BA History of Art and Literature

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Study Art History at UEA and learn from world-leading art experts in a setting unlike any other in the country. Immerse yourself in great works of art and join a revolution in the way we think about art around the world.

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Come and join UEA's English Literature students as they discuss 'what makes literature live?', with a little help from T.S. Eliot and others...

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Key facts

(Guardian University League Table 2019)

"The course leaders are passionate and helpful, and have so much wonderful knowledge to give."

In their words

Jennifer Smith, BA History of Art with Museum and Gallery Studies

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Study word and image in unison and gain a deeper understanding of the intertwined histories of art and literature. You’ll encounter the most important periods and movements of European, British and American art and literature. At the same time you’ll broaden your horizons by exploring the arts of other cultures, including those of the Pacific, Africa and the Americas.

On this course you’ll benefit from the expertise of both the world-leading School of Literature, Drama and Creative Writing and the Art History department. You will explore the intimate relationships forged between artistic movements both literary and visual, from the strong links between literature and church architecture of the Medieval period to the literary impressionism of the Modernist period, to experimentation with word and image in postmodernity.

Overview

You’ll be equipped with key skills in imaginative understanding, critical thinking, and confident communication. You’ll expand and deepen your understanding of texts and artworks from a uniquely wide array of contexts while developing your intellectual and professional skills and studying with outstanding students and academics.

You’ll establish firm foundations in the related disciplines of literature and art history, engaging with different documents and sources. At the same time you’ll encounter works of art at first-hand in the collections of the Sainsbury Centre, which includes works of modern European art and also outstanding works from Africa, Asia and the Americas.

In your second and third years you’ll select from a range of optional modules in order to pursue your own interests in more depth. This will enable you, for example, to explore the medieval period through texts such as Julian of Norwich’s Revelations of Divine Love and Chaucer’s Canterbury Tales and through monuments such as the great cathedrals, including, of course, those of Norwich and Canterbury. Or you might choose to examine the 20th century through the history of modernist texts and modernist art, by studying movements such as Surrealism.

As you progress through the course, you’ll be encouraged to engage with different methods and approaches and to develop informed views of your own. You will consolidate your independence as a scholar through the completion of a research dissertation in your final year. 

You’ll have the opportunity to study the world-famous collection of art held in the Sainsbury Centre for Visual Arts, itself a celebrated icon of modern museum architecture. That means you will have access to important artworks from Asia, Africa, the Pacific, the Americas, and Europe. You will be able to study relevant objects at first-hand, while learning about the processes of collecting such objects in museums. You will also be taught by world-leading experts from a range of disciplinary backgrounds, who will encourage you to approach works of art from different perspectives.

Art History at UEA is a world-leading department. Our main areas of research are the history of art and architecture in Europe and North America, the arts of Africa, Asia, Oceania and South America, the archaeology and anthropology of art, and museum studies and cultural heritage.

We are part of a close network of internationally renowned centres for the study and display of art; the Sainsbury Centre for Visual Arts, the Sainsbury Research Unit for the Arts of Africa, Oceania and the Americas, and the Sainsbury Institute for the Study of Japanese Arts and Cultures.

Norwich is England's first UNESCO City of Literature and it boasts a vibrant literary community. Great literature has been produced here from the 14th century, when Julian of Norwich became the first woman to write a book in English, right up to 20th and 21st century work by UEA graduates like Booker-prize winner Ian McEwan and Costa Award winning author Emma Healey.

UEA’s School of Literature, Drama and Creative Writing is famed for the quality, rigour and adventurousness of its teaching.

Course Structure

Year 1

You’ll begin with studies of artists, artisans, makers and making. Here you’ll engage directly with artworks first-hand in order to explore different techniques and visual effects, deepening your appreciation of their different functions and meanings. At the same time you’ll be introduced to the study of literature as a historical discipline.

In the second semester you’ll engage with some of the most crucial topics in art history, beginning with an exploration of the role of portraiture in shaping our identities. You’ll also be introduced to a key debate in the study of literature; the role and status of ‘realism’.

Year 2

At this stage of your course you’ll be able to choose from a very wide range of historical and art historical topics and begin to tailor your studies to your own developing interests. These modules will allow you to develop more specialist knowledge of particular problems and periods. In the spring semester you’ll be invited to consider how your historical studies relate to contemporary debates about art and explore the role and status of art, criticism and creativity.

Year 3

In your final year you’ll choose three modules which involve close engagement with advanced topics in literature and art history. You might, for example, choose to study Gothic visuality in relation to the literature on medieval monstrosities, or combine an exploration of modern women artists with readings from feminist writers. You’ll also write an extended essay in which you will explore a topic of your own choice through a combined literary and art-historical perspective.

Teaching and Learning

You’ll be taught by leading scholars in the field of art history and will learn through a combination of lectures, seminars and field trips.

You’ll almost always be in a seminar group of no more than 18 students which allows plenty of dialogue between tutors and students. Teaching methods vary but most sessions are organised around investigation of particular topics supported by close analysis of artworks and texts. As you progress through your course you’ll expand your knowledge, skills and understanding as you become familiar with different art practices and techniques and become accustomed to reading diverse historical sources and art historical and critical texts.

You’ll be asked to prepare material for classes which will often be developed into essays. You’ll also be given the opportunity to engage with a diverse range of relevant presentation styles such as catalogue entries and exhibition reviews.

Alongside the optional modules, in the lecture modules you’ll engage with a range of art-historical problems and methods; lectures are delivered by members of staff in the department and embrace approaches from art history, anthropology and archaeology. 

As you develop specialist knowledge in your final year you’ll also begin work on a dissertation. This will enable you to refine your understanding of a particular topic and develop the independent perspective crucial to practising art history beyond university.

Assessment

You won’t be required to sit any formal examinations. Instead, you’ll be assessed on written coursework, usually in the form of essays. Your final assessment will be supported by formative assessments through which you’ll receive feedback on your work as it progresses.

Optional Study abroad or Placement Year

You’ll have the option to apply to study abroad for one semester of your second year. Study abroad is a wonderfully enriching life experience – you will develop confidence and resilience, while learning about another culture.

For further details, visit our Study Abroad section of our website.

After the course

As a literature and history of art graduate you’ll be ready for a wide range of careers in the art world, the heritage industry, academia, art publishing and other areas of business. Your experience of studying in a world-famous art museum will give you an edge.

Along with your expertise in literature and art history you’ll graduate with excellent transferable skills including high standards of writing, research and presentation, to help with your future career in many different industries including museums and galleries, the art market and teaching.

Career destinations

Recent graduates have entered a number of fields, including:

  • Museums and art galleries
  • Commercial art galleries
  • Event management
  • Publishing
  • Journalism
  • Teaching/lecturing

Course related costs

There are some additional costs incurred by field trips, which are subsidised by the department. There are also additional costs for the optional trip to Venice in the second year.

Please see Additional Course Fees for details of other course-related costs.

