BA Film Studies and English Literature

Video

At UEA we have a rich heritage as a pioneer of research and teaching in the field of Film and Television Studies, giving you a solid grounding in theoretical and historical approaches to the subject but also going beyond the classroom through an exploration of the interplay between the critical and creative.

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Key facts

(The Times and Sunday Times Good University Guide 2017)

Article

Tim Snelson and his colleagues launch their website for their AHRC-funded project which looks at the undercroft on the London South Bank as an example of young people's attachment to subcultural spaces. You can also find the film 'You Can't Move History', which the project team made in collaboration with skaters and campaigners for the undercroft.

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"During my studies, I have found the contact time with my lecturers to be really helpful, and if I have a problem or a question I need answering they are always available to offer guidance and support"

In their words

Rachel Edge, BA Film and Television

This degree brings together two intertwined subject areas in which UEA has an outstanding reputation.

You'll benefit from our world-leading expertise as you explore key writers and traditions in English literature and a global range of cinema.

A first year covering all the essentials is followed by second and third years in which there's lots of choice, enabling you to specialise in the areas that interest you the most.
You can select from creative practice options such as film production or scriptwriting, and modules covering topics as diverse as the Hollywood studio system, animation, Gothic literature and Shakespeare's England, or look at the process of adapting literature for the screen, bringing your two degree subjects into dynamic dialogue.

Students develop many transferable skills on this degree, including high-level communication skills, team working, and self-management, all of which open up a wide variety of careers.

Overview

Our BA Film Studies and English Literature degree brings together two intertwined subject areas in which UEA has an outstanding reputation.

You’ll benefit from our world-leading expertise as you explore key writers and traditions in English literature and a global range of cinema from the silent period to the present day.

A first year covering all the essentials is followed by second and third years in which there’s lots of choice, enabling you to specialise in the areas that interest you the most.

You can select from creative practice options such as film production or scriptwriting, and modules covering topics as diverse as the Hollywood studio system, animation, Gothic literature and Shakespeare’s England, or look at the process of adapting literature for the screen, bringing your two degree subjects into dynamic dialogue.

Students develop many transferable skills on this degree, including high-level communication skills, team working, and self-management, all of which open up a wide variety of careers.

Your Degree

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

Our assessment methods are designed to test a variety of skills. We use a diverse range of assessments to ensure that you leave your degree with a broad set of skills. These include essays, creative writing projects, video projects, live TV shows, in-class presentations, reports, and examinations.

There is no final examination and your degree result is determined by the marks you receive in years two and three.

Want to know more?

Come along to an Open Day and experience our unique campus for yourself.

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 120 credits:

Name Code Credits

ANALYSING FILM

Analysing Film is designed to provide you with techniques and methods that can be applied to the textual analysis of films, alongside core study and practical skills that will be used throughout your university career. The module will cover a range of formal features and frameworks including image and sound production (notably narrative, camerawork, editing, soundtrack), and their relationships with the ways in which films construct meaning. You will be expected to engage with the range of possible approaches to audio-visual analysis, and apply the ideas under discussion to diverse examples from film. Key study skills include use of the library and internet for research, note-taking, and the conventions of academic writing such as essay planning, referencing, and avoiding claims of plagiarism.

AMAM4009A

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

STUDIES IN FILM HISTORY

This module provides an introduction to the history of film from the mid to late 20th Century, familiarizing students with key points of reference in the field. However, the module is also designed to familiarize students with a range of objects and methods within the practice of film history and to use these to encourage students to start asking questions about the construction of the established and accepted narrative of film history.

AMAM4021B

20

WHAT IS FILM HISTORY?

This module provides an introduction to the narrative history of film in the late 19th century and early 20th century, as it is commonly understood within Film Studies. The module is also designed to familiarise students with a range of objects and methods within the practice of film history and to use these to encourage students to start asking questions about the construction of the established and accepted narrative of film history. The purpose here is not to convince students of the rightness of this history but rather to familiarise them with the key points of reference in the field. The module will be taught by lecture, seminar and screening.

AMAM4023A

20

WRITING TEXTS

This module examines the nature of writing as a formal, cognitive, and cultural practice. It explores the writing process, and the ways in which the text produced relates to textual theories. It addresses issues such as the differences between writing and speaking, between literary and non-literary texts, and between different forms of writing. It studies the writer's relationship with the text and its readers and the reader's relationship with the text and its writer. Throughout this module we will be defamiliarising writing and exploring how it operates. We will also approach writing formally and practically through the analysis of texts types, styles and registers. The lectures and seminars, in differing proportions, will weave together the conceptual (how we conceive writing to be), the illustrative (how writing, as we know it, works on a page and how it is read), and the practical (undertaking writing tasks to observe how these ideas operate).

LDCL4020B

20

Students must study the following modules for 40 credits:

Name Code Credits

FILM THEORY

This module explores aspects of film theory as it has developed over the last hundred years or so. It encompasses topics including responses to cinema by filmmaker theorists such as Sergei Eisenstein; influential formulations of and debates about realism and film aesthetics associated with writers and critics such as Andre Bazin, Siegfried Kracauer, Rudolf Arnheim and Bela Balazs; the impact of structuralism, theories of genre, narrative and models of film language; theories of authorship; feminist film theory and its emphasis on psychoanalysis; intertextuality; theories of race and representation; reception models. The module is taught by lecture, screening and seminar. Students will work with primary texts - both films and theoretical writings - and have the opportunity to explore in their written work the ways in which film theories can be applied to film texts.

AMAM5030A

20

RESEARCHING MEDIA

The module is designed to provide students with the key concepts and methods necessary to devise and execute an independent research project whether using traditional academic methods or practice based research. As a result, it will cover the key processes involved in devising and focusing a research project, reflexively undertaking the research itself and writing up one's results. In the process, students will be shown how to position their work in relation to an intellectual context; devise the research questions that are practical and realistic; and developing research methods through which to address these questions. The module will be taught by lecture and seminar.

AMAM5025B

20

Students will select 20 credits from the following modules:

Name Code Credits

ADAPTATION AND TRANSMEDIA STORYTELLING

This module will introduce students to the key theories of screen adaptation and transmedia storytelling, from the earliest ideas of 'fidelity' to the source, to later approaches emphasising intertextuality, and the movement of narratives across different media. It will enable students to examine a series of different examples of narrative adaptation across media and transmedia contexts. Through the module's engagement with screenwriting practice, it will also enable students to explore the processes of adaptation from within, through working on their own screenplay exercise adapting an existing work.

AMAM5038B

20

ANIMATION

Animation is one of the most popular and least scrutinised areas of popular media culture. This module seeks to introduce students to animation as a mode of production through examinations of different aesthetics and types of animation from stop motion through to cel and CGI-based examples. It then goes on to discuss some of the debates around animation in relation to case study texts. Example debates include: who animation is for (children?), the limits of the term "animation" in relation to CGI, the industrial frameworks for animation production (art vs commerce) and character vs star debates around animation icons. A range of approaches and methods will therefore be adopted within the module, including political economics, cultural industries, star studies and animation studies itself. The module is taught by seminar and screening.

AMAM5024A

20

DOCUMENTARY: HISTORY, THEORY, CRITICISM

This module will introduce students to the key issues in documentary history, theory and criticism. It will address definitional and generic debates; ethical issues; historical forms and founders; different categories, models and expository and poetic modes of documentary filmmaking; and social and political uses and debates. It will draw upon case studies from a range of different national and media contexts and give students grounding in key historical, methodological and ethical debates that they can draw upon in their future written and practical work.

AMAM5045A

20

FILM AND VIDEO PRODUCTION

This module introduces the student to the grammar of film and television, particularly questions of narrative, storytelling, framing, composition, movement, editing, sound and lighting. In so doing, it will encourage students to engage in creative practices, in which they can experiment with these elements of filmmaking (elements that they will have already explored in Analysing Film / Analysing Television) and so gain a deeper and more practical understanding of how film language makes meaning. Furthermore, it will encourage them to understand the choices and decision making processes involved in creative practice and the pros and cons involved in any creative decision.

AMAP5123A

20

FILM GENRES

Film Genres introduces students to the range of theories and methods used to account for the prevalence of genres within filmmaking. The module investigates historical changes in how film genres have been approached in order to consider how genres have been made use of by industry, critics and film audiences. Genre theories are explored through a range of case studies drawn from one or more of a range of popular American film genres that may include the Western, melodrama, romantic comedy, the road movie, the buddy movie, film noir, the gangster film, the war film and action/adventure film. In exploring concepts and case studies relating to film genres the module aims to demonstrate the impact of genres within contemporary culture.

AMAM5033A

20

FILM-STRUCK GIRLS: WOMEN AND BRITISH CINEMA HISTORIES

This module will take you behind the screen, exploring the roles that women have historically played in the international film industries, from their work as early film pioneers to their creative labours as adaptors, screenwriters, directors and producers. The module also takes students beyond the screen, examining the way women - historically perceived as 'film-struck' spectators and consumers - have shaped historical cinema cultures through their writings, fandom, practices of reception and habits of cinemagoing. We will focus primarily on case studies from British cinema from the late 19th to late 20th century. Moving across a range of case studies and methodologies, students will have the chance to engage with a variety of primary material, including film texts, fan materials, magazines, short stories, radio, archival ephemera and historical cinema sites. We will encounter historical cinema spaces in Norwich to consider histories of women's cinemagoing, delve into the East Anglian Film Archive, and make use of the media suite to look at alternative sites of women's cinema making and consumption. In examining relations between gender and cinema cultures, we will consider interrelated and intersectional questions of class, sexuality, race, and national identity.

AMAM5050B

20

RECEPTION STUDIES: HISTORY, THEORY AND TRANSCULTURAL CONTEXTS

This module will introduce students to the key theoretical frameworks and approaches within the tradition of reception studies. It will offer a critical exploration of the main debates and studies that have shaped the field, exploring both historical and contemporary contexts of media reception. In particular, in will consider the transcultural circulation of media, and the issues that arise when film, television and other media transfer between cultures with significantly different values and modes of reception. The module will encourage students to critically evaluate existing reception studies and equip them with the tools necessary to undertake their own small-scale reception study.

AMAM5035A

20

TELEVISION STUDIO PRODUCTION

AVAILABLE ONLY TO STUDENTS TAKING UG AMA-FTM as a MAJOR and ON the FOLLOWING PROGRAMMES: U1G450302, and U1WV63302 This module introduces students to television studio production, using the resources of the campus television studio. Once students have learned the basic skills of both live and recorded studio production (including directing, vision and sound mixing, camera-work, lighting, floor management and editing), they work towards the production of a short television programme. They are also required to write a report analysing and evaluating the production process and the finished product. PLEASE NOTE - This module needs a minimum of 12 students enrolled to run, if the target enrolment is not met there is a chance the module will be withdrawn.

AMAP5119B

20

THE HOLLYWOOD STUDIO SYSTEM

This module will develop students understating of how silent-era, classical and post-classical Hollywood has developed as an industry, balancing the twin demands of creativity and commerce. The module will encourage students to analyse how Hollywood works as an industry, the kind of films it produces, and the ways in which they are consumed by domestic and global audiences. Students will engage with a variety of Hollywood films and be introduced to a range of theories and approaches for analysing how they are produced and consumed.

AMAM5042B

20

THEY CAME FROM OUTER-THE-CLOSET: GENDER, SEXUALITY AND PANIC IN AMERICAN FILM

With its main focus on the 20th century, this module will explore key moments of change or crisis in the century and consider the ways the panic caused by such changes is distinctly gendered and/or sexualised. It will concurrently examine gender and sexual resistance to dominant ideas of American identity and the subsequent creation and/or promotion of liberationist discourses and alternative communities. Film will provide the focus for this cultural study, and the module will range widely over a number of different genres including the western, sci-fi, detective and LGBT themed works.

AMAS5020A

20

Students will select 60 credits from the following modules:

Name Code Credits

ADAPTATION: SHAKESPEARE ON STAGE AND SCREEN

This module explores the rich dramatic and cinematic traditions of Shakespearean adaptation. It considers a range of adaptations, from the seventeenth-century versions of Macbeth, King Lear and Henry V to more recent film versions of Shakespeare's plays, examining the light that adaptive transformations may cast on both the original plays and on the different social and cultural circumstances of the new productions. The module focuses in particular upon cinematic adaptations of Richard III, Henry V, The Tempest, Romeo and Juliet, Macbeth and King Lear, though will also discuss many other examples from stage and screen. In seminars linked to weekly screening this module offers an introduction to the theory and practice of adaptation as well as an outline view of how to read Shakespeare on film.

LDCL5021A

20

ADVANCED ENGLISH I

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

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

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

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 I (SPRING START)

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.

PPLB4045B

20

BEGINNERS' ARABIC II (AUTUMN)

This is the second part of a beginners' course in Arabic following on from Beginners' Arabic I. Students with a GCSE grade C or below (or completed A1 level from CEFR - Common European Framework of Reference) may join this module. Alternative slots may be available, depending on student numbers. Please note that very occasionally 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.

PPLB4046A

20

BEGINNERS' ARABIC II/IMPROVERS

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 I (SPRING START)

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.

PPLB4051B

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' CHINESE II (AUTUMN)

A continuation of the beginners' course in Chinese. Teaching will include pronunciation, vocabulary and basic grammar of Mandarin. 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.

PPLB4052A

20

BEGINNERS' FRENCH I

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 (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

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' FRENCH II (AUTUMN) - A2 CEFR

This is the second part of a beginners' course in French following on from Beginners' French I Spring Start. At the moment, students taking Beginners French Spring Start need to wait a whole semester to be able to carry on with Beginners 2, as this module only takes place during the Spring semester. Students with a GCSE grade C or below (or completed A1 level from CEFR - Common European Framework of Reference) may join this module. This module is about French Language and will 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 different aspect of French culture, alongside acquiring a sound knowledge of grammar, vocabulary and pronunciation to build on in subsequent French language modules (French Intermediate 1 and 2), should students wish to carry on studying French.

PPLB4053A

20

BEGINNERS' GERMAN I

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 I (SPRING START) - 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.

PPLB4047B

20

BEGINNERS' GERMAN II

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' GERMAN II (AUTUMN) - A2 CEFR

A continuation of the beginners' course in German. Students with a GCSE grade C or below (or completed A1 level from CEFR - Common European Framework of Reference) 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.

PPLB4048A

20

BEGINNERS' GREEK I

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

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

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

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' JAPANESE II (AUTUMN)

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.

PPLB4054A

20

BEGINNERS' RUSSIAN I

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

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

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 (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

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

BEGINNERS' SPANISH II (AUTUMN) - A2 CEFR

A continuation of the beginners' course in Spanish. Teaching will include pronunciation, vocabulary and grammar. 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.

PPLB4055A

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

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

CREATIVE WRITING: POETRY (AUT)

Exclusive to ELCW students (and for other students who have achieved 68+ (or equivalent for Visiting Students) in a previous Creative Writing module). All other students should enrol on LDCC5005A/LDCC5004B: Creative Writing: Introduction. This module enables students to test the range of their abilities as writers of poetry. The first half of the course will be exploratory and practical, using structured exercises and handouts to consider such issues as voice, persona, sound, imagery, metaphor, structure and form. In the second half the emphasis will shift to constructive group discussion of students' own work. Aims: The aim of this module is to develop students' expressive and technical skills in writing poetry and to improve students' abilities as editors and critics of their own and other people's work.

LDCC5003A

20

CREATIVE WRITING: POETRY (SPR)

Exclusive to ELCW students (and for other students who have achieved 68+ (or equivalent for Visiting Students) in a previous Creative Writing module). All other students should enrol on LDCC5005A/LDCC5004B: Creative Writing: Introduction. This module enables students to test the range of their abilities as writers of poetry. The first half of the seminar will be exploratory and practical, using structured exercises and handouts to consider such issues as voice, persona, sound, imagery, metaphor, structure and form. In the second half the emphasis will shift to constructive group discussion of students' own work. Aims: The aim of this module is to develop students' expressive and technical skills in writing poetry and to improve students' abilities as editors and critics of their own and other people's work.

LDCC5007B

20

CREATIVE WRITING: PROSE FICTION (AUT)

Exclusive to ELCW students (and for other students who have achieved 68+ (or equivalent for Visiting Students) in a previous Creative Writing module). All other students should enrol on LDCC5005A/LDCC5004B: Creative Writing: Introduction. This module enables students to test their abilities and potential as writers of prose fiction. It is not intended for beginners, or those with no experience of a formal creative writing environment. The first half of the course will be exploratory and practical, using structured exercises and handouts to consider such issues as character, genre voice, dialogue and point of view. In the second half the emphasis will shift to constructive group discussion of students' own work. Aim: The aim of this module is to develop students' expressive and technical skills in writing prose fiction and to improve students' abilities as editors and critics of their own and other people's work.

LDCC5001A

20

CREATIVE WRITING: PROSE FICTION (SPR)

Exclusive to ELCW students (and for other students who have achieved 68+ (or equivalent for Visiting Students) in a previous Creative Writing module). All other students should enrol on LDCC5005A/LDCC5004B: Creative Writing: Introduction. This module enables students to test their abilities and potential as writers of prose fiction. The first half of the seminar will be exploratory and practical, using structured exercises and handouts to consider such issues as character, genre, voice, dialogue and point of view. In the second half the emphasis will shift to constructive group discussion of students' own work. The aim of this module is to develop students' expressive and technical skills in writing prose fiction and to improve students' abilities as editors and critics of their own and other people's work.

LDCC5006B

20

CREATIVE WRITING: SCRIPTWRITING (AUT)

WW84 STUDENTS TAKE THIS MODULE AND THE SPRING MODULE (LDCC5008B) AS COMPULSORY MODULES. STUDENTS ON OTHER PROGRAMMES MAY TAKE EITHER THE AUTUMN MODULE OR THE SPRING MODULE, BUT NOT BOTH. This module develops students' abilities to create and understand dramatic texts. Methods include structured exercises in writing drama and the exploration and analysis of a range of plays. Students may specialise in writing for stage/radio or film/television.

LDCC5002A

20

CREATIVE WRITING: SCRIPTWRITING (SPR)

WW84 STUDENTS TAKE THIS MODULE AND THE AUTUMN MODULE (LDCC5002A) AS COMPULSORY MODULES. STUDENTS ON OTHER PROGRAMMES MAY TAKE EITHER THE AUTUMN MODULE OR THE SPRING MODULE, BUT NOT BOTH. This module develops students' abilities to create and understand dramatic texts. Methods include structured exercises in writing drama and the exploration and analysis of a range of plays. Students may specialise in writing for stage/radio or film/TV.

LDCC5008B

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

DEVISED PERFORMANCE

THIS MODULE IS RESERVED FOR STUDENTS ON W400, WQ43 AND WW84 ONLY. In this course, we will explore the concept of devised performance, in all of its various manifestations, and examine methods to develop devised theatre in the rehearsal room. Exploring the use of non-dramatic texts, thematic structures, storytelling, found text and abstract imagery, this class allows students to study and put into practice the devising techniques of companies such as the Wooster Group, Elevator Repair Service, Complicite, Kneehigh and SITI Company. You will learn about theories of narrative and dramatic structure, and experiment with a range of techniques used to generate material for performance outside of the traditional genre of the "playwright's theatre".

LDCD5053A

20

EIGHTEENTH-CENTURY WRITING

This module reads fiction, poetry, nonfictional prose, and drama of the eighteenth century, as a means with which to identify the dominant concerns of the epoch (class; gender; the politics of party; increasing secularisation), and to explore some of its debates (aristocracy versus middle class; prose versus poetry; classical or ancient versus modern or contemporary; religious versus secular). We read popular novelists, such as Eliza Haywood, Daniel Defoe, Jonathan Swift, Samuel Richardson, Laurence Sterne, and Henry Fielding; popular dramatists (Fielding especially); verse both well-known and more obscure (Pope, Gay, Smart); and excerpts from other contemporary sources (didactic, philosophical, political, religious). By the end of the module you will have acquired a knowledge of and sensitivity to the literary genres of the eighteenth century (novel, poetry, prose, drama); a knowledge of the political and cultural landscape; and a knowledge of the conditions of writing (print culture, the beginnings of literary criticism, the professionalization of literature).

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

FROM PUSHKIN TO CHEKHOV: NINETEENTH-CENTURY RUSSIAN FICTION

This module offers students the opportunity to study some of the great works of nineteenth-century Russian fiction by authors such as Gogol, Turgenev, Tolstoy and Dostoevsky. Russian writers were convinced that their country's literature had been too dependent on European models and they set out consciously to create a distinctly 'Russian' tradition. What did this involve and why subsequently were the works of the authors like Dostoevsky and Chekhov received so rapturously when they became available in English translations at the beginning of the twentieth century? We will also examine this writing in its social, historical and political context, which raises questions regarding the significance of gender, censorship and empire.

LDCL5048A

20

GOODBYE TO BERLIN? LITERATURE and VISUAL CULTURE IN WEIMAR GERMANY

This module will explore some of the exciting developments in verbal and visual culture of the Weimar Republic between the First and Second World Wars, e.g. experimental theatre, Weimar cinema, cabaret, visual arts, the Bauhaus, etc. Texts considered will include writings by Brecht, Thomas and Heinrich Mann, Joseph Roth and others as well as key films by e.g. Pabst (Threepenny Opera), Lang (Metropolis), von Sternberg (Blue Angel) and others. A particular focus is likely to be representations of gender on page, stage and screen. Active seminar participation is expected. NB: A knowledge of German, while useful, is not a prerequisite; translations are available.

LDCL5051A

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

INTERMEDIATE FRENCH I

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

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

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

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 JAPANESE I

An intermediate course in Japanese for those students who have taken Beginners' Japanese I and II or who have a GCSE or similar qualification 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.

PPLB5060A

20

INTERMEDIATE JAPANESE II

A continuation of Intermediate Japanese I. 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.

PPLB5061B

20

INTERMEDIATE SPANISH I

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

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

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

METHOD AND MEISNER

Students will be given the opportunity to explore what it is to direct and act truthfully for the camera with the intention of drawing out the most exciting and edgy filmic performances. This will be done through two methods. One, a weekly Meisner scene class in which actors and directors will learn the craft of film performance and two, a weekly hands on film making class in which they will be given the skills to go off and film the scenes themselves in their cinematic form using digital cameras. The students will be taken through the technicalities of camera use, story boarding and the use of different shots to create the sense of the scene. Through the practical, hands on process of making short films, students will gain a general understanding of the process and techniques of film making and through the Meisner and Method techniques, start to build a creative tool kit that is appropriate to working for the screen. The module is for LEVEL 2 DRAMA students only: W400, WQ43, WW84.

LDCD5054B

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

PERFORMANCE SKILLS: THE ACTOR AND THE TEXT

This module is reserved for Drama majors (W400), Drama/Literature Joints (WQ43), Scriptwriting and Performance (WW84), and Theatre Directing Masters students. Drama Minors wishing to apply must first seek approval for inclusion from Mr T. Frost. The main methods of study are through: (1) individual performance of poems and speeches, (2) scene classes, (3) character study of roles in classic plays.

LDCD5016A

20

POLITICAL THEATRE

This module examines the use of theatre and performance - by the State, by oppositional groups, by political activists and by theatre and performance practitioners - to solidify or challenge structures of power. The course looks at specific examples of how theatre and public spectacles have been used in the twentieth century to control or contest the political stage. Examining American, South America, African, Russian, and Eastern European performance in the twentieth century, this class will document and explore through specific performances, videos, dramatic texts and theoretical essays, how performance in theory and practice can be used to explore issues to race, ethnicity, gender, political upheaval and social change within a society.

LDCD5025B

20

POST A-LEVEL GERMAN 1/I

A basic module in post A-Level German (also open for students with AS-Level grade A, or equivalent to B1 CEFR - Common European Framework of Reference) consisting of revision and extension of selected areas of advanced grammar and reading and discussion of newspaper articles. Its aim is to develop competence in all areas of spoken and written German. (The module may contain a component of 'Business German': "International trade fairs in Germany", depending on student interest and enrolment.) This module is not available to native speakers or those with equivalent competence. 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.

PPLB4020A

20

POST A-LEVEL GERMAN 1/II

This module is designed to continue Post A-level German 1. It consists of revision and extension of selected advanced grammar integrated into the study of authentic texts and audio-visual materials. The aim is to further enhance students' communicative competency in German, in both writing and oral (presentation and interaction), encouraging their engagement with current affairs in German-speaking countries but also to get insights into the contemporary literary and cultural scene. Film, short prose and poetry will be analysed and discussed and students will be required to respond to different sorts of media. The module also promotes cultural awareness as it exposes students to the richness and diversity of the German-speaking social and political world.

PPLB4021B

20

PUBLISHING (AUT)

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. 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.

LDCL5064A

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

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 DIRECTOR, THE ACTOR AND THE SCRIPT

THIS MODULE IS RESERVED FOR STUDENTS ON DEGREE PROGRAMMES U1W400302, U1WQ43302 AND U1WW84302 ONLY. APPLICATIONS FROM VISITING STUDENTS ON THEATRE DEGREE PROGRAMMES MAY BE CONSIDERED. What is the director's job? How best does the actor work with the director? How does the language of the one translate into a practicable understanding in the other? How much shared vocabulary is profitable to their dynamic? This module will explore the convergence and divergence of skillset and function in this most intimate of collaborations; we will seek to strip to their fundamentals the mechanics of the director-actor relationship, and then offer tools with which both director and actor can work, in ongoing exercise and scene studies. Students will gain a solid understanding of scene structure and analysis; integrate new acting tools; learn a healthy mutual respect for one another's function, and learn to navigate some of the subtleties in the communication between actor and director. This module is aimed at students who are seriously interested in furthering their command of practical work and all participants must be equally willing to both act and direct.

LDCD5055A

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 WRITING OF HISTORY

What makes a good history essay? What makes a good literary critical essay? How are they different? How do the disciplines of History and English Literature approach argument and evidence, narration and description? What are the generic, formal and stylistic expectations that govern academic writing in each of these disciplines? Some version of these questions will have occurred to any student attempting to meet the assessment criteria in a university degree. They are perhaps particularly pressing for students in a joint degree, where somewhat different approaches are required by each subject. This module brings historians, literary critics and creative writers into a multi-disciplinary conversation designed to explore the tensions as well as the continuities between history and literary studies. After an introductory week, the module divides into three week blocks, exploring three topic areas where the research and writing of UEA faculty members in both schools overlap. By asking faculty members from the two schools to investigate similar territory from contrasting perspectives, we will explore how very similar subjects and sources can be treated differently by different disciplines (and by different methodological orientations within those disciplines). Historians, literary critics and creative writers will give guest lectures that describe and analyse their research process and writing practice. There will also be some more theoretically driven weeks where the work of key philosophers and theorists of history - for instance Levi-Strauss, Lukacs, Sartre, Hartog and Kosseleck - will be read and discussed. Students are encouraged to reflect on their own approaches to the writing of history, literary criticism and creative writing. In their summative coursework, students will answer focussed questions about history writing as a genre, analyse different approaches to the writing of history, and/or consider areas where the approaches of history, historical fiction and literary criticism might be thought to overlap or, conversely, be in conflict.

LDCL5077A

20

THE WRITING OF JOURNALISM (AUT)

The Writing of Journalism is concerned with journalism as a practice, and a genre. By examining different types of writing involved in a range of journalism, including short news stories, running stories, online journalism, reviews, and feature writing (including interviewing), we will identify and develop the skills needed to produce these. In addition to writing journalism themselves, students will examine journalistic writing and critical work about issues in the writing of journalism to probe and challenge their own ideas and assumptions about the practice and production of journalism. Rather than see the practice of journalism and the critical study of journalism as distinct activities, this course aims to engage students as critical readers and writers whose work is informed by both contexts. In so doing, students will gain a greater understanding of the demands and conventions of journalistic writing, develop and sharpen their own work, and gain the discursive flexibility to navigate the writing of journalism today. The module demands a high level of participation, as it is based on discussion, peer-workshops, and practical experience of reading and writing news and feature articles. Regular writing and participation in workshops count towards assessment. Due to the nature of this module, students who work in English as a second or foreign language should meet LDC's EFL score of 6.5. All prospective students are advised that the module involves weekly work to develop effective - and professional - journalism practices.

LDCC5013A

20

THE WRITING OF JOURNALISM (SPR)

The Writing of Journalism is concerned with journalism as a practice, and a genre. By examining different types of writing involved in a range of journalism, including short news stories, running stories, online journalism, reviews, and feature writing (including interviewing), we will identify and develop the skills needed to produce these. In addition to writing journalism themselves, students will examine journalistic writing and critical work about issues in the writing of journalism to probe and challenge their own ideas and assumptions about the practice and production of journalism. Rather than see the practice of journalism and the critical study of journalism as distinct activities, this course aims to engage students as critical readers and writers whose work is informed by both contexts. In so doing, students will gain a greater understanding of the demands and conventions of journalistic writing, develop and sharpen their own work, and gain the discursive flexibility to navigate the writing of journalism today. The module demands a high level of participation, as it is based on discussion, peer-workshops, and practical experience of reading and writing news and feature articles. Regular writing and participation in workshops count towards assessment. Due to the nature of this module, students who work in English as a second or foreign language should meet LDC's EFL score of 6.5. All prospective students are advised that the module involves weekly work to develop effective - and professional - journalism practices.

LDCC5014B

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

WORKING WITH WORDS

This module offers students the opportunity to develop both critical understanding and practical skills in writing and the communication of ideas within and for professions in the creative industries, and to gain an appreciation and knowledge of the sector and its place in the creative economy. Through a combination of lectures, masterclasses, seminars and workshops, students will be exploring both the form and context of writing within the publishing industry, journalism, film and broadcast, new media writing (digital content, blogging), and other forms of writing within the creative industries. The module is closely aligned to 'Working with Words', the annual, UEA-based student conference that explores communication and writing in the workplace. Both formative and summative assessments will be informed by this event, and therefore attendance will be compulsory. Students will also participate in a project supporting a live, national website, 'After English' hosted and managed by UEA. Selections of writing produced in the module will be uploaded to this site. The module demands a high level of participation and students will be expected to engage in regular writing exercises, individual and group research and project work. Students will be expected to undertake a summative project which requires them to research a specific area of practice in the creative industries sector, create examples of written work pertinent to this, and reflect on their own development. This module is designed for students who are interested in exploring their own career identity as 'writers' but are prepared to scrutinise and contextualise this identity through wider industry and career research and practice.

LDCL5078B

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 must study the following modules for 30 credits:

Name Code Credits

FILM, TELEVISION AND MEDIA STUDIES DISSERTATION (SPRING)

AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1QW36302, U1TW76302, U1TW76402, U1W610302, U1WV63302, U1P300303 This module provides the opportunity to work on an independently researched dissertation on some aspect of Film, Television and/or Media Studies. You are able to choose whether you do the dissertation module in the Autumn or the Spring Semester of your final year, whichever fits in better with your schedule of modules. Topics are individually negotiated. They need not relate directly to material taught in previous modules, although it is expected that dissertations will draw on and reflect upon perspectives and methodologies introduced earlier in the degree course.

AMAM6080B

30

FILM, TELEVISION AND MEDIA STUDIES: DISSERTATION (AUTUMN)

AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1QW36302, U1TW76302, U1TW76402, U1W610302, U1WV63302, U1P300303 This module provides the opportunity to work on an independently researched dissertation on some aspect of Film, Television and/or Media studies. You are able to choose whether you do the dissertation module in the Autumn or the Spring Semester of your final year, whichever fits in better with your schedule of modules. (See also AMAM6080B - note that you cannot take both modules.) Topics are individually negotiated. They need not relate directly to material taught in previous modules, although it is expected that dissertations will draw on and reflect upon perspectives and methodologies introduced earlier in the degree course.

AMAM6079A

30

Students will select 30 credits from the following modules:

FILM STUDIES MODULES Students who select AMAP6097A cannot take AMAP6098B and students who select AMAP6098B cannot take AMAP6097A

Name Code Credits

GENDER AND GENRE IN CONTEMPORARY CINEMA

This module offers an overview of critical and theoretical approaches to gender and genre in contemporary cinema, focusing particularly on North American cinema. Topics explored may include: new women and new men - the articulation of gender in popular and 'independent' American cinema since 2000; feminism and authorship; the response of mainstream and independent cinema to the political and cultural contexts of postfeminism; race and the limits of feminist representation; masculinity, homosociality and Hollywood genre. The module is taught by seminar, tutorial and screening.

AMAM6062B

30

INVESTIGATING AUDIENCES: PARTICIPATORY CULTURES and IMMERSIVE MEDIA

Students will investigate changing audience practices and cultures in the age of media convergence. It will introduce some of the key research on, and theoretical debates around, audience practices in relation to changes in distribution, technology and evolving forms of engagement. The module will study social practices and fan cultures surrounding stereoscopic technologies, transmedia storytelling, branding, streamed media, event cinema, theme park attractions and other participatory cultures. Investigating Audiences will enable students to expand their critical and analytical skills, and also to develop their abilities as an audience researcher. They will evaluate and assess published academic writing on audience research methodologies, which will then enable them to exercise critical judgement in the design of their own empirical research project.

AMAM6108B

30

JAPANESE FILM: NATIONAL CINEMA AND BEYOND

This module explores the concept of Japanese cinema in relation to national, transnational and global discourses and seeks to reframe discussions of modern and past Japanese filmmaking. We will examine a variety of Japanese films and the ways in which they interact with the history, techniques and culture of Japan. We will also consider the social and commercial nature of Japanese filmmaking, including the ways in which Japanese films circulate the globe.

AMAM6087A

30

MAGAZINES

This module will explore magazines both as cultural objects and consumer products from the emergence of the medium in the 17th century to the present day. It will critically engage with the rapidly transforming structure, nature and operations of the industry in an increasingly digital age, understanding contemporary magazines as transmedia, multi-platform brands. This module will explore magazines as key sites for the negotiation of contemporary power relations. This will be examined through a series of case studies relating to the political economy of the magazine industry; promotional cultures; digital media; and gender, sexuality and the body. This module also contains a vocational strand that seeks to equip students with knowledge of contemporary magazine production processes. The content from this strand will be partially delivered by leading figures in the magazine industry.

AMAM6032A

30

MEDIA PRACTICE PROJECT (AUTUMN)

This module provides the opportunity to work on a practice-based project investigating some aspect of Media, Film and/or Television studies. Projects are individually negotiated. Students are also expected to build upon one of the areas of practice they have covered in their course, (film-making, screenwriting, digital media, magazine or sound media). Students are also expected to produce practical work that refers to, and makes use of, relevant theoretical debates and issues. All projects will contain significant practical work, a developmental portfolio and an element of critical evaluation. Team-centred projects will be considered, but each team member must be able to demonstrate the validity of their individual project. Students MUST have completed one of the following modules: AMAP5124B Digital Media: Theory and Practice; AMAP5123A Film and Video Production; AMAP5119B Television Studio Production; AMAM6032A Magazines; AMAM5038B Adaptation and Transmedia Storytelling; HUM-5006B Sound Media: Interpretation, Recording and Production; LDCC5002A Creative Writing: Scriptwriting (AUT); LDCC5008B Creative Writing: Scriptwriting (SPR). ONLY AVAILABLE TO STUDENTS REGISTERED WITHIN AMA FTM.

AMAP6097A

30

MEDIA PRACTICE PROJECT (SPRING)

This module provides the opportunity to work on a practice-based project investigating some aspect of Media, Film and/or Television studies. Projects are individually negotiated. Students are also expected to build upon one of the areas of practice they have covered in their course, (film-making, screenwriting, digital media, magazine or sound media). Students are also expected to produce practical work that refers to, and makes use of, relevant theoretical debates and issues. All projects will contain significant practical work, a developmental portfolio and an element of critical evaluation. Team-centred projects will be considered, but each team member must be able to demonstrate the validity of their individual project. Students MUST have completed one of the following modules: AMAP5124B Digital Media: Theory and Practice; AMAP5123A Film and Video Production; AMAP5119B Television Studio Production; AMAM6032A Magazines; AMAM5038B Adaptation and Transmedia Storytelling; HUM-5006B Sound Media: Interpretation, Recording and Production; LDCC5002A Creative Writing: Scriptwriting (AUT); LDCC5008B Creative Writing: Scriptwriting (SPR). ONLY AVAILABLE TO STUDENTS REGISTERED WITHIN AMA FTM.

AMAP6098B

30

TELEVISION COMEDY

This module explores key developments in TV comedy from the genre's inception to the present. We consider the status of the genre in television culture and broader debates associated with TV Studies. We also map the ways in which the genre responds to and reflects social and historical contexts and explore examples of the genre from a variety of nations and cultures. The module will explore ways in we can study humour and comedy, and how this has been theorised historically. Key topics related to television comedy will be explored as case studies, including areas such as representation, industry and production, and audiences. There will be a separate programme of screenings.

AMAM6100B

30

Students will select 60 credits from the following modules:

ENGLISH STUDIES, ENGLISH HISTORY AND LITERATURE MODULES. Students cannot take LDCC6004B, LDCC6003A, LDCL6018A, LDCL6019B, LDCL6061A or LDCL6062B.

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

CHILDREN'S LITERATURE

This module offers students the chance to learn about children's literature and its development. It starts with the history of children's literature, looking at its use as a pedagogical tool, moving through Aesop's fables, fairy tales, Mother Goose, Lewis Carroll's Alice's Adventures in Wonderland, and examining other authors who may include A.A. Milne, Dr. Seuss, Roald Dahl, Sherman Alexie and Patrick Ness, amongst others. The course looks at issues of genre and content as well as historical context. Theoretical readings on children's literature are also closely engaged with, possibly including work by Perry Nodelman, Jack Zipes. Maria Nikolajeva, and others. By studying the development of children's literature, this module also analyses the development of the concept of childhood in Western society. This module also includes presentations and a writing workshop.

LDCL6038A

30

CONTEMPORARY DRAMA AND FILM

This module will examine emergent voices and trends in recent theatre, film and television (mainly British but with some American or European contributions). Issues covered include the (questioned) demise of explicitly political drama and the appearance of previously silenced voices (e.g. gay and lesbian themes, feminist playwrights and writing ethnicity, physical theatre practitioners).

LDCD6103B

30

CREATIVE WRITING: POETRY

Exclusive to ELCW students (and for other students who have achieved 68+ in a previous Creative Writing module). This is an advanced module for final year Creative Writing minors. Under the guidance of an experienced practising writer, the seminar will take the form of workshops designed to promote group discussion both of students' own work and the work of established authors. Consideration will be given to the technical and expressive aspects of drafting and re-drafting in the strand chosen with a view to shaping and completing a substantial piece of work.

LDCC6103B

30

CREATIVE WRITING: PROSE

Exclusive to ELCW students (and for other students who have achieved 68+ in a previous Creative Writing module). This is an advanced module for final year Creative Writing minors. Under the guidance of an experienced practising writer, the seminar will take the form of workshops designed to promote group discussion both of students' own work and the work of established authors. Consideration will be given to the technical and expressive aspects of drafting and re-drafting in the strand chosen with a view to shaping and completing a substantial piece of work.

LDCC6101B

30

CREATIVE WRITING: SCRIPT-WRITING

Exclusive to ELCW students (and for other students who have achieved 68+ in a previous Creative Writing module or AMAM5038B: Adaptation and Transmedia Storytelling). This is an advanced module for final year Creative Writing minors. The module will explore the theory and practice of writing for stage, screen and radio through the work of produced writers, secondary reading and students' own writing. And through close study of 4 key texts for stage, film, TV and radio.

LDCC6105B

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

FROM KAFKA TO SEBALD: ASPECTS OF 20TH CENTURY 'GERMAN' WRITING

This module presents an opportunity to study in depth a number of key works of 20th century German literature and to explore ways in which they respond to, and reflect, the upheavals of 20th century history. While the focus will be largely on works of prose fiction, this does not preclude the study of other genres. Starting with the modernist crisis of language ("Chandos-crisis") we will look at works by authors such as Kafka, Rilke, Benjamin, Thomas Mann, Joseph Roth, Elias Canetti, Paul Celan, Ingeborg Bachmann, Christa Wolf and W. G. Sebald. All works studied are available in translation so that a knowledge of German, while always welcome, is not a requirement.

LDCL6148A

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

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

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

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.

Entry Requirements

  • A Level ABB including English Literature or the combined English Language and Literature
  • International Baccalaureate 32 points including 5 in HL English
  • Scottish Advanced Highers ABB including English
  • Irish Leaving Certificate AABBBB including English Literature or 2 subjects at H1 and 4 at H2 including English 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 English at 70% or above

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

We welcome applications from students from all academic backgrounds. 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.

Fees and Funding

Undergraduate University Fees and Financial Support: Home and EU Students

Tuition Fees

Please see our webpage for further information on the current amount of tuition fees payable for Home and EU students and for details of the support available.

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. 

Home/EU - The University of East Anglia offers a range of Bursaries and Scholarships.  To check if you are eligible please visit the website.

______________________________________________________________________

Undergraduate University Fees and Financial Support: International Students

Tuition Fees

Please see our webpage for further information on the current amount of tuition fees payable for International Students.

Scholarships

We offer a range of Scholarships for International Students – please see our website for further information.

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 Office prior to applying please do contact us:

Undergraduate Admissions Office (Film and Television)
Tel: +44 (0)1603 591515
Email: admissions@uea.ac.uk

Please click here to register your details online 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