LDC Autumn 2017-18

2017/8 - LDCC5001A CREATIVE WRITING: PROSE FICTION (AUT)
Autumn Semester, Level 5 module

(Maximum 999 Students)
UCU: 20 Organiser: Dr Jacob Huntley
MODULE - 40% PASS ON AGGREGATE
Module Type: Coursework and Project
Timetable Slot:A3*B4/E3*A4
IN TAKING THIS MODULE YOU CANNOT TAKE LDCC5005A OR TAKE

LDCC5006B
Exclusive to ELCW students (and for other students who have achieved 68+ (or equivalent
for Visiting Students) in a previous Creative Writing module). All other students should enrol
on LDCC5005A/LDCC5004B: Creative Writing: Introduction. This module enables students
to test their abilities and potential as writers of prose fiction. It is not intended for beginners,
or those with no experience of a formal creative writing environment. The first half of the
course will be exploratory and practical, using structured exercises and handouts to consider
such issues as character, genre voice, dialogue and point of view. In the second half the
emphasis will shift to constructive group discussion of students' own work. Aim: The aim of
this module is to develop students' expressive and technical skills in writing prose fiction and
to improve students' abilities as editors and critics of their own and other people's work.
2017/8 - LDCC5002A CREATIVE WRITING: SCRIPTWRITING (AUT)

UCU: 20 Organiser:
Timetable Slot:D3*C4

LDCC5006B
WW84 STUDENTS TAKE THIS MODULE AND THE SPRING MODULE (LDCC5008B)
AS COMPULSORY MODULES. STUDENTS ON OTHER PROGRAMMES MAY TAKE
EITHER THE AUTUMN MODULE OR THE SPRING MODULE, BUT NOT BOTH. This
module develops students' abilities to create and understand dramatic texts. Methods include
structured exercises in writing drama and the exploration and analysis of a range of plays.
Students may specialise in writing for stage/radio or film/television.
2017/8 - LDCC5003A CREATIVE WRITING: POETRY (AUT)

UCU: 20 Organiser: Professor Tiffany Atkinson
Timetable Slot:C7*C8/U

LDCC5007B
Exclusive to ELCW students (and for other students who have achieved 68+ (or equivalent
for Visiting Students) in a previous Creative Writing module). All other students should enrol
on LDCC5005A/LDCC5004B: Creative Writing: Introduction. This module enables students
to test the range of their abilities as writers of poetry. The first half of the course will be
exploratory and practical, using structured exercises and handouts to consider such issues as
voice, persona, sound, imagery, metaphor, structure and form. In the second half the
emphasis will shift to constructive group discussion of students' own work. Aims: The aim of
this module is to develop students' expressive and technical skills in writing poetry and to
improve students' abilities as editors and critics of their own and other people's work.
2017/8 - LDCC5005A CREATIVE WRITING: INTRODUCTION (AUT)

UCU: 20 Organiser: Dr Philip Langeskov
Timetable Slot:B9*B10/U

LDCC5002A OR TAKE LDCC5003A OR TAKE LDCC5004B
An introductory module open only to second year students. It is not available to students on
the Creative Writing Minor and is offered as an alternative to other Level 5 Creative Writing
modules. The aim of the module is to get students writing prose fiction and/or poetry, using
structured exercises based on objects, handouts, discussion and visualisation to stimulate the
production of work. At the outset students will be encouraged to write about 'what they
know', drawing on notebooks, memories and family stories. Throughout attention will be
given to the work of established authors, using exemplary texts both as a basis for discussion
and as a stimulus to students' own writing. Along the way students will begin to develop an
understanding of the craft of writing - the technical nuts and bolts. They will also acquire
some of the disciplines necessary to being a writer - observation, writing in drafts, reading as
a writer, submitting to deadlines, etc.
2017/8 - LDCC5013A THE WRITING OF JOURNALISM (AUT)

