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Interview Guidance. Press Release Archive. Fast Facts. Internal Communications. Key Dates and Events Semester Dates. Music Centre. Share this course Back to search Ask a question. Download Prospectus See all downloads. Visit Us. Watch It. Video Meet Luke Wright. About this course. It begins — has always begun — with a blank page, from stretched goatskin to flickering, ticking cursor. What will you say? How will you press the sound of your voice against that page?

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Can you pin your ideas with words? A quill presses into skin — punctures — fills — the pale feather blushes with iridescent colours — now subtle, now searing. Bleed a filigree of poetry. Life writing. Cut and paste characters, narrative perspectives — would she tell it like that? Can we trust him, this narrator with a dazzle of quicksilver for a tongue? Lie still impeccably. In a hundred and forty characters. Jump cut here — line break — make it up. Rewrite it all, in another tense. A crisp flurry of imagery.

Turn the page — all yours — what will you write? Course Profile. Overview 'Good readers make good writers' is the ethos of this course. Year 2 You begin to focus your creative writing on a particular form or two , choosing from prose, poetry and scriptwriting modules, as well as options in publishing and journalism.

Year 3 In your final-year creative writing modules you will focus intensively on your own practice. You will use structured exercises based on objects, handouts, discussion and visualisation to stimulate the production of prose fiction and poetry. Initially, you'll write about 'what you know', drawing on notebooks, memories and family stories.

Focus will shift to the work of established authors, using sample texts as a stimulus to your own writing. The aim of this module is to get you writing prose fiction and poetry. Along the way you'll develop the craft elements of writing and acquire some of the disciplines necessary to be a writer: observation, keeping notebooks, writing in drafts, reading as a writer an submitting to deadlines, among others. This module will build on the skills you have learnt in the Autumn Creative Writing workshops, using exercises, discussion and critique, but it will also provide you with experience in a broader range of forms and styles, including adaptation and scriptwriting.

You'll have the opportunity to explore collaborative practice, potentially engaging in cross-arts. This process may also involve reflective practice and blogging via a Virtual Learning Environment. This module is exclusive to students on English Literature with Creative Writing and Drama degree programmes. 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. 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.

This module seeks to build on and develop the work of the Autumn semester, in particular that of Reading Texts. The focus will fall again on small-group discussion and on the reading of a small number of texts. With this close attention to reading at its core, the module will also look at a number of the terms and ideas central to the study of literature and to the practice of interpretation.

One of the essential ways to interpret a literary text is through the careful and sustained reading of its language and form. Close reading, as this method has come to be known, is one of the building blocks of literary study and it is to this practice that 'Reading Texts' is devoted. You'll encounter a range of different types of literature from across a number of historical periods.

You'll concentrate in each case on specific aspects of the language, style, and structure of the writing: for example, on voice, rhythm, rhyme, form, character, or metaphor. You'll experience some of the ways in which the identification of such aspects can be used as the starting point for the interpretation of a literary text, and so for the writing of literary-critical essays. You'll also experience the kinds of pleasures and possibilities that close reading offers. You'll learn exclusively in tutorial groups, with reading being chosen individually by your tutor.

You'll develop not only your close reading skills, but also your ability to discuss literary texts in small groups. The reading for each week will focus on a stated aspect of literary writing, with related tasks set for you as you go along. Close reading is one of the building blocks for the study of literature at university and 'Reading Texts' will help you to put that in place. 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.

You will focus on fiction published in the UK and Ireland in the last ten years, with a particular focus on more inventive writing. You'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.

You'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. 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. What is literature?

What makes it what it is? How should we go about reading it and what should we be reading for? How has 'English literature' emerged as an academic discipline? And how can we justify the study of that discipline today? These are some of the questions you'll explore, as, across the course of this module, you examine the theory and practice of literary criticism from the late-nineteenth century to the present. In doing this you'll not only engage with the rich, complex and provocative work of literary critics and theorists - including deconstructive, feminist, post-colonial and queer theorists - but also of some of the thinkers and writers who have influenced them: such as Marx, Freud and Saussure.

You will therefore encounter some of the most important and exciting thinkers of the modern period, acquiring an understanding of developments in linguistics, economics, psychoanalysis and philosophy, and tracing the ways in which these overlap with, and inform, literary study. This is a module you will find helpful throughout your degree.

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. Today, literature in English is produced in many countries across the world and English increasingly enjoys a status as a 'global' language. In this module you will explore how this situation came about by placing the development of English literary traditions both in the British Isles and elsewhere into the long historical context of the rise and fall of the British Empire.

Beginning with canonical works by British writers from the eighteenth century through the nineteenth and into the twentieth centuries, you will then consider literary and political responses to the experience of empire and colonization by writers from areas such as South Asia, Africa, the Caribbean, Australasia, and the Americas. You will explore how 'English Literature' has been shaped on a global scale by global historical forces, and how different the history of the English literary tradition looks when placed alongside and in counterpoint to these 'other' writings in English.

M Coetzee amongst others. The module will introduce you to the theoretical and conceptual apparatus of postcolonial literary studies and to some of the key frameworks for understanding the formation of the modern world, such as race and racism, nations and nationalism, colonial discourse and postcolonial theory, and how gender and sexuality were pivotal in the formation of colonial and post-colonial identities. 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?


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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. This module provides an introduction to the study of medieval literature.

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.

The modernist movement transformed literature and the arts worldwide in the early part of the 20th century, peaking in the period between and 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.

You will be reading a range of authors, including such long-canonised figures as James Joyce, T. You 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.

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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. It was the age of the American and French Revolution and the Wars they entailed, the age of slavery and rebellion, of empire and conquest. But the signs of a 'Romantic' sensibility can also be found in a much broader constituency of writing: the novel, letter writing, the essay, political and aesthetic theory, and social commentary.

In this module you'll be introduced to some of the most exciting Romantic period writing, including poetry, fiction and non-fictional prose from the Age of Revolution. You'll also explore key period artistic and literary concepts such as the sublime, beautiful, picturesque, the Hellenic, and pastoral, and you'll analyse the many ways in which the writers of the period exploited concepts of landscape.

You'll look at issues such as the Supernatural and Dreaming. Your understanding of Romantic writing will be enhanced by an analysis of aesthetics, politics, and of the work of women writers. You'll look at how writing is gendered in the period and the implications of this for both male and female writers. You'll be taught through a mixture of one-hour weekly lectures and two-hour weekly seminars, as well as self-directed study.

You'll gain experience in communicating your ideas in tutorials, as well as through written work and presentations. You'll be assessed through two formative pieces a close reading and a project bibliography and one summative piece on a project chosen by yourself in discussion with your seminar tutors. This module introduces you to the poetry, drama and prose of one of Britain's most exciting and turbulent periods of cultural, political and intellectual transformation: the 17th century.

The module works through lectures, which establish larger questions we might ask of the week's material, and seminars, in which we close read passages of texts together intensively. We begin in the early 17th century by exploring the ways English writing was transformed by its encounters with classical texts, before turning to explore women writers' complicated relationship to early-modern literary culture. In the module's second half, we ask how literary forms were transformed by the extraordinary upheavals of the English civil war and the execution of the monarch.

Throughout, we learn how knowledge of the circumstances of texts' publication and readership can help us to interpret literature.

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Authors which you will study include famous figures such as Ben Jonson, Andrew Marvell, and John Milton including a look at his masterpiece, Paradise Lost , as well as many lesser-known writers, including women such as Lucy Hutchinson and Hester Pulter. You will have the chance to read translations of several of the classical authors such as Horace and Martial who influenced the writers of the 17th century. The module also gives you the chance to sign up for an entirely optional visit to the Norfolk Heritage Centre in the centre of Norwich to see their remarkable collection of 17th-century books.

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 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. 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.

The module emphasises industry experience, sector awareness and personal development through a structured reflective learning experience. Having sourced and secured your own placement with support from Careers Central , you work within your host organisation undertaking tasks that will help you to gain a better understanding of professional practices within your chosen sector. Taught sessions enable you to acquire knowledge of both the industries in which you are placed as well as focusing on personal and professional development germane to the 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.

If you would like to choose this module you need to attend a preparatory workshop on March 13th from 2pm - 4pm in ARTS A register will be taken and only students who have attended the workshop will be considered during Module Enrolment. If there are extenuating circumstances that prevent attendance at either workshop, students must email placements uea. In addition to the preparatory workshop, students who enrol on this module will be required to undertake further preparatory activities prior to the module starting in the spring semester of and have secured a placement by December 11th Support will be provided throughout the duration of this process.

International students interested in this module must ensure that they have appropriate CAS allocation to allow for a placement. Would you present your own poetry as if it were the translation of an ancient manuscript, or the writings of a medieval monk? Would you write a memoir documenting your addictions which mostly consisted of made-up people and events? What about writing an autobiography of your life as a former teenage prostitute never having been a prostitute?

These crimes - and more - were perpetrated in the past: in James Macpherson 'translated' a text by the third century poet Ossian, the original of which never existed; later in the same decade Thomas Chatterton claimed to have 'discovered' the writings of the fifteenth-century monk, Thomas Rowley, but actually wrote the poems himself. In this module, you will concentrate on four questions: the difference between the fake and the real; the skills a faker needs to produce an inauthentic version of the real thing; the ways a fake might reflect on the value of the original; and the process of discovering and detecting fakery.

You will examine a series of test cases, from a range of historical periods, which will sharpen your sense of literary property, literary propriety, and literary ethics, and also provide you with a sense of the debates that shape and inform literature as a discipline and an institution. Assessment will include the opportunity to produce your own fake!

This module asks: -How does gender affect our perception of the world? Gender and sexuality? How do our literary choices inform our sense of self? What do our critical and theoretical interests say about our values and concerns? How do we make connections between our academic studies and the outside world? The aim is to help you, through the practice of reading and writing, reflect on your own values and intentions and to discover a language in which to articulate, with greater confidence, who you are. You should commit to participating in a process of uncovering your reality.

This process will include classroom discussion, peer review, learning new approaches to writing and engaging in exploratory practical exercises. You'll also be expected to keep a journal in order to reflect on connections between your reading and yourself.

An increased level of self-awareness will undoubtedly support you as you approach the task of making decisions about jobs and careers in the future. 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.

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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. We will 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'll also look at contemporary visual art to consider correspondences between the arts. Formative work includes creating a mini-anthology of contemporary poetry and there will be the chance to discuss poems you've written or read. In this module you 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.

You 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. How do we convey the experience of one language and culture in the words of another?

Conceiving Strangeness in British First World War Writing | SpringerLink

What is at stake intellectually, artistically, and politically in translation? This module will provide you with a descriptive vocabulary for the analysis of literary translation and an introduction to key theoretical explanations of what happens when we translate. You'll study translations from a range of historical periods, genres and languages. Theories have included the classic controversies of St.

Jerome and Vladimir Nabokov as well as debates about cultural equivalence and political issues such as the representation of the foreign. The module is taught by seminar where we engage with translation in a variety of ways, for example comparing different translations of a single text, translating the Bible from multiple languages into English, rewriting existing translations, and studying draft manuscript translations of a novel by Georges Perec.

Assessment is by summative coursework for which you can either produce a comparative analysis of existing translations or an original translation with commentary. On successful completion of this module you'll be able to describe the linguistic and stylistic features of a variety of texts as well as critically assess and apply different theories of translation.

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How long will it take and how much will it cost? Travel writing, as one of the forms examined in the book, allows Buck to consider letters from the front written by a regular volunteer as travelogues in order to reframe her analysis of canonical texts. The Grand Tour, which she sees behind many accounts of war experience, evokes a cosmopolitan English sensibility abroad.

Continuing her argument about travel writing from Chapter 2 to Chapter 3, Buck shows us that E.