Course Modules 2018/9

Students must study the following modules for 120 credits:

Name Code Credits

Landscape, Art and Culture

Most works of art - whether objects, buildings, or performances - are designed to serve a set of purposes. How their forms and functions relate may be straightforward and practical, or complex and elusive. Through a range of case studies, presented in lectures by our staff in Art History and World Art Studies, you will examine the connections between the uses, meanings, and appearances of art, culture, space, and landscape. You will also consider how these connections may change over time, especially in the context of cross-cultural contact. The opportunity to analyse texts on your own and in discussion groups will help you understand different points of view and construct an argument supported by evidence.

AMAA4004B

20

LEARNING ON SITE: THE SAINSBURY CENTRE FOR VISUAL ARTS

In this module, you will discover the art and architecture that makes up our department's home in the Sainsbury Centre for Visual Arts (SCVA). Designed by Lord Norman Foster and opened in 1978, this building and the Robert and Lisa Sainsbury Collection have shaped the study of Art History and World Art Studies at UEA. Through readings, group discussions, and the close study of objects in the SCVA, you will be encouraged to challenge assumptions and preconceptions about different kinds of art - from around the world, and from prehistory to the 20th century. This module will also develop your abilities in library research and academic referencing.

AMAA4007A

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 19th century novel is only one influential form of realism among many. You'll investigate 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. Realist impulses have often pulled writers in different directions, suggesting a plurality of different formal strategies. You'll learn to identify the different rhetorical and formal devices that writers across the centuries and in different cultural contexts have used to create realist effects.

LDCL4019B

20

MAKERS AND MAKING

Making works of art - from objects to performances, bodies to buildings - involves a range of materials, activities and ideas. On this module, you'll learn about the physical and technical properties of different materials as well as their social, economic and symbolic significance. You'll hear from a range of experts in a series of lectures by our staff in Art History and World Art Studies. You will gain a wider perspective on how people at different times, in different cultures, have designed, crafted and created works of art - challenging narrow ideas about what (and who) an artist is. You will also develop the skills you need to write effective essays at university.

AMAA4002A

20

PORTRAITURE AND IDENTITY

How do you represent a person? On this module, you will explore the genre of portraiture as it has been practiced by visual artists from the ancient world to the present day. You will develop the skill of visual analysis as you consider issues such as 'likeness'; the face; the self-portrait; portraiture as the embodiment of political, social and aesthetic power; the ways in which portraiture has variously reinforced and challenged concepts of class, race and gender; the photographic portrait, and the role of portraiture in contemporary art and culture. You will also continue to develop your writing skills, as we analyze works of art alongside histories and concepts of the individual self - perhaps the supreme artefact of all.

AMAA4025B

20

Students must study the following modules for 20 credits:

Name Code Credits

ART IN THE CONTEMPORARY WORLD

Art is a resource which can be used both positively and critically to affect the contemporary world around us. It may be exploited, most obviously for its economic value, but also for broader social or political gain. You will explore these different uses of art by addressing the factors that condition our contemporary reception of art works and visual culture. You will begin by examining some of the key methodologies for interpreting art's contemporary functions, including its capacity to create contemporary identities and world-views. You will then turn to focus on the museum and gallery as spaces for these contemporary issues to emerge, before considering the same ideas at work in more quotidian ways. And, finally, you will conclude with a reflection on your own position as art historians, anthropologists, and archeologists working with art in the contemporary world.

AMAA5090B

20

Students will select 20 credits from the following modules:

Name Code Credits

EIGHTEENTH-CENTURY WRITING

The eighteenth century was a time of great literary experimentation in which many new genres emerged, including the periodical essay, the mock-epic, the ballad opera, and the novel. These genres took shape within a commercial revolution that transformed both what it meant to be an author and what it meant to be a reader. In this module you will see how writers such as Joseph Addison, Alexander Pope and John Gay created works that both participated in and criticized the culture of commerce. You will explore the fictions created by writers such as Henry Fielding and Samuel Richardson, who developed very different versions of the novel in competition and conversation with one another. You will also examine how writers such as Samuel Johnson, Frances Burney, and Olaudah Equiano navigated the new possibilities for authorship that were opening up in the period. Ultimately you are invited to become an "eighteenth-centuryist" and to make imaginative connections between the exciting range of genres that emerged in this century and the culture that produced them. THIS MODULE FULFILS THE PRE-1789 REQUIREMENT.

LDCL5041A

20

GOODBYE TO BERLIN? LITERATURE and VISUAL CULTURE IN WEIMAR GERMANY

You 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 may 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. A knowledge of German, while useful, is not a prerequisite; translations are available.

LDCL5051A

20

MEDIEVAL WRITING

This module provides an introduction to the study of medieval literature. You will explore Chaucer's poetry (through works such as 'The Clerk's Tale', 'The Merchant's Tale', 'The Nun's Priest's Tale'), the wonderful Morall Fabillis of Robert Henryson, the work of Julian of Norwich and Margery Kempe, and a number of important Middle English Romances, including the superb 'Sir Gawain and the Green Knight'. You will work 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. THIS MODULE FULFILS THE PRE-1789 REQUIREMENT.

LDCL5063A

20

MODERNISM

The modernist movement transformed literature and the arts worldwide in the early part of the 20th century, peaking in the period between 1918 and 1939. Although the term modernism was rarely used by authors in this period, in the period after World War II it became the usual term to describe a group of writers, responding to one another, whose work is characterised by radical experiments with language and form, which aimed to do justice to a range of many subjects such as the mysteries of consciousness and the unconscious, gender, sexuality, and desire, violence and democracy, the primitive and the mechanical. We will be reading a range of authors, including such long-canonised figures as James Joyce, T. S. Eliot, Ezra Pound, William Carlos Williams, HD, Gertrude Stein, and Virginia Woolf, but expanding the modernist canon in the light of recent scholarship to other more recently revived authors such as Djuna Barnes, Mina Loy, Dorothy Richardson, and Jean Rhys. We will trace some of the origins of modernism in earlier literary movements such as Symbolism, Imagism, Aestheticism, and Impressionism, and explore its kinship with foreign literary movements such as Dada and Surrealism. Modernism invented modern methods of criticism and we will be placing a particular emphasis on the close reading of poetry and poetic prose. A study of modernism is essential for understanding all 20th century literature and this module is highly recommended for any students wishing to take any modules in 20th-century literature.

LDCL5045A

20

Students will select 20 credits from the following modules:

Name Code Credits

ACTION / ABSTRACTION:ART AFTER 1945

You will explore the rich history of art made after 1945, with a particular emphasis upon the problem of the relationship between the idea of art's autonomy and claims for its capacity to engage directly with social and political conditions. You will be introduced to key tendencies in art and a wide variety of artistic media made since 1945, with a (non-exclusive) focus upon Europe and North America.

AMAA5101A

20

AMA UG INTERNSHIP

You will work within a creative/cultural/media organisation for a semester. The module emphasises industry experience, sector awareness and personal development through a structured reflective learning experience. You will have the opportunity to work within your host organisations and undertake tasks that will help you to gain a better understanding of professional practices within your chosen sector. Your assessment tasks will provide you with an opportunity to critically reflect on the creative and cultural sector in which you have worked, as well as providing opportunities to undertake presentations, gather evidence, and articulate your newly acquired skills and experiences.

AMA-5029A

20

CONTEMPORARY GALLERY AND MUSEUM STUDIES

You will examine how contemporary artists have explored the way in which contemporary galleries and museums function. Since the 1960s artists have adopted the museum as both subject and medium in their artworks. These seminars will examine how such projects impact on our idea of what galleries and museums are, how they operate, and what role they have in public life today. Throughout, key ideas regarding aesthetics, politics, memory, and audience participation will be approached by way of specific artworks and exhibitions. These sessions will be supplemented by workshops exploring art criticism, as well as a study trip to London.

AMAA5102A

20

Students will select 20 credits from the following modules:

Name Code Credits

ANCIENT EGYPTIAN ART

The art of ancient Egypt has been admired (and vilified), collected, and used as a source of inspiration for centuries, from Mozart's Magic Flute to the Harlem Renaissance to the Arab Spring. You will explore a number of themes in ancient Egyptian art, including the role of artists in ancient Egypt; art and religious rituals, such as mummification; and the impact of Egyptian art in the the Enlightenment, the age of colonial and imperial expansion, and up to the present day. You will visit at least one museum collection of Egyptian art (which varies depending on museum programming), and you will be able to develop a topic of special interest to you for your written coursework.

AMAA5015A

20

MEDIEVAL BODIES

Born, bathed, dressed, worshipped, sexed, cut, bruised, ripped, split, buried: the human body offer historians a gateway onto understanding the cultures of the past. On this course you will examine several groups of objects from the visual culture of medieval Europe and the Middle East through this contemporary theoretical lens, building up a body of medieval artistic practice piece by bodily piece, and examining how the techniques and society of the medieval craftsman at once idolised and distorted the medieval body's forms. In previous years this course has also featured a study trip to museums and galleries in London to meet with curators and handle objects.

AMAA5086A

20

Students will select 20 credits from the following modules:

Name Code Credits

AUSTEN AND THE BRONTES: READING THE ROMANCE

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

LDCL5035B

20

CONTEMPORARY FICTION

What is the state of the art of the novel at present? And what are some of the distinguishing preoccupations and characteristics of the contemporary novel? This module seeks to consider these questions with a view to developing an understanding of the condition of the novel today. The module focuses on fiction published in the UK and Ireland in the last ten years, with a particular focus on more inventive writing. We'll read a small set of contemporary novels, the content and form of each of which will exemplify some of the possibilities for fiction in the present day. We'll consider the relation between the contemporary novel and the contemporary moment - for example, our concerns regarding the environment, identity, nationhood, and history - and think also about what it might mean to be or to call oneself contemporary: to be together with one's own time. The list of authors chosen for the module changes regularly, as you would expect. Recently, it has included the likes of Ali Smith, Anne Enright, Zadie Smith and Mohsin Hamid. You'll consider a range of ways of conceiving and interpreting the contemporary novel, and discuss these ways with your peers. There is no consensus about what does or should constitute a canon of contemporary fiction, although there is a growing critical literature on the subject, some of which we'll read. It will be our job, in lectures and in seminars, to think carefully about what novels published in the last ten years offer the best argument for the continued viability of the novel itself as a contemporary art form.

LDCL5069B

20

CREATIVE WRITING: INTRODUCTION (SPR)

Have you ever wondered what it means to write creatively? Or how you might articulate what Zadie Smith calls 'your way of being in the world'? Together we'll address these questions. You'll explore the work of some of the finest writers in the world, while also receiving clear guidance on how you might bring shape to the promptings of your imagination. This module will get you writing prose fiction and/or poetry. While there is no single, authorised way to write, there are things worth knowing about. You'll discover some of these things in class; others you'll pick up through being alert to what you have read and the way in which it functions. The most important thing, however, is to discover your own way of doing things. What drives you to capture a certain moment, or tell a certain story in a certain way? That's what we'll be aiming for. Along the way you'll develop an understanding of the craft of writing - the technical nuts and bolts - while acquiring the disciplines necessary to being a writer - observation, drafting, and submitting to deadlines. You'll be guided through a series of themes and concepts that go to the heart of creative writing, from voice and structure, to imagery and form. You'll generate material throughout the course, both through guided exercises and private study. Very often you'll be asked to write about 'what you know', drawing on notebooks, memory, family stories, your sensory impressions. In prose you will go on to look at such things as character, dialogue, point-of-view, 'showing' versus 'telling', plotting, etc. In poetry, there will be an exploration of the possibilities of pattern and form, sound, voice, imagery, and rhythm. By the end of the course you'll have developed a body of work to call your own and a sense of what it means and what it takes to write seriously.

LDCC5004B

20

CREATIVE WRITING: POETRY (SPR)

This module is for those who want to write better poems and it enables you to really test the range of your abilities in writing poetry. You'll develop and improve your expressive and technical skills in writing poetry, and be encouraged to improve analytical awareness of both the craft elements and the wider contexts of writing poetry, and also to improve students' abilities as editors and critics of their own and other people's writing. The first half of the seminar will be exploratory and practical; we'll be using structured exercises and the writing of (mostly contemporary) published poets to consider issues like voice, persona, imagery, structure and form, with time also dedicated to sharing student work. In the second half the emphasis shifts to constructive group discussion of your own work, alongside your peers, in a workshop setting. Whether discussing published poems or our own, we will be 'reading like a writer' and discussing how poems are put together. This module is exclusive to English Literature With Creative Writing students and for other students who have achieved a mark of 68%+ (or equivalent for Visiting students) in a previous Creative Writing module. All other students should enrol on Creative Writing: Introduction (Aut) or Creative Writing: Introduction (Spring).

LDCC5007B

20

CREATIVE WRITING: PROSE FICTION (SPR)

This module will enable you to test your abilities and potential as a writer of prose fiction, building on the experience you already have in a formal creative writing environment. The first half of the course will be exploratory and practical, using structured exercises and handouts. You'll be asked 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 your own work, along with that of your peers. The overall aim of this module will be to develop your expressive and technical skills in writing prose fiction, and to improve your abilities as an editor and critic of your own and other people's work. This module is exclusive to English Literature With Creative Writing students and for other students who have achieved a mark of 68%+ (or equivalent for Visiting students) in a previous Creative Writing module. All other students should enrol on Creative Writing: Introduction (Aut) or Creative Writing: Introduction (Spring).

LDCC5006B

20

CREATIVE WRITING: SCRIPTWRITING (SPR)

Scriptwriting develops your ability to create and understand dramatic texts, through exercises in writing drama and the analysis of a range of plays and/or film scripts. In this module you'll explore differing forms and styles and your work will receive feedback from both the tutor and your peers. Your first assignment will be a portfolio of shorter pieces, and then you'll write a play, radio drama or screenplay of up to 20 minutes length. The course is hands-on, inspiring and practical, and you'll be writing every week. You'll be invited to specialise in writing for stage/radio or film/television after you are allocated a place. Scriptwriting and Performance students take this module and the Autumn module Creative Writing: Scriptwriting (Aut) as compulsory modules. Students on other programmes may take either the Autumn module or the Spring module, but not both.

LDCC5008B

20

EUROPEAN LITERATURE

In this module, you'll examine examples of twentieth-century European writing (all read in translation). Rather than (merely) place writers in their national contexts, you'll deal with topics, issues and formal experiments that complicate, sometimes transcend, national boundaries. In fact you'll 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? You'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), you may explore varieties of 'European' modernism, postmodernism, the absurd, fantasy, noir, and other genres. You'll 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. You'll engage with these topics in weekly lectures, and you'll be assessed by means of an individually chosen project (supported by a formative proposal followed by individual and group tutorials).

LDCL5033B

20

POLITICAL THEATRE

How can theatre change the world? You'll attempt to find out by examining the use of theatre and performance by theatre artists and activists to challenge power and create the possibility of change. You'll look at political theatre in the USA, South America, South Africa, and Europe in the 20th century and beyond; week by week you will encounter plays, writers, performers, and theorists and build up your own toolkit of political theatre. You'll also create short plays and performance works, and take part in forum theatre, dance, stagings, and events which will enhance your political and theatrical understanding. You will be assessed through writing a short play, a sustained comparative essay, and an original performance work. Themes studied might include feminism, LGBTQ theatre, anti-racism, and Marxism. You will debate, create, and study and emerge having found your own voice as a political theatre-maker.

LDCD5025B

20

PUBLISHING (SPR)

Have you ever wondered how books are chosen for publication, or do you want to set up a literary magazine? This module address conceptual as well as practical aspects of the publishing of texts, including discussions around readership the meaning of editorship and what constitutes an editorial policy. You will be taught how to set up, run and market your own publication (such as a magazine, a book, a fanzine), to consider the principles of good design, and will learn the rudiments of finance, scheduling and copyright law. You'll begin with an introduction to the concepts behind cover and page design, and an opportunity to put your new knowledge into practice by designing and writing copy for a book jacket. You go on to present and develop an idea for a short publication and, via discussion, class exercises and private research, learn to write or select, then edit, material for it. You will engage with the processes involved in its hypothetical production and learn to identify and address its readership. You'll also benefit from taught sessions on Adobe Indesign software in our Media Suite to enable you to design your publication at a simple, basic level. As you study you'll gain experience in communicating your ideas to a class and in tutorial, as well as through word and image in your formative work and portfolio.

LDCL5065B

20

READING AND WRITING CONTEMPORARY POETRY

Using the reading and study of poetry from the post-war context up to the present day, you'll consider some of the concerns of poetry including voice, form/structure and the 'poetry of witness'. You'll also look at contemporary visual art to consider correspondences between the arts. The poets studied will be drawn principally from an Anglo-American tradition and may include such writers as Frank O'Hara, Elizabeth Bishop, Yusef Komunyakaa, Carol Ann Duffy, Carolyn Forche, Patience Agbabi and Emily Berry among others. Formative work includes creating a mini-anthology of contemporary poetry and there will be the chance to discuss poems you've written or read. You'll be able to write creatively and/or critically for assessment.

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 ground breaking 'Defence of Poetry', for instance, you might 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 might 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 FULFILS THE PRE-1789 REQUIREMENT.

LDCL5062B

20

SHAKESPEARE

The aim of this lecture-seminar module is to help you become a better reader of Shakespearean drama. Shakespeare is now so universally known and read that it is easy to forget that he wrote at a specific historical moment for specific audiences, actors and theatrical spaces. What happens to our understanding of Shakespeare's plays when we read them within the context of theatrical performance? This is what our module enables you to do -- and in doing so, it aims to give you fresh, new ways to interpret Shakespearean language and theatricality. Lectures equip you with methods and contexts for reading Shakespeare's plays; seminars give you the chance to put these into practice through close, attentive readings of his plays. Each week we study a different play in detail. The summative assessment asks you to put what you've been learning into practice by writing a critical analysis of more than one play using some of the module's methods. THIS MODULE FULFILS THE PRE-1789 REQUIREMENT.

LDCL5070B

20

THE SHORT STORY (SPR)

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

LDCL5075B

20

THE WRITING OF JOURNALISM (SPR)

What kinds of writing skills produce great journalism? This question is essential to creating powerful journalism and it's a central concern of this module. The Writing of Journalism enables you to develop a critical awareness of the skills and structures involved in creating effective journalism. You'll consider a range of journalistic forms and find out how best to nurture and develop your own writing. You'll have the opportunity to explore the ways in which journalistic writing works - its contexts, its demands, and its inventiveness. This will enable us to approach journalism as a discourse with its own conventions, practices, and ideologies. This module is concerned with journalism as a practice, and a genre. As such, it involves discussion, peer-workshops, and practical experience of reading and writing news and feature articles. In addition to writing your own journalism, you will examine journalistic writing and critical work concerning the craft, in order to probe and challenge your own ideas and assumptions about the practice and production of this writing form. Rather than see the practice of journalism and the critical study of journalism as distinct activities, this module aims to engage you as critical readers and writers whose work is informed by both contexts. In so doing, you'll gain a greater understanding of the demands and conventions of journalistic writing, develop and sharpen your own work, and gain the discursive flexibility which will allow you to navigate the writing of journalism today.

LDCC5014B

20

THREE WOMEN WRITERS

'I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman.' Virginia Woolf wrote these words in A Room of One's Own, her polemical essay about women and fiction. Woolf suggests that historically women have been reticent about openly declaring themselves as writers. Elsewhere in the piece she argues that literary language itself is unfit for women's use and that women's writing is distinct, undervalued and hampered by women's social, economic and political history. This module puts Woolf's assertions to the test. In this module you'll read the work of Woolf and two of her contemporaries, for example, Katherine Mansfield and Edith Wharton. You'll explore their writing in its historical and cultural context and you'll think about how it may or may not have influenced later thinking about the position of women. You'll consider whether or not you think their writing was innovative and what relevance it might have for us today. Each week you'll read a work by one of the three writers on the module alongside a short piece of critical writing, either contemporary with the main text or an extract from a later time that in some way engages with the themes of the week's central text. You'll learn through close reading, class discussion and independent study. Each week there'll be opportunities for members of the group to present their ideas and research on either the main or the critical text - work that can be developed in your summative assessment which will consist of one essay submitted towards the end of the semester. Your growing knowledge and understanding of the concerns and debates that were current at the time the texts were written will enable you to unlock some of the preoccupations that can lie hidden beneath the visible surface of these women's writing. These books were written at the turn of the twentieth century, but by the end of the module you'll not only be able to assess their impact in their own time but also discuss just how significant they are to society today.

LDCL5050B

20

VICTORIAN WRITING

This module aims to equip you with a knowledge of writing from across the Victorian period, in a variety of modes (fiction, poetry, science, journalism, criticism, nonsense). We will examine authors such as George Eliot, Tennyson, Dickens, Darwin, 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 19th-century writing, and some of the material contexts in which that writing took place (serial publication, popular readership, periodical writing, public controversy).

LDCL5067B

20

WRITING THE WILD

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

LDCL5059B

20

Students will select 20 credits from the following modules:

Name Code Credits

AMERICAN ART AND AMERICAN PHOTOGRAPHY 1900-1950

On this module you will explore the relations between art and photography in the United States in the first half of the 20th century. The central debate in American modernism has concerned the role of the medium and considering photography in relation to the other visual arts permits a reassessment of this debate. Artists and photographers examined include Alfred Stieglitz, Georgia O'Keeffe, Marcel Duchamp, Diego Rivera and Walker Evans.

AMAA5002B

20

ART AND ARCHITECTURE IN VENICE

Positioned at the hub of trade routes which spanned out across the known world, the city of Venice was a major commercial and political power during the medieval, renaissance, and early modern periods. It also grew to be one of Europe's most important centres of artistic production, with Venetian painters, sculptors, glassmakers, and architects channelling their city's diverse multiculturalism into a vast range of influential artworks. You will examine the development of art and architecture in the city from its earliest foundations through to the present day, tracing the aesthetic and urban history of what its inhabitants came to call 'La Serenissima,' the most serene city on earth. In previous years this module has featured a study trip to Venice.

AMAA5093B

20

INDIGENOUS ARTS AND INDIGENOUS PEOPLES

You will begin by analysing what is meant by Indigenous arts and peoples. In particular, we shall consider the link between the anthropology of art and Indigenous identity. The inter-disciplinary approach continues, by examining issues related to the interpretation of indigenous arts in wide-ranging geographic and cultural contexts from North America, to India and Australia. It then questions Indigenous peoples' engagement with notions of ethnicity and heritage, as well as the formation of an 'Indigenous media' through film-making.

AMAA5004B

20

RENAISSANCE RECONSIDERED

Fourteenth and fifteenth-century Italy was shaped by the growth of urban centres and the development of new political, social, and sacred institutions. New patrons and uses for artworks prompted a wealth of artistic activity that responded to and also forged contemporary values, beliefs and identities. Bankers, merchants, mercenaries, and religious institutions exploited the power of art and architecture to promote their professional interests, ambitions, and families. But was the Renaissance all that it seemed? We will reconsider some of the most famous (and infamous) artists and objects from renaissance Italy, questioning traditional assumptions about the nature and function of art during this period. Each week you will explore a selection of buildings, paintings, and sculpture alongside renaissance literature and modern theory, building a new and richer picture of this critical cultural moment.

AMAA5097B

20

Students must study the following modules for 30 credits:

Name Code Credits

DISSERTATION

On this module you will undertake a research project on a topic related to your specialised interests, in consultation with an appropriate member of ART Faculty, leading to a 9,000 word dissertation.

AMAA6112B

30

Students will select 30 credits from the following modules:

Name Code Credits

ARTS OF THE PACIFIC: AGENCY OF REPRESENTATION

Representations are not unconditional or without engagement. In this module, representation is not merely understood as praxis, but as praxis with agency. Following Alfred Gell's notion of the agency of art, we will consider representation as a process that not merely describes, displays and communicates, it also does. Clues to its agency lie in the processes from which it emanates and in which it eventuates. We will discuss contemporary views on the Pacific by particularly focusing on the role of visual and material culture in these representations. The aim of this module is to promote a critical awareness of what artefacts socially do in the Pacific, to understand how they materialise relationships, are condensations of knowledge and how people use these forms to engage with their life worlds.

AMAA6123A

30

MAPPING WORLDS

Mapping helps us to conceive of abstract concepts in tangible visual form. Be it geographical notions of the globe and the heavens, or more complex outlines of the body, the mind, time, even history, a map helps to bound and give features to otherwise inexplicable space and knowledge. This course uses historical maps and modern theories of cartography as the jumping-off point for an in-depth investigation of the visual and imaginative cultures of Europe and the Middle East from the prehistoric and classical eras through to the Middle Ages and Renaissance. In previous years this course has also featured a study trip to museums and galleries in London to meet with curators and handle objects.

AMAA6121A

30

PUBLIC ART, PERFORMANCE AND MEMORY

Intense debates rage around monuments that represent historical figures as our most celebrated heroes. But why are our monuments epicentres of public debate and political contestation? This module examines how and why public art and performances commemorate historical events. To find answers to these questions, you'll study the monuments that remember the First World War, the Holocaust, the Slave Trade and Colonialism. But you will also be encouraged to ask how memorials makes us remember and, indeed, whether there are alternative ways of remembering. You'll study commemoration in spirit possession, pilgrimage, and popular music. Considering case studies from across the world, you will review the role of memory and commemoration in the constitution of our society. This module encourages you to consider why alternative forms of memory are required for a more just society.

AMAA6135A

30

THE GOTHIC EYE

An altarpiece is dismembered and hung on a gallery wall, an ivory comb is locked within a display case, a manuscript closed in a museum. The way in which we encounter medieval artworks today is radically different from the time of their creation. What affects the ways in which we see these works now, and how were they seen when they were first created hundreds of years ago? Is it possible to look at Gothic art through 'Gothic eyes'? Merging science, faith, philosophy, and material histories, we will explore the changing experiences of viewing medieval art. The theme of 'vision' will be our guide through the a spectrum of medieval objects drawn from across northern Europe. Each week we will investigate a different theme # such as light, mirrors, space, veils, and dreams# in relation to a set of related artworks, medieval texts, and modern theories. As the course progresses, we will turn from actual vision to imagined vision, investigating how medieval artists pictured dreams, visions, and impossible things.

AMAA6134A

30

Students will select 30 credits from the following modules:

Name Code Credits

CHILDREN'S LITERATURE

This module offers you 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, Victorian and Edwardian literature, and examining authors that might include A.A Milne, Dr. Seuss, Sherman Alexie, and Melvin Burgess, amongst others. The course looks at issues of genre and content as well as at historical context. Theoretical readings on children's literature are also closely engaged with. By studying the development of children's literature, this module also analyses the development of the concept of childhood in Western society. This module is creative and critical and students have a chance to write for children in it.

LDCL6038A

30

LITERATURE AND DECONSTRUCTION

In an interview with Derek Attridge, the thinker and writer Jacques Derrida describes literature as 'this strange institution which allows one to say everything'. If you are interested in the strangenesses of literature, in the workings of institutions, in democracy and the freedom to say 'everything' - and if you are prepared to read and think hard - then this is the module for you. Together, we'll explore the writings of Derrida and related thinkers alongside a range of literary texts, from the c16th to the contemporary, and our aim throughout will be to establish the possibilities for literary criticism opened up by what Derrida calls 'deconstruction'. Deconstruction isn't just - or even mainly - a theory, but names the strange things that can happen when we really read, think, write and live. To pay attention to deconstruction, as Derrida does, is to be sensitive to aspects of the world and of texts that can't be summed up, assimilated into a neat argument, tidied away. It is at once to read for arguments, for themes and for structures, and to register the 'force of dislocation' which means that these aren't the last word, that texts can't be closed off, that reading must carry on. To stick with deconstruction is to remain hospitable to elements of 'otherness' or 'strangeness' within the familiar, within what we think we know. Deconstruction gives 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 you if you studied critical or cultural theory in the second year. In keeping with deconstruction's inventive spirit, you'll have the opportunity to experiment with the form of your own critical and theoretical writing.

LDCL6048A

30

LITERATURE DISSERTATION: PRE-1789 (AUT)

You'll be provided with the opportunity to write an 8000-word dissertation on literature of the period before 1789 (excluding American literature). The dissertation topic must be agreed by a supervisor, and both topic and supervisor approved by the module organiser. THIS MODULE FULFILS THE PRE-1789 REQUIREMENT.

LDCL6061A

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

MINOR LITERATURES: RESISTANCE, RADICALISATION AND READING

You'll explore writing as a site of resistance and protest and consider 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, you'll ask what it means 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 forces 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. You'll explore 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

THE EIGHTEENTH-CENTURY NOVEL

You'll be reading two of the most important novels of the 18th century over several weeks so that you can attend to them closely as they unfold in time. The novels are Samuel Richardson's Clarissa and Henry Fielding's Tom Jones. The secondary readings will engage the central debates happening in novel studies today. You'll 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

WRITING RELIGION IN THE AGE OF JOHN MILTON

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. The module seminars unfold through intensive close-reading of the early-modern literary masterpieces which were shaped by these questions, culminating in an in-depth study of all the major late poetry of John Milton: Paradise Lost, Paradise Regained and Samson Agonistes. Before reaching Milton, we read major works by his influential predecessors, which might include 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 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, John Milton, or of early-modern literature in general. THIS MODULE FULFILS THE PRE-1789 REQUIREMENT.

LDCL6134A

30

Students will select 30 credits from the following modules:

Name Code Credits

AFTER NATURE: LITERATURE AND THE ENVIRONMENTAL CRISIS

This is a 20-credit module, available to visiting/exchange students. Where do debates in environmentalism, cultural geography and literary criticism meet? What does contemporary literature have to tell us about our relationship with space, place, landscape, nature, rurality, ecology, and even a 'sense of planet?' You will encounter a range of post-war and contemporary forms, from poetry, short stories, the novel, and literary non-fiction to visual art, the radio essay, and film. Each will offer fresh and surprising ways of thinking about a range of different contemporary environments and about our place in a changing world. We will consider in what ways literary genres and traditions have helped to create and produce our understanding of geography in the past and how recent literary works have reworked some of these genres and traditions to mark contemporary changes. We will consider, for example, how authors since the environmental crisis have engaged with/inherited/reworked early modern chorography, the Romantic travelogue, the naturalist's journal, and the rural essay. To what new ends are these forms put in an uncertain and unstable modern world? Among others, the course will explore work by Alice Oswald, Rana Dasgupta, Tim Robinson, Kathleen Jamie, Patrick Keiller, J.G. Ballard, and Robert Macfarlane. It will also include trips to investigate the nature writing holdings at UEA's British Archive for Contemporary Writing. Assessment will give you the opportunity to, initially, create your own critical or creative radio essay/podcast (formative) and, later, develop a deeper knowledge of one of the week's themes, building your own critical (or creative non-fiction) project around it (5,000 word summative). While there are no pre-requisites, this module complements and develops themes explored in 'Writing the Wild' and 'Urban Visions: The City in Literature and Visual Culture.'

LDCL6165B

20

AMERICAN GOTHIC

Ghosts, witches, zombies, doppelgangers, vampires, haunted houses, deathly symbols and portents... Why is it that, in a world where culture changes quickly and irrevocably, the elements of the gothic seem to stay the same? Who are the monsters of the American imaginary? What does the American Gothic do to and with these monsters? On this module you will begin to answer these rich and complex questions. American fiction began in the period of the European Gothic novel, and its presence has marked American literature ever since. As Leslie Fiedler puts it in Love and Death in the American Novel, 'our fiction is', 'bewilderingly and embarrassingly, a gothic fiction, nonrealistic and negative, sadist and melodramatic -- a literature of darkness and the grotesque in a land of light and affirmation.' Through detailed textual and critical investigations you will look closer at the meaning of gothic conventions and consider their persisting effects in American fiction. As this module progresses you will read novels and short stories from across the nineteenth and twentieth century, in conjunction with gothic, literary critical and psychoanalytic theory. This will give you a toolkit for assessing and expanding on the patterns you will see in the gothic fiction, and for interrogating how these patterns might say something to us about American cultures, and American fears, of the time. You will study in discussion-based seminars, giving verbal presentations and writing, researching, and analysing with independence and creativity. By the end of the module you will be able to spot complex literary patterns, account for their strange and uncanny effects on the reader, and describe how American literature came to be so very haunted.

AMAL6024B

30

BANNED BOOKS

The right to free expression is seriously threatened in many places in the world; it has also never been so passionately defended. You will focus on the history of banned books from the early 20th century to contemporary literature. Novels, poems and plays have often been banned on the grounds of political sedition, obscenity, and blasphemy. You will consider the changing nature of literary censorship, the legalistic and philosophical arguments for and against censorship, the nature of arguments in defence of free expression, why literary writers have so frequently pushed the boundaries of the acceptable and the impact of technology on the history of censorship and free speech. You will trace a series of shifting arguments about why free speech matters: from the drive to explore sexuality in literature, to the politicisation of free speech during the cold war, to current debates about blasphemy and free speech, as well as the idea that free speech is a so-called key Western value. Some of the texts studied on the course will be set because they are, in themselves, explorations of the boundary of prohibition and free expression. Of importance too will be the impact of global communication networks on free speech debates: in the context of the internet, does the nation state control the dissemination of literary texts? If not, what are the implications of the absence of legal control? You will consider both English language texts and texts in translation. Authors considered will probably include James Joyce, D. H. Lawrence, Radclyffe Hall, Boris Pasternak, Salman Rushdie, Elif Shafak and Margaret Atwood, but the authors studied on the course are likely to change to include unfolding censorship events and issues.

LDCL6162B

30

CONTEMPORARY DRAMA AND FILM

In this module you will examine emergent voices and trends in recent theatre, film and television (mainly British but with some American or European contributions). Topics 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). In this course you will also examine recent works related to representations of (for example) religious controversy, sexual identity, politics and the social impact of scientific discovery.

LDCD6103B

30

DRAMA AND LITERATURE: THE QUESTION OF GENRE

You will explore the relationship between the study of literature and the study of dramatic performance both creatively and theoretically. Its practical aspect consists of an adaptation for the stage of a literary text, which you will freely chosen and test by workshop performance, and its theoretical aspect consists of attempts to define the narrative modes of the epic, the lyric and the dramatic, with the dramatic further dividing into tragedy and comedy. These two aspects of the course converge in considerations of how you have drawn on these narrative modes in your own adaptations, and how great writers throughout the centuries have created works which stand on thresholds between them e.g. theatrical novelists or lyrical dramatists. One question which underlies all critical engagement with the subject of genre is whether generic awareness should be understood as an historical encumbrance which stands in the way of representing or expressing personal experience, or whether it is a necessary and enabling resource for increasing the receivers' pleasure or extending their philosophical horizons. Critics have stood on either side of the debate.

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. You'll have the 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, Virginia Woolf, Ali Smith, Beyonce, and Chimamanda Ngozi Adichie. You'll 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 you'll be assessed in both critical and creative modes. Students of all genders are equally welcome.

LDCL6132B

30

GALLERIES AND MUSEUMS PRACTICE

This module explores a variety of practical and conceptual considerations in Gallery and Museum Studies by focusing on specific aspects of these institutional structures: from building, housing and caring for collections, to curating shows and exhibitions, and producing texts and writing criticism. You will develop your engagement with the practice of conceiving, designing and mounting exhibitions, exploring both the conceptual demands of putting on a successful show and the practical considerations involved in doing so. Finally we consider the role of interpretation and learning in galleries and museums practice, thinking also about how texts of various sorts operate in exhibitions and collections displays. The module has previously involved a study trip to London or Cambridge.

AMAA6134B

30

GLOBAL MODERNISMS

Anglo-American modernism is one part of a movement that spread from 19th-century Europe across the globe. This module investigates the ways that English has engaged with modernism as it reaches outward to the European periphery and beyond. International modernist authors are available to English readers in multiple translations. You'll learn to assess different English versions of each text, relating stylistic analysis to questions about the intellectual, artistic, and political legacies of modernism. You'll study lesser-known poets and novelists such as Italo Svevo in Trieste, rescued from oblivion by James Joyce and author of the comic psychoanalytic memoir Zeno's Conscience; Fernando Pessoa in Lisbon, who wrote under multiple poetic identities, each with its own fictional biography; Clarice Lispector, brought as a child from Ukraine to Brazil, where she produced meticulous, unsettling accounts of consciousness; and the Peruvian poet Cesar Vallejo, creator in Trilce of one of the most daring lexical and syntactic experiments of the avant-garde. On successful completion of this module, you'll be able to produce comparative analysis of different translations, evaluating them critically in relation to key modernist concepts, claims and writing practices. You'll have expanded your understanding of modernism's international reach and the ways that we understand that reach in English. The module is taught by seminar and assessed by summative project. It will be of particular interest if you've studied modernism, translation, or international literature earlier in your degree. There is no language requirement but if you have knowledge of the relevant source languages, you'll be given the opportunity to use that knowledge.

LDCL6156B

30

MEDIEVAL ARTHURIAN TRADITIONS

Who has not heard of Arthur and the Knights of the Round Table? Yet why, of all medieval traditions, is this legend the most pervasive medievalism of modern culture? To answer this question we return to the Middle Ages to discover the development from its 12th century Celtic roots, through heroic and romance cultures to its final flourishing in the 15th century in a work by Malory, which all modern versions (including film and tv) are today based upon. The source base of the medieval Arthurian legend is diverse, encompassing chronicle, ballad, courtly and popular romance in verse as well as prose. A variety of English Arthurian texts will be read alongside the folklore of the Welsh Mabinogion collection, Geoffrey of Monmouth's influential Latin work and French Romance texts (in translation). This module focuses on the literary and ideological innovations of Arthurian writers and on the intertextual relations which hold between medieval Arthurian texts. Students will examine the genres and voices of medieval Arthurian narratives, including its resort to prophecy, epic discourse, pseudo-historical discourse, pseudo-exegesis and courtly romance. The various national responses to ideas of myth, legend and history, the cultural significance of differences in the representations of women in the various texts, as well as questions regarding individuality and selfhood that arise in literature produced in a volatile period of religious and social uncertainty and dissent will be explored. This module will enable students familiar with medieval Romance to enhance their awareness of the Arthurian traditions, but is also suitable for students who are encountering medieval literature for the first time. THIS MODULE FULFILS THE PRE-1789 REQUIREMENT.

LDCL6066B

30

MEDIEVAL MONSTROSITIES

Did medieval people really believe in monsters? 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. You will consider monsters in a range of genres such as romance, saints' legends, travel writing and visual imagery, as well as their reception by medieval and modern readers and critics. You will interrogate the various discourses of monstrosity and consider what makes a monster through consideration of topics such as: the horror and allure of the monstrous body; monstrous appetites; sexuality and sexual deviance; geography and racial alterity. You 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. You will be able to apply your developing understanding of the discourse of monstrosity in a range of practical contexts such as field trips. Previous experience of Middle English literature will be an advantage but is not required. By the end of the module you should have a more nuanced understanding of the place of monstrosity in medieval literature and have an increased awareness of the ways in which language is used to both shape and respond to perceived differences. THIS MODULE FULFILS THE PRE-1789 REQUIREMENT.

LDCL6081B

30

MODERNISM AND GENDER: FRANCE AND GERMANY 1900-1939

This module addresses modernism in the first part of the twentieth century. It explores the work of male and female artists and also considers how gender structures representation and art practice. The module provides an opportunity to reconsider key works by Henri Matisse, Pablo Picasso, Paula Modersohn-Becker, Suzanne Valadon, Hannah Hoch and Claude Cahun, amongst others.

AMAA6128B

30

NEW NARRATIVE

New Narrative began as a late 20th century creative rebellion. From its origins in 1970s punk, second-wave feminism and the gay rights movement, New Narrative writers explored and exploited the relationship between the personal and the political, gossip and literature, high and low art. It is the place where the tell-all memoir meets critical theory, and the place from which writers talked about their own desires and their own experiences in order to challenge the status quo. It is also a writing of friendship and coterie, a place to collaborate and to be influenced: many texts from the New Narrative movement were worked on in workshops that took place in the back rooms of bookshops or in each others' apartments in San Francisco. Over the last 40 years, New Narrative has spawned generations of radical, experimental, genre-defying writers, from Kathy Acker to Chris Kraus to Maggie Nelson. You'll explore the major themes of New Narrative through reading key texts from the movement. You'll also explore the theoretical and cultural influences surrounding the movement. You will think carefully about the role of the writer in relation to the text, particularly the phenomenon of the 'cult' writer; you'll be encouraged to focus your critical studies on one particular New Narrative author in order to explore their life and legacy alongside their body of work. Finally, there will be opportunities to produce your own 'freak' and genre-defying texts.

LDCL6172A

30

QUEER LITERATURE AND THEORY

This module offers you the chance to learn about LGBTQ literature and its development in English-speaking countries, as well as approaches to queer theory, and the relationship of both literature and theory to culture and current events. This means analysing sexuality and gender and the representation of such identities in literature and society, and discussing topics such as intersectionality, the body, and heteronormativity. Authors studied may include James Baldwin, Alison Bechdel, Gore Vidal, and Sarah Waters, as well as children's books and young adult novels by Nancy Garden, Ellen Wittlinger, and Marcus Ewert. Authors of theoretical texts looked at may include Nikki Sullivan, Eve Kosofsky Sedgwick, Luce Irigaray, 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, so you will also discuss current events and their links to literature and theory. You will look at a variety of genres in order to see how these different text types work, how they queer genre, and how they approach similar themes in different ways.

LDCL6033B

30

RACE, WRITING AND IDENTITY IN POST-WAR BRITAIN

How did the legacy of its empire affect and shape British society during the period of increasing immigration from its former colonies following the Second World War and even now? How did the writing of those immigrants represent the social conflicts and tensions of that period, especially experience of racism and the resistance to it? How have contemporary minority ethnic writers responded to the challenges of the contemporary period, in which racism has taken new forms, such as Islamophobia and anti-refugee movements? You'll focus on the ways in which postcolonial ideas can help us to understand and reflect upon the aftermath of empire in Britain. You'll use selected writings by Black and Asian British writers to explore questions of race and racism, culture and ethnicity, religion, multiculturalism, gender and sexuality, identity, and belonging that have been stimulated by post-war migration to Britain by residents of its former colonies. These issues will be set in the context of past and contemporary debates about British identity, and how these debates have been shaped and reshaped in response to the successive arrivals of migrants from other parts of the world, and by the creative, intellectual and everyday interventions of those migrants themselves. The main topics of study will be The literature of arrival - post-war Britain and 'first generation' migrants; The cultural politics of race, racism and anti-racism; Multiculturalism, belonging, hybridity and negotiation - the re-shaping of British identities; The new politics of exclusion - asylum seekers and Islamophobia.

LDCL6168B

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. We will consider Plato as a poetic philosopher and Shakespeare as a philosophical poet by asking what difference the 'dramatic' form of Plato's Socratic dialogues makes to their 'ideas', and, conversely, how in Shakespeare's plays, particularising plots unfold into generalising arguments. In both cases, the concern is with how dramatic form with its special mixture of what is seen, what is said, what is known and what is enacted, can clarify perennial philosophical questions. We'll also touch on several possible mediators between Plato and Shakespeare, including Castiglione, Erasmus and Sir Philip Sidney. THIS MODULE FULFILLS THE PRE-1789 REQUIREMENT.

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 part of your module will take you chronologically through the various stages of Eliot's Collected Poems, from the 19th-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 (1935-1942). It will also offer an introduction to Eliot's literary criticism as well as to criticism written about him. The first coursework essay will take the form of an editorial commentary on a chosen poem or passage, giving you an opportunity to follow up allusions and interpretations through wider reading. The second part of your 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 20th century, you will consider the importance of Eliot's example to the next generation of modernist poets (such as W.H. Auden, W.S. Graham, Lynette Roberts) as well as later poets in Britain and Ireland (such as J.H. Prynne, Veronica Forrest-Thomson, Philip Larkin, Seamus Heaney) and the Americas (such as John Ashbery, Sylvia Plath, Edward Kamau Brathwaite, Octavio Paz). The final project will be a 3,000-word essay on any Eliot-related topic of the your 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. Please note that this is an indicative description only, and the weekly themes and reading are revised each year to stay up to date with current work in the field. 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 Literature and Theory'.

LDCL6118B

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. In the first half of the module we will look 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 part 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 will 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. THIS MODULE FULFILS THE PRE-1789 REQUIREMENT.

LDCL6054B

30

WRITING LIFE: BIOGRAPHY AND CREATIVE NON-FICTION

'Truth is stranger than fiction' and it's often more moving, powerful, inspiring and funnier too. You'll have plenty of opportunity to discover some extraordinary 'true' stories on this module as well as the possibility to write one of your own. You'll think about the ever-shifting boundaries between 'truth' and 'fiction' as well as the ethical questions that arise when you're writing about real people and situations. This is a module that enables you to do something very different in your final semester at UEA. During this module you'll consider if and how non-fiction writing differs from fictional literature. You'll learn about research, how to read and interrogate personal documents and the challenges presented by memory and anecdote. How do you assemble facts so that the resulting story is as compelling as fiction? What clothes can the non-fiction writer steal from the novelist's wardrobe? Throughout the module you'll read different types of non-fiction and think about how individual authors weave their research material into narrative form. You will have the opportunity to write your own piece of non-fiction for your summative assessment if you wish. This is a 5,000 word creative or critical piece which everyone will workshop during the semester. There will also be tutorials in which you can discuss your summative work. By the end of the module you'll have gained an understanding of the craft of non-fiction and you'll have developed your ability to ask pertinent questions of any non-fiction you read, be it a newspaper story or a highly researched account of a life or situation. You'll have honed your research abilities and perhaps your interview skills too if you decide to write something that involves interviews. You'll also have thought about the ethical implications that may arise when writing about 'real life' - all qualities that are highly valued by employers.

LDCL6026B

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. In some cases optional modules can have limited places available and so you may be asked to make additional module choices in the event you do not gain a place on your first choice. Where this is the case, the University will endeavour to inform students.

Further Reading

  • Sainsbury Centre for Visual Arts

    The Sainsbury Centre is one of the most prominent university art galleries in Britain, and a major national centre for the study and presentation of art.

    Read it Sainsbury Centre for Visual Arts
  • Ask a Student

    This is your chance to ask UEA's students about UEA, university life, Norwich and anything else you would like an answer to.

    Read it Ask a Student
  • UEA Award

    Develop your skills, build a strong CV and focus your extra-curricular activities while studying with our employer-valued UEA award.

    Read it UEA Award

Entry Requirements

  • A Level ABB including an English Literature related subject or BBB including an English Literature related subject with an A in the Extended Project
  • International Baccalaureate 32 points including HL 5 English
  • Scottish Highers AAABB including an English Literature related subject
  • Scottish Advanced Highers BCC including an English Literature related subject
  • Irish Leaving Certificate 3 subjects at H2, 3 subjects at H3 including an English Literature related subject
  • Access Course Humanities & Social Sciences pathway preferred. Pass the Access to HE Diploma with Distinction in 30 credits at Level 3 including an English Literature module, and Merit in 15 credits at Level 3
  • BTEC DDM alongside grade B in an English Literature related subject A-level (or equivalent qualification). Excludes BTEC Public Services and Business Administration
  • European Baccalaureate 75% including 70% in an English Literature related subject

Entry Requirement

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

If you do not have an A-Level or equivalent qualification in English Literature (or English Language and Literature), once you have submitted your UCAS form we may then contact you to ask you to submit a short analysis of a passage of a literary text in support of your application.

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 each 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

Tuition Fees

Information on tuition fees can be found here:

UK students

EU Students

Overseas Students

Scholarships and Bursaries

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

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

How to Apply

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

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

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

Further Information

Please complete our Online Enquiry Form to request a prospectus and to be kept up to date with news and events at the University. 

Tel: +44 (0)1603 591515

Email: admissions@uea.ac.uk

    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