UCU: 20 Organiser: Dr Karen Schaller
Module Type: Project
Timetable Slot:D1*D2*A3/A6*A7*A8/E1*E2*E3
IN TAKING THIS MODULE YOU CANNOT TAKE LDCC5014B OR TAKE LDCL5078B
The Writing of Journalism is concerned with journalism as a practice, and a genre. By

examining different types of writing involved in a range of journalism, including short news
stories, running stories, online journalism, reviews, and feature writing (including
interviewing), we will identify and develop the skills needed to produce these. In addition to
writing journalism themselves, students will examine journalistic writing and critical work
about issues in the writing of journalism to probe and challenge their own ideas and
assumptions about the practice and production of journalism. Rather than see the practice of
journalism and the critical study of journalism as distinct activities, this course aims to
engage students as critical readers and writers whose work is informed by both contexts. In so
doing, students will gain a greater understanding of the demands and conventions of
journalistic writing, develop and sharpen their own work, and gain the discursive flexibility
to navigate the writing of journalism today. The module demands a high level of
participation, as it is based on discussion, peer-workshops, and practical experience of
reading and writing news and feature articles. Regular writing and participation in workshops
count towards assessment. Due to the nature of this module, students who work in English as
a second or foreign language should meet LDC's EFL score of 6.5. All prospective students
are advised that the module involves weekly work to develop effective - and professional -
journalism practices.
2017/8 - LDCC6003A CREATIVE WRITING DISSERTATION (AUT)

UCU: 30 Organiser: Miss Kate Moorhead-Kuhn
Timetable Slot:U
This is an advanced level module which is for final year CW minors. The module allows
students an opportunity to write a substantial short story (approximately 6000 words) or
drama script (60 pages) or collection of poems (15-25 poems, totalling between 270 and 290
lines) and to develop an understanding of their own motivations, influences and processes
through the production of a reflective self-commentary (2000 words). This module aims to
encourage independent learning and the initiation and development of new creative material
in a way that provides a grounding in the disciplines necessary both for postgraduate research
and the professional practice of writing.
2017/8 - LDCC6005A CREATIVE WRITING DISSERTATION (AUT)

UCU: 20 Organiser: Miss Kate Moorhead-Kuhn
Timetable Slot:U
THIS MODULE IS A 20-CREDIT VERSION OF LDCC6003A: CREATIVE WRITING
DISSERTATION (AUT) AND IS AVAILABLE TO VISITING AND EXCHANGE
STUDENTS ONLY.
2017/8 - LDCD4007A INTRODUCTION TO WORLD DRAMATIC LITERATURES

UCU: 20 Organiser: Ms Kirstin Smith
Module Type: Coursework
Timetable Slot:B1*B2*B3*E4,U
Whats the history of dramatic literatures, and how have ground-breaking plays shaped it?
Introduction to World Dramatic Literatures examines a wide range of influential plays
from comic to tragic, realist to absurd offering a broad arc of dramatic history. As well as
the work of major European dramatists, it draws on the dramatic literature of Asia, Africa
and/or the Americas. You will learn how to analyse playtexts in their historical and aesthetic
contexts, observe and discuss performed extracts, and perform in them if desired.
2017/8 - LDCD5016A PERFORMANCE SKILLS: THE ACTOR AND THE TEXT

UCU: 20 Organiser: Ms Sophie Vaughan
Timetable Slot:D6*D7*D8*E1*E2*E3*A6*A7*A8
IN TAKING THIS MODULE YOU CANNOT TAKE LDCD5026A OR TAKE

LDCD5053A OR TAKE LDCD5055A
This module is reserved for Drama majors (W400), Drama/Literature Joints (WQ43),
Scriptwriting and Performance (WW84), and Theatre Directing Masters students. Drama
Minors wishing to apply must first seek approval for inclusion from Mr T. Frost. The main
methods of study are through: (1) individual performance of poems and speeches, (2) scene
classes, (3) character study of roles in classic plays.
2017/8 - LDCD5020A EXPERIMENTS IN PERFORMANCE

UCU: 20 Organiser: Ms Kirstin Smith
Timetable Slot:C1*C2*C3*D4
As the contemporary avant-garde continues to break new ground in site-specific, multi-media

and immersive theatre practices, it is easy to lose sight of its radical foundations. The
development of experimental theatre and performance from the late nineteenth century
through to the 1960s and '70s continues to be reflected in the work of some of the most
exciting companies of today, such as Complicit, Forced Entertainment and Frantic
Assembly. This module delves into performance at the edge, exploring radical works,
methods and interpretations. Through seminars and practical workshops, you will engage
with postdramatic, multimedia and durational techniques, situating them in the context of
over a century of theatrical experimentation. Youll create experimental group performances
and analyse the role of key practitioners in shaping theatre and performance as art forms at
the cutting edge of cultural production. Assessment will be by course work and performance
project and students will be required to be assessed in both critical and creative modes.
Students wishing to submit written work have the option to write a short script/performance
score. THIS MODULE IS RESERVED FOR STUDENTS ON DEGREE PROGRAMMES
U1W400302, U1WQ43302 AND U1WW84302 ONLY. APPLICATIONS FROM
VISITING STUDENTS ON THEATRE DEGREE PROGRAMMES MAY BE
CONSIDERED.
2017/8 - LDCD5055A THE DIRECTOR, THE ACTOR AND THE SCRIPT

UCU: 20 Organiser: Mr Michael Bernardin
Timetable Slot:C5*C6*C7*D1*D2*A3
IN TAKING THIS MODULE YOU CANNOT TAKE LDCD5016A
THIS MODULE IS RESERVED FOR STUDENTS ON DEGREE PROGRAMMES

U1W400302, U1WQ43302 AND U1WW84302 ONLY. APPLICATIONS FROM
VISITING STUDENTS ON THEATRE DEGREE PROGRAMMES MAY BE
CONSIDERED. What is the director's job? How best does the actor work with the director?
How does the language of the one translate into a practicable understanding in the other?
How much shared vocabulary is profitable to their dynamic? This module will explore the
convergence and divergence of skillset and function in this most intimate of collaborations;
we will seek to strip to their fundamentals the mechanics of the director-actor relationship,
and then offer tools with which both director and actor can work, in ongoing exercise and
scene studies. Students will gain a solid understanding of scene structure and analysis;
integrate new acting tools; learn a healthy mutual respect for one another's function, and learn
to navigate some of the subtleties in the communication between actor and director. This
module is aimed at students who are seriously interested in furthering their command of
practical work and all participants must be equally willing to both act and direct.
2017/8 - LDCD6009A DRAMA DISSERTATION

UCU: 30 Organiser: Mr Tony Frost
Timetable Slot:U
An independently researched dissertation of 8000 words on some aspect of drama or dramatic

literature, performance theory and practice. This may treat drama in the medium of theatre,
TV, film or radio, or it may take the form of a drama script (45-60 minutes running time).
2017/8 - LDCL4008A LITERATURE IN HISTORY 1

UCU: 20 Organiser: Dr Cath Sharrock
Timetable Slot:C5*U
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.
2017/8 - LDCL4010A INTRODUCTION TO CULTURAL STUDIES

UCU: 20 Organiser: Dr Iain Robinson
Timetable Slot:C1*C2
This module seeks to foster an interdisciplinary awareness by examining literature as cultural

response. It will introduce students to some landmark texts and theories of cultural studies,
using Victorian and early modernist writing to explore these ideas, and examine cultural and
historicist readings of both literary and popular prose. While it is a core module for those in
Literature and History, it is suited to all those interested in interdisciplinary study. It is taught
through seminars.'
2017/8 - LDCL4015A READING AND WRITING CRITICISM

UCU: 20 Organiser: Dr Thomas Roebuck
Timetable Slot:C2,U
This module seeks to introduce you to the possibilities of critical writing. It enables you to
encounter a range of critics, from antiquity to the present. At its heart, the module invites you
to ask three questions: what does it seem to mean to think and write 'critically'? How does the
form in which criticism is written shape its meaning? And what can we learn about our own
critical writing by thinking about all the different strange, innovative and challenging ways in
which the critics we're encountering present their arguments? The module is designed to help
you to develop a sense of what it might mean to write and think as a critic, and not only a
critic of literature, but also of art, film, photography or many other media.
2017/8 - LDCL5021A ADAPTATION: SHAKESPEARE ON STAGE AND SCREEN

UCU: 20 Organiser: Dr Matthew Woodcock
Timetable Slot:B5*B6*B7,A5*A6
This module explores the rich dramatic and cinematic traditions of Shakespearean adaptation.
It considers a range of adaptations, from the seventeenth-century versions of Macbeth, King
Lear and Henry V to more recent film versions of Shakespeare's plays, examining the light
that adaptive transformations may cast on both the original plays and on the different social
and cultural circumstances of the new productions. The module focuses in particular upon
cinematic adaptations of Richard III, Henry V, The Tempest, Romeo and Juliet, Macbeth and
King Lear, though will also discuss many other examples from stage and screen. In seminars
linked to weekly screening this module offers an introduction to the theory and practice of
adaptation as well as an outline view of how to read Shakespeare on film.
2017/8 - LDCL5031A CRITICAL THEORY AND PRACTICE

UCU: 20 Organiser: Dr Clare Connors
Timetable Slot:C1,D7*D8/U
Through a combination of lectures and seminars, this module will explore the theory and
practice of literary criticism from the origins of the study of English literature as an academic
discipline to the present. In order to do this, we examine not only the work of literary critics
and theorists, but also engage with developments in linguistics, economics, psychoanalysis
and philosophy, tracing the ways in which these overlap with, and inform, literary study.
Covering the work of writers as various as Karl Marx, Sigmund Freud, Jacques Derrida, Eve
Sedgwick and Gayatri Spivak, and exploring structuralist, feminist, queer and post-colonial
theories amongst others, this module engages with ideas and ways of thinking which you will
find helpful throughout your degree.
2017/8 - LDCL5041A EIGHTEENTH-CENTURY WRITING

UCU: 20 Organiser: Dr Jo Poppleton
Timetable Slot:A2,B3*E4/C7*C8/C3*D4/D7*D8
This module reads fiction, poetry, nonfictional prose, and drama of the eighteenth century, as
a means with which to identify the dominant concerns of the epoch (class; gender; the politics
of party; increasing secularisation), and to explore some of its debates (aristocracy versus
middle class; prose versus poetry; classical or ancient versus modern or contemporary;
religious versus secular). We read popular novelists, such as Eliza Haywood, Daniel Defoe,
Jonathan Swift, Samuel Richardson, Laurence Sterne, and Henry Fielding; popular dramatists
(Fielding especially); verse both well-known and more obscure (Pope, Gay, Smart); and
excerpts from other contemporary sources (didactic, philosophical, political, religious). By
the end of the module you will have acquired a knowledge of and sensitivity to the literary
genres of the eighteenth century (novel, poetry, prose, drama); a knowledge of the political
and cultural landscape; and a knowledge of the conditions of writing (print culture, the
beginnings of literary criticism, the professionalization of literature).
2017/8 - LDCL5042A SEVENTEENTH-CENTURY WRITING: RENAISSANCE AND

REVOLUTION

UCU: 20 Organiser: Dr Thomas Roebuck
Timetable Slot:D2,E3*A4*/A7*A8
This module introduces you to the poetry, drama and prose of one of Britain's most exciting
and turbulent periods of cultural, political and intellectual transformation: the seventeenth
century. The module works through lectures, which establish larger questions we might ask
of the week's material, and seminars, in which we close read passages of texts together
intensively. We begin in the early-seventeenth century by exploring the ways English writing
was transformed by its encounters with classical texts and by religious experience, before
turning to explore women writers complicated relationship to early-modern literary culture.
In the module's second half, we ask how literary forms were transformed by the extraordinary
upheavals of the English civil war and the execution of the monarch. Throughout, we learn
how knowledge of the circumstances of texts' publication and readership can help us to
interpret literature. Authors we study include famous figures such as Ben Jonson, Andrew
Marvell, and John Milton (including a look at his masterpiece, Paradise Lost), as well as
many lesser-known writers, including women like Lucy Hutchinson and Amelia Lanyer, and
Norwich's greatest writer, Thomas Browne. You will have the chance to read translations of
several of the classical authors (including Horace and Martial) who influenced them. The
module includes a visit to the Norfolk Heritage Centre (in the centre of Norwich) to see their
remarkable collection of seventeenth-century books.
2017/8 - LDCL5045A MODERNISM

UCU: 20 Organiser: Dr Thomas Karshan
Timetable Slot:A4,U
Modernism revolutionised the arts worldwide and peaked in the period between 1918 and
1939. We will focus on modernist literature written in English in this period, studying in
detail such major authors as Ezra Pound, H.D., William Carlos Williams, T. S. Eliot,
Marianne Moore, James Joyce, Virginia Woolf. Djuna Barnes, Dorothy Richardson, and
others. There will be close attention to the radical experiments they conducted with language
and form in their attempts to plumb the depths of consciousness. We will trace their origins in
earlier literary movements such as Symbolism, Imagism, Aestheticism, and Impressionism,
and explore their kinship with foreign literary movements such as Dada and Surrealism. You
will be encouraged to do your own research, extending your reading of authors beyond the
assigned syllabus material and drawing on the resources of the Modernist Magazines Project.
Modernism invented modern methods of criticism and there will be a particular emphasis on
the close reading of poetry and poetic prose. A study of modernism is essential for
understanding all twentieth century literature and this module is highly recommended for any
students wishing to take any modules in twentieth-century literature at Level 6.
2017/8 - LDCL5051A GOODBYE TO BERLIN? LITERATURE & VISUAL

CULTURE IN WEIMAR GERMANY

UCU: 20 Organiser: Dr Jo Catling
Timetable Slot:A5*A6
This module will explore some of the exciting developments in verbal and visual culture of
the Weimar Republic between the First and Second World Wars, e.g. experimental theatre,
Weimar cinema, cabaret, visual arts, the Bauhaus, etc. Texts considered will include writings
by Brecht, Thomas and Heinrich Mann, Joseph Roth and others as well as key films by e.g.
Pabst (Threepenny Opera), Lang (Metropolis), von Sternberg (Blue Angel) and others. A
particular focus is likely to be representations of gender on page, stage and screen. Active
seminar participation is expected. NB: A knowledge of German, while useful, is not a
prerequisite; translations are available.
2017/8 - LDCL5061A READING AND WRITING TRANSLATIONS

UCU: 20 Organiser: Professor Duncan Large
Timetable Slot:E1*E2
This course focuses on reading translated texts from around the world, and analysing them in
the context of translation theory. Texts explored will range from the Bible and Latin poetry
(Virgil, Catullus) through the Arabian Nights to non-fiction works (Nietzsche, Freud) and
Harry Potter; translation theories studied will include historical examples (Jerome, John
Dryden, Friedrich Schleiermacher) and more recent theoretical work in translation studies,
with a particular emphasis on the way translation theory intersects with cultural movements
such as feminism and postcolonialism. There is one piece of summative coursework
assessment, which involves either an original translation with commentary or a comparative
analysis of existing translations or an essay on a theoretical issue in translation studies. Other
pieces of formative assessment to be completed over the course of the module include
analyses of translated texts, sample translations, and self-commentaries on translations. A
thorough reading knowledge of another language besides English is advisable, but not
essential.
2017/8 - LDCL5063A MEDIEVAL WRITING

UCU: 20 Organiser: Mr Thomas Rutledge
Timetable Slot:D6,E3*A4/A5*A6/A7*A8
This module provides an introduction to the study of medieval literature. We explore

Chaucers poetry (The Clerks Tale, The Nuns Priests Tale, The Parliament of Fowls), the
wonderful Morall Fabillis of Robert Henryson, the work of Julian of Norwich and Margery
Kempe, and three Middle English Romances, including the superb Sir Gawain and the Green
Knight. The module works in three inter-related ways: by exploring a range of important
medieval literary genres (the lyric, allegorical narrative, romance, mystical writing, life
writing, moral fable, dream vision); by considering important aspects of the medieval world
(social, political, religious) and their textual representation; and by addressing the material
circumstances in and by which medieval texts were written and read, published and circulated
(in manuscripts and in the very earliest printed books). The aim, then, is really two-fold: to
introduce you to the remarkable riches of medieval literature (one of the pay-offs of the
relative linguistic difficulty of Middle English is that it forces us to attend slowly and
carefully to the textual details of our material in a way I suspect we dont 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.
2017/8 - LDCL5064A PUBLISHING (AUT)

UCU: 20 Organiser: Ms Rachel Hore
Timetable Slot:A3*B4,E5*E6*E7/U
IN TAKING THIS MODULE YOU CANNOT TAKE LDCL5065B OR TAKE LDCL5078B
The module will be conceptual as well as practical including discussions and exercises
around the design, editing and publishing of a text and what constitutes an editorial policy. In
the seminars students will be taught how to set up, run and market their own publications (a
magazine/book/fanzine) as well as to justify their editorial, marketing and business strategies.
This course will be assessed by a portfolio. Three sessions of training on Indesign publishing
software will be provided as part of the course. This module will suit students who wish to
engage with publishing on a creative and intellectual level as well as learning useful
employability skills.
2017/8 - LDCL5072A LITERATURE AND PHILOSOPHY

UCU: 20 Organiser: Dr David Nowell Smith
Timetable Slot:E4,A3*B4
This module will offer a series of different approaches to the question of how Literature and
Philosophy can speak to each other as academic disciplines, demonstrating the breadth and
diversity of the two fields, as well as acquainting students with the research in literary
criticism and philosophy currently being pursued at UEA. As well as examining the ways in
which literature can illuminate and trouble philosophical argument, it will explore literature
and 'the literary' as a topic for philosophical analysis, and the kinds of thinking such a topic
would demand. Setting literature and philosophy into dialogue in this way will engender a
more capacious understanding of the particular philosophical issues, and literary techniques,
under discussion. The course will allow students to develop an awareness of the limits and
advantages of various modes of literary and philosophical expression, and to foster more
sophisticated skills in both literary and philosophical criticism. The module will be made up
of a lecture circus, with two weeks given to each lecturer on a particular topic related to their
current research (there will be five in all, David Nowell Smith (module convenor) plus two
from PHI and two from LDC). The seminars will discuss issues arising from these lectures,
working with texts set by the lecturer. The module is compulsory for VQ53 English
Literature with Philosophy students, but is also open for other students in the English
Literature and Philosophy degree courses.
2017/8 - LDCL5074A THE SHORT STORY (AUT)

UCU: 20 Organiser: Dr Karen Schaller
Timetable Slot:E1*E2
What is a short story? What do short story writers have to say? What about short story critics
and theorists? Is the short story a narrative in miniature? Or is there more to a short story than
simply being 'short'? And why are critics so concerned with whether the short story is alive or
dead? These are the kind of questions this module will investigate by asking you to think as a
short story reader, theorist, critic and writer. Reading will be drawn from short story writers -
and writing about the short story - roughly spanning the 19th century to the present, and from
a range of cultural contexts. Our interest will not be to establish a history of the short story,
but instead to explore the range of thematic preoccupations, changing definitions, and critical
debates surrounding the form. Students will have the opportunity to respond to these
questions in critical and/or creative forms of assessment. Writers studied might include Edgar
Allan Poe, Katherine Mansfield, Julio Cortazar, Anton Chekov, Ali Smith and Ryunosuke
Aqutagawa.
2017/8 - LDCL5077A THE WRITING OF HISTORY

UCU: 20 Organiser: Dr Matthew Taunton
Timetable Slot:C2,A3*B4/E3*A4
What makes a good history essay? What makes a good literary critical essay? How are they
different? How do the disciplines of History and English Literature approach argument and
evidence, narration and description? What are the generic, formal and stylistic expectations
that govern academic writing in each of these disciplines? Some version of these questions
will have occurred to any student attempting to meet the assessment criteria in a university
degree. They are perhaps particularly pressing for students in a joint degree, where somewhat
different approaches are required by each subject. This module brings historians, literary
critics and creative writers into a multi-disciplinary conversation designed to explore the
tensions as well as the continuities between history and literary studies. After an introductory
week, the module divides into three week blocks, exploring three topic areas where the
research and writing of UEA faculty members in both schools overlap. By asking faculty
members from the two schools to investigate similar territory from contrasting perspectives,
we will explore how very similar subjects and sources can be treated differently by different
disciplines (and by different methodological orientations within those disciplines). Historians,
literary critics and creative writers will give guest lectures that describe and analyse their
research process and writing practice. There will also be some more theoretically driven
weeks where the work of key philosophers and theorists of history - for instance Lvi-
Strauss, Lukcs, Sartre, Hartog and Kosseleck - will be read and discussed. Students are
encouraged to reflect on their own approaches to the writing of history, literary criticism and
creative writing. In their summative coursework, students will answer focussed questions
about history writing as a genre, analyse different approaches to the writing of history, and/or
consider areas where the approaches of history, historical fiction and literary criticism might
be thought to overlap or, conversely, be in conflict.
2017/8 - LDCL5079A EMPIRE AND AFTER: GLOBALIZING ENGLISH

UCU: 20 Organiser: Professor Anshuman Mondal
Timetable Slot:B1,B7*B8
Today, literature in English is produced in many countries across the world and English
increasingly enjoys a status as a global language. This module 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, the module will then consider literary
and political responses to the experience of empire and colonization by writers from South
Asia, Africa, the Caribbean, Australasia, and the Americas. It 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. The module will discuss the writings of Daniel Defoe,
Joseph Conrad, Chinua Achebe, Jean Rhys, Amitav Ghosh, Kate Grenville and J.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.
2017/8 - LDCL6015A THROUGH THE LOOKING-GLASS: NONSENSE AND

MODERN WRITING
Timetable Slot:E1*E2*E3
It's widely recognised that modernist literature is characterised by a revolution of the word.
Less widely recognised, and little explored, is the relationship between modernist linguistic
experimentalism and literary nonsense, as practised by Lewis Carroll, Edward Lear, and
others. This course will begin with these well-known nonsense writers and explore their roots
in seventeenth and eighteenth-century nonsense, and parallels to Emily Dickinson, before
going on to examine some of the adventures in language of major modernist and
postmodernist writers. Modernist and postmodernist authors studied are likely to include the
Joyce of Finnegans Wake, early Auden, Virginia Woolf, Sylvia Plath, John Ashbery and
some surrealist writers. We will also conduct our own games with the dictionary and with
contemporary discourse. This is not a course on children's literature, but on some very
challenging modern literature, mostly poetry. It should appeal to those who take a childish
pleasure in wordplay and fantasy. You will need to enjoy uncertainty and have good close-
reading skills. There will be opportunities for creative writing of nonsense and creative
writers are encouraged to take the module. To do this module you must have studied
Modernism, Critical Theory, or one of the 2nd year Creative Writing modules, unless you
obtain a waiver from the lecturer.
2017/8 - LDCL6016A THROUGH THE LOOKING-GLASS: NONSENSE AND

MODERN WRITING

THIS MODULE IS A 20-CREDIT VERSION OF LDCL6015A: THROUGH THE

LOOKING-GLASS: NONSENSE AND MODERN WRITING AND IS AVAILABLE TO
VISITING/EXCHANGE STUDENTS ONLY.
2017/8 - LDCL6018A LITERATURE DISSERTATION: POST-1789 (AUT)

Timetable Slot: C2
This module is an advanced-level module, for final year students only. It provides students
with the opportunity to write an 8000-word dissertation on literature of the period from 1789
to the present day (excluding American literature). The dissertation topic must be agreed by a
supervisor, and both topic and supervisor approved by the module organiser by the end of the
previous semester.
2017/8 - LDCL6021A LITERATURE DISSERTATION: POST-1789 (AUT)

Timetable Slot:C2
THIS MODULE IS A 20 CREDIT VERSION OF LDCL6018A: LITERATURE

DISSERTATION: POST 1789 (AUT) AND IS AVAILABLE TO VISITING/EXCHANGE
STUDENTS ONLY.
2017/8 - LDCL6038A CHILDREN'S LITERATURE

UCU: 30 Organiser: Dr B.J. Epstein
Timetable Slot:C1*C2*C3
This module offers students the chance to learn about children's literature and its
development. It starts with the history of children's literature, looking at its use as a
pedagogical tool, moving through Aesop's fables, fairy tales, Mother Goose, Lewis Carroll's
Alice's Adventures in Wonderland, and examining other authors who may include A.A.
Milne, Dr. Seuss, Roald Dahl, Sherman Alexie and Patrick Ness, amongst others. The course
looks at issues of genre and content as well as historical context. Theoretical readings on
children's literature are also closely engaged with, possibly including work by Perry
Nodelman, Jack Zipes. Maria Nikolajeva, and others. By studying the development of
children's literature, this module also analyses the development of the concept of childhood in
Western society. This module also includes presentations and a writing workshop.
2017/8 - LDCL6039A CHILDREN'S LITERATURE

UCU: 20 Organiser: Dr B.J. Epstein
THIS MODULE IS A 20-CREDIT VERSION OF LDCL6039A: CHILDREN'S

LITERATURE AND IS AVAILABLE TO VISITING/EXCHANGE STUDENTS ONLY.
2017/8 - LDCL6042A MADNESS AND MEDICINE: WOMEN'S WRITING IN THE

REGENCY

UCU: 30 Organiser: Ms Katherine Drayton
Timetable Slot:D6*D7*D8
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.
2017/8 - LDCL6043A MADNESS AND MEDICINE: WOMEN'S WRITING IN THE

REGENCY

UCU: 20 Organiser: Ms Katherine Drayton
THIS MODULE IS A 20-CREDIT VERSION OF LDCL6042A: MADNESS, MEDICINE,

SCIENCE AND WOMEN'S WRITING IN THE REGENCY AND IS AVAILABLE TO
2017/8 - LDCL6046A NERVOUS NARRATIVES

We all say its nerves, and none of us knows what it means, says a character in Wilkie
Collins 1860 novel, The Woman in White. Our aim is to think about how a discourse of the
nerves the nervous temperament and nervous illness can be both so pervasive
culturally and so slippery in its meaning. This interdisciplinary module takes you from the
late 17th century, when the concept of neurologie first emerged, to the 21st century, linking
literary, medical and philosophical writing to explore the representation of the nerves. The
historical range of the module is not meant to imply a transhistorical understanding of
nervous illness or temperament, but rather will enable us to analyse the historically specific
nature of the nervous body and what it is made to mean, culturally, within different contexts.
In this way, we will be working with issues as diverse as religious enthusiasm, hysteria and
hypochondria, sensibility, sensation, fear of modernity, manliness and effeminacy, shell-
shock, PTSD and the concepts of the healthy or fragile body of the nation. Spanning time and
genre, the literary texts studied will take us from the earliest, Jonathan Swifts satire, A Tale
of a Tub (1704) up to the contemporary: Siri Hustvedts novel, What I Loved (2003) and her
analytical memoir, The Shaking Woman, Or, A History of My Nerves (2010).
2017/8 - LDCL6047A NERVOUS NARRATIVES

THIS MODULE IS A 20-CREDIT VERSION OF LDCL6046A: NERVOUS NARRATIVES

AND IS AVAILABLE TO VISITING/EXCHANGE STUDENTS ONLY.
2017/8 - LDCL6048A LITERATURE AND DECONSTRUCTION

Timetable Slot:A1*A2*D3
In an interview with Derek Attridge, Jacques Derrida describes literature as this strange
institution which allows one to say everything. This module explores the writings of Derrida
and related thinkers alongