusing particularly on the concept of 'innocence'. Drawing on a wide array of fictional and theoretical works, you'll consider the following questions: What is at stake in America's investment in innocence? What power interests and ideologies are maintained by repeatedly describing America as 'innocent'? How is this investment in innocence revised in different historical moments? How is it challenged? How is innocence (and loss of innocence) depicted differently for female, male, white and non-white protagonists? At the end of this module, you'll have had the opportunity to reflect on these questions in seminars, and pursued your own interests in assessed work (presentation and essay). You will also have developed your communication, writing and research skills.

AMAL7000B

20

LUDIC LITERATURE

The aim of this mixed creative-critical module is twofold: both to explore together some of the major works of playful or 'ludic' modern literature across various languages, and to develop our appreciation of style and form by practising various forms of writing that are themselves ludic: creative imitation, parody, transposition from one style and form to another, creative translation. In play, we will find, the boundary between the 'creative' and the 'critical' becomes unclear. The module is generally taken by a mix of students from the various critical and creative writing MAs, as well as by students in Literature and Philosophy. On the 'critical' side, the module traces the evolution of leading postmodernist styles and themes, especially ludic ones, back to their origins in Dostoevsky, Joyce, Kafka, Borges, and Nabokov. Using these enormously influential authors as a starting point, we read a range of ludic authors, passing back and forth between languages, nations, and genres. Each week we usually pair two authors. In previous years we have studied, for example, Dostoevsky against Nabokov, Kafka against Borges, Perec against Queneau and Calvino, Carter against Coover, Muldoon against Heaney, Pynchon against Barthelme, and Ashbery against Mallarme. There is also a strong philosophical element of the module, you will be encouraged to explore the philosophical theory of aesthetic play in Kant, Schiller, and Nietzsche, and later in Huizinga and Derrida. On the 'creative' side in previous years we have, for example, read Kafka's short tales against Borges's re-writings of them, tried to write like Kafka or Borges, turned a Kafka story into a Dostoevsky paragraph or a Nabokov poem, explored the various translations of these authors, and played with re-translating them. We have taken a story by Coover and re-written it as a sestina, two kinds of sonnet, and a villanelle. In doing all this, we are asking fundamental questions not only about play but also about style and form, how they shape meaning and make possible certain kinds of writing and thinking. We are also returning to the way in which literature was studied, and creative writing engendered, before the invention of professional literary criticism and creative writing courses in the twentieth century. All students will be encouraged to try their hand at parodying and imitating the texts we are studying, though this is not compulsory. Final assessment can take the form of a 5000 word critical essay or of a combination of a creative piece and a critical essay, to make up 5000 words.

LDCE7006B

20

THE NORTHERN RENAISSANCE, 1500-1620

This module sets out to understand why and how humanism -- the advocacy of the study of the humanities, the Greek and Roman classics -- gave birth to the astonishing outpouring of literature that we call the Renaissance. We will situate English Renaissance literature within the wider context of the humanist literature of France, the Netherlands, and Italy. Questions we consider include: how did the rediscovery of classical texts generate new possibilities for literary writers? How did humanists understand the nature of poetic creation? How did their advocacy of rhetoric create new ways for writers to engage with public life? And what happened when humanists turned philological methods upon the most sacred text of their culture: the bible? Our work will focus on the writings of Thomas More, Desiderius Erasmus, and Michel de Montaigne, but there will be opportunities to read far more widely in the Renaissance literature of the period. Foreign language texts are all read in translation. The might be of interest to anyone who wishes to gain an in-depth understanding of one of the most dazzling periods of European literary history.

LDCE7011B

20

WRITING THE FIRST PERSON

You'll look at autobiography in the broadest sense, taking in memoir, nature writing, travel writing, reportage and essay. We'll be talking about the history and variety of first-person narratives, the ways writers reveal themselves in their words, how autobiography keeps to and departs from the facts, the importance of form and structure, and about non-fiction's relationship to novels and poems. Seminars will feature practical writing exercises as well as readings and discussions.

LDCE7005B

20

Students must study the following modules for 120 credits:

Name Code Credits

MA IN PHILOSOPHY AND LITERATURE RESEARCH TRAINING AND DISSERTATION

This is the dissertation component of the MA degree in Philosophy and Literature, together with a preliminary weekly workshop which will guide you towards the research skills required for doing well at independent work in philosophy. You'll participate in the workshop during the two teaching semesters, presenting and discussing your work as well as that of your peers, and engaging in the collaborative tasks associated with becoming a critical and collegial member of the research community. You'll then complete a dissertation proposal at the end of the Spring semester, with a view to being accepted to work with your chosen supervisor on a dissertation topic of your choice. You'll complete the dissertation of 12,000 to 15,000 words over the summer.

PPLP7009X

100

METHODOLOGY AND EPISTEMOLOGY OF PHILOSOPHY

As a new graduate you will be provided with the methodological foundations for independent philosophical research. Through practical exercises complementing theoretical discussion and philosophical case studies, you will examines various philosophical methodologies from different research traditions, including empirical methodologies, and assesses their strengths and weaknesses. You will also look into the genesis, structure, and status of philosophical problems and theories, as well as the scope, strengths, and weaknesses of both historically important and currently debated philosophical methodologies. On this basis, your module addresses key questions about philosophy: What are the proper aims and purposes of philosophy? In what ways is philosophy similar to, and different from various sciences? In what ways can methods and insights from other disciplines, especially the social sciences, be put to use for philosophical purposes?

PPLP7000A

20

Students will select 0 - 20 credits from the following modules:

If you did not select an additional module in your first year, you must select one module from Options Range A in your second year. Students may request to take other modules (e.g. a language module or a Philosophy supervised study module) with the permission of the Course Director.

Name Code Credits

CREATIVE-CRITICAL WRITING

Too often, academic critical writing seems to bring pre-packaged language to bear on works whose whole essence and aim is to change the ways in which we see and describe our world. And too often such writing fails to acknowledge the ways in which it itself participates in the literary 'creativity' it is also about. How, then, to write criticism? Criticism which responds inventively to the literature which it analyses? Criticism which registers, in its own form, language, method and the ways in which it has been transformed by the work(s) of art it encounters? Criticism which recognises that it cannot rest on received concepts and categories? In this module you'll explore these questions. Over the course of the semester we'll read, ponder and experiment with a broad range of possible ways of practising creative-criticism, including the essay form, auto-commentary, conceptual writing, inventive 'theoretical' writing, and diaristic writing. Your assessed work for the module will be in two parts: a piece of creative-critical writing of your own and a critical reflection on a particular aspect of the theory and practice of creative criticism.

LDCE7004B

20

EAST ANGLIAN LITERATURE

Throughout the medieval and Early-Modern periods Norwich was one of England's most important cities - probably second only to London - and East Anglia one of the country's culturally liveliest and richest areas. You will explore the literature of these periods in its material contexts (the region's prosperity and power may still be seen in its architecture and in the rich holdings of its libraries and museums) and ask whether there was a specifically East Anglian cultural tradition. You will explore East Anglia's rich dramatic traditions, its devotional literature and practices (in orthodox forms and in those that brush against the heterodox), and, insistently, the manner in which its literature participates in its broader social and cultural worlds.

LDCE7002B

20

FICTION 'AFTER' MODERNISM: RE-READING THE 20TH CENTURY

Fiction 'After' Modernism: Re-reading the 20th century responds to the current reassessment of critical narratives about 20th century fiction by restoring significance to a critically awkward phase of 20th century writing. Focusing roughly on the thirty years either side of 'mid-century', we examine what it means to read these writers work in the wake of modernism. We will challenge the formalist distinction between experimental and realist fiction that has dominated the most influential work on the mid-century novel, and which has also stamped many post-war writers as irretrievably minor. In a similar spirit, we will explore how writers worked in the 'between' of modernism and postmodernism. Rather than produce a cohesive narrative about the period, we will examine how our writers engage with, and disturb, their own literary, historical and critical inheritances. This module is an opportunity to participate in an emerging critical conversation that is carving out new directions in literary study. Working through the period with special attention to previously marginalized (and in some cases forgotten) writers, alongside a selection of critical and theoretical texts, we will examine the ways our writers accede to, challenge, and disrupt our critical understanding of fiction after modernism. This module offers you an opportunity to participate in - and indeed contribute to - a still emerging critical conversation that is redefining 20th- century literary studies. Some critics have expressed an "invariable sense of disappointment" with the aesthetic failures of fiction written 'after' modernism: but it is precisely the fiction these critics have neglected to read critically that is leading other scholars to radically re-think the stories critics have told about the period. The critical re-evaluation of neglected writers is pushing 20th century scholarship in new directions, and creating new debates and dialogue about how we read the 20th century, we join the conversation.

LDCE7012A

20

FREE SPEECH

You'll examine one of the pressing issues of political theory, constitutional law, democracy, and media regulation: why is free speech important and what if any should be its limits? You'll compare and contrasts the conditions of free speech in China, the UK, and the United States. You'll be introduced to some of the classic defences of free speech found in the writings of J.S. Mill and the judicial decisions of Oliver Wendall Holmes. Following on from this you'll examine the question of free speech as it relates to freedom of the press and new media. You'll also explore the question of the limits of free speech, particularly in relation to hate speech. At this point you will have a chance to examine human rights instruments and laws pertaining to the issues, including the ECHR, the Human Rights Act 2008, and the Racial and Religious Hatred Act 2008, as well as a range of legal cases from courts across the world. You'll be exposed to a range of deeper ideological debates among liberals, libertarians, multiculturalists, and critical theorists. The approach will be multidisciplinary drawing on politics, philosophy, and law. The format will be a two-hour class each week, comprising research-led teaching, seminar discussions, practical exercises, textual reading, balloon debate, and essay writing and research-skills mini-sessions. The assessment comprises of formative feedback on the presentation of an essay plan and summative assessment of two essays. The module compares and contrasts the conditions of free speech in China, the UK, and the United States. Students are introduced to some of the classic defences of free speech found in the writings of J.S. Mill and the judicial decisions of Oliver Wendall Holmes. Following on from this they will examine the question of free speech as it relates to freedom of the press and new media. Students will also explore the question of the limits of free speech, particularly in relation to hate speech. At this point students will have a chance to examine human rights instruments and laws pertaining to the issues, including the ECHR, the Human Rights Act 2008, and the Racial and Religious Hatred Act 2008, as well as a range of legal cases from courts across the world. During the module the students will be exposed to a range of deeper ideological debates among liberals, libertarians, multiculturalists, and critical theorists. The approach will be multidisciplinary drawing on politics, philosophy, and law. Finally, the format of the module will be a two-hour class each week, comprising research-led teaching, seminar discussions, practical exercises, textual reading, balloon debate, and essay writing and research-skills mini-sessions. The module assessment is as follows: formative feedback on the presentation of an essay plan; summative assessment of two essays.

PPLX7007B

20

GOOD GOOD GIRLS AND GOOD BAD BOYS? AMERICAN FICTIONS OF INNOCENCE

Oscar Wilde wrote that 'The youth of America is their oldest tradition; it has been going on now for three hundred years'. Is this true? If so, why? This module aims to account for the preoccupation with youth in America, focusing particularly on the concept of 'innocence'. Drawing on a wide array of fictional and theoretical works, you'll consider the following questions: What is at stake in America's investment in innocence? What power interests and ideologies are maintained by repeatedly describing America as 'innocent'? How is this investment in innocence revised in different historical moments? How is it challenged? How is innocence (and loss of innocence) depicted differently for female, male, white and non-white protagonists? At the end of this module, you'll have had the opportunity to reflect on these questions in seminars, and pursued your own interests in assessed work (presentation and essay). You will also have developed your communication, writing and research skills.

AMAL7000B

20

LUDIC LITERATURE

The aim of this mixed creative-critical module is twofold: both to explore together some of the major works of playful or 'ludic' modern literature across various languages, and to develop our appreciation of style and form by practising various forms of writing that are themselves ludic: creative imitation, parody, transposition from one style and form to another, creative translation. In play, we will find, the boundary between the 'creative' and the 'critical' becomes unclear. The module is generally taken by a mix of students from the various critical and creative writing MAs, as well as by students in Literature and Philosophy. On the 'critical' side, the module traces the evolution of leading postmodernist styles and themes, especially ludic ones, back to their origins in Dostoevsky, Joyce, Kafka, Borges, and Nabokov. Using these enormously influential authors as a starting point, we read a range of ludic authors, passing back and forth between languages, nations, and genres. Each week we usually pair two authors. In previous years we have studied, for example, Dostoevsky against Nabokov, Kafka against Borges, Perec against Queneau and Calvino, Carter against Coover, Muldoon against Heaney, Pynchon against Barthelme, and Ashbery against Mallarme. There is also a strong philosophical element of the module, you will be encouraged to explore the philosophical theory of aesthetic play in Kant, Schiller, and Nietzsche, and later in Huizinga and Derrida. On the 'creative' side in previous years we have, for example, read Kafka's short tales against Borges's re-writings of them, tried to write like Kafka or Borges, turned a Kafka story into a Dostoevsky paragraph or a Nabokov poem, explored the various translations of these authors, and played with re-translating them. We have taken a story by Coover and re-written it as a sestina, two kinds of sonnet, and a villanelle. In doing all this, we are asking fundamental questions not only about play but also about style and form, how they shape meaning and make possible certain kinds of writing and thinking. We are also returning to the way in which literature was studied, and creative writing engendered, before the invention of professional literary criticism and creative writing courses in the twentieth century. All students will be encouraged to try their hand at parodying and imitating the texts we are studying, though this is not compulsory. Final assessment can take the form of a 5000 word critical essay or of a combination of a creative piece and a critical essay, to make up 5000 words.

LDCE7006B

20

MEDIEVAL AND RENAISSANCE HUMANISMS: FROM CHAUCER TO SURREY

This module aims to introduce you to the rich and important complexity of medieval humanism and to the distinctive turns that mark the beginnings of a new Renaissance humanism. Such an aim, of course, at once implies a series of attendant questions: what is humanism (and what was medieval humanism)? In what ways was Renaissance humanism different from medieval humanism and what is the relationship between the continuities and the new departures? And why orient an approach to medieval and Renaissance culture about 'humanism' at all? These questions, then, also lie at the heart of the module. We start from the central proposition that new approaches to the 'studia humanitatis' (the study of the humanities - art, literature, history, philosophy) pioneered by the self-styled humanists ('umanisti') between the fourteenth and sixteenth centuries constitute one of the most important achievements of the Renaissance. They defined the terms by which Renaissance humanists themselves most often distinguished their own work from the intellectual traditions of the medieval past and from the work of their (allegedly) more old-fashioned contemporaries. What, though, did medieval humanism really look like and what precisely did Renaissance humanism bring that was new? Our focus will be on five vernacular English and Scottish writers: Chaucer, Lydgate, Henryson, Douglas, and Bellenden (Surrey's translation of Books 2 and 4 of the 'Aeneid' offers a neat terminus and foil to Chaucer's earlier Virgilian versions, but we shall find that the translations of Douglas and Bellenden more richly reward our attention). From the freer reworkings of Chaucer and Henryson to the translations and scholarly excavations of Douglas and Bellenden, perhaps. Or from the classical past as an emblem of tragic self-destructiveness in Chaucer's Troy and Thebes to new and revitalising political possibilities found within Livy's Republican Rome by Bellenden? We focus on the period from the 1380sto the 1530s, but it will take us often to France and, more often still, to Italy. It will require us to open windows onto the medieval reception of the classical legacy from the 5th century to the 16th (as well as onto the classical works themselves), we bring together disparate materials, placing poems and plays alongside university syllabi and the book-lists of late-medieval libraries.

LDCE7013A

20

THE LIFE OF THE BOOK

This module will follow the arc of a biography or work of creative non-fiction from inception to reception. How do you choose a subject, determine a book's structure, find a voice and build character? What about the often daunting question of research? Once the book is written, how do you set about writing a proposal, finding a publisher and what happens during the editorial process? The emphasis will be practical, with a significant workshop element.

LDCE7003A

20

THE NORTHERN RENAISSANCE, 1500-1620

This module sets out to understand why and how humanism -- the advocacy of the study of the humanities, the Greek and Roman classics -- gave birth to the astonishing outpouring of literature that we call the Renaissance. We will situate English Renaissance literature within the wider context of the humanist literature of France, the Netherlands, and Italy. Questions we consider include: how did the rediscovery of classical texts generate new possibilities for literary writers? How did humanists understand the nature of poetic creation? How did their advocacy of rhetoric create new ways for writers to engage with public life? And what happened when humanists turned philological methods upon the most sacred text of their culture: the bible? Our work will focus on the writings of Thomas More, Desiderius Erasmus, and Michel de Montaigne, but there will be opportunities to read far more widely in the Renaissance literature of the period. Foreign language texts are all read in translation. The might be of interest to anyone who wishes to gain an in-depth understanding of one of the most dazzling periods of European literary history.

LDCE7011B

20

TRANSLATION THEORY AND HISTORY

You'll explore key issues in the history of the theory and practice of translation in the West. You'll explore the changes in the cultural status of translation from ancient times to the present, analysing the ways in which translations have contributed to the reception of texts, and focusing on some of the political, theological and philosophical debates which translations have provoked. In the second half of the module you'll focus on a range of contemporary debates in translation studies. You're encouraged to explore your own theoretical interests and present your findings in class. There is no foreign language requirement, and all materials are read in English.

LDCE7008A

20

WRITING LIVES

This module explores the many ways in which writers have grappled with getting 'life' and 'lives' down on paper. We will look at samples of writing from many different genres, for example, travel, nature, music and sports writing. You'll be encouraged to find your own special subjects, to study comparative non-fiction and to look at the many new experimental approaches that make biography and creative non-fiction such flourishing phenomena today. During the workshop you will be expected to submit your own creative work and critique the work of other members.

LDCE7001A

20

WRITING THE FIRST PERSON

You'll look at autobiography in the broadest sense, taking in memoir, nature writing, travel writing, reportage and essay. We'll be talking about the history and variety of first-person narratives, the ways writers reveal themselves in their words, how autobiography keeps to and departs from the facts, the importance of form and structure, and about non-fiction's relationship to novels and poems. Seminars will feature practical writing exercises as well as readings and discussions.

LDCE7005B

20

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. In some cases optional modules can have limited places available and so you may be asked to make additional module choices in the event you do not gain a place on your first choice. 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
  • ENHANCE YOUR CAREER CHOICES

    Whether you want to diversify or specialise – explore your options.

    Read it ENHANCE YOUR CAREER CHOICES

Entry Requirements

  • Degree Subject Philosophy or a related subject
  • Degree Classification UK BA (Hons) 2.1 or equivalent
  • Special Entry Requirements A 3000 word essay from your previous degree should be uploaded to your online application.

Students for whom English is a Foreign language

 We welcome applications from students whose first language is not English. To ensure such students benefit from postgraduate study, we require evidence of proficiency in English. Our usual entry requirements are as follows:

  • IELTS: 7.0 (minimum 6.0 listening, 6.0 speaking, 7.0 writing and 6.0 reading)
  • PTE (Pearson): 68 (minimum 55 listening, 55 speaking, 68 writing and 55 reading)

Test dates should be within two years of the course start date.

Other tests, including Cambridge English exams and the Trinity Integrated Skills in English are also accepted by the university. The full list of accepted tests can be found here: Accepted English Language Tests

INTO UEA run pre-sessional courses which can be taken prior to the start of your course. For further information and to see if you qualify please contact intopre-sessional@uea.ac.uk

Intakes

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

Alternative Qualifications

If you have alternative qualifications that have not been mentioned above then please contact university directly for further information.

Assessment

All applications for postgraduate study are processed through the Faculty Admissions Office and then forwarded to the relevant School of Study for consideration. If you are currently completing your first degree or have not yet taken a required English language test, any offer of a place will be conditional upon you achieving this before you arrive.

Fees and Funding

Tuition fees

Tuition fees for the academic year 2018/19 are:

  • UK/EU Students: £7,550
  • International Students: £15,800

If you choose to study part-time, the fee per annum will be half the annual fee for that year, or a pro-rata fee for the module credit you are taking (only available for UK/EU students).

We estimate living expenses at £1,015 per month.

Scholarships and Awards:

The Faculty of Arts and Humanities has a number of Scholarships and Awards. For further information relevant to Philosophy, please click here.

How to Apply

Applications for Postgraduate Taught programmes at the University of East Anglia should be made directly to the University.

You can apply online.

Further Information

To request further information & to be kept up to date with news & events please use our online enquiry form.

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

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

International candidates are also encouraged to access the International Students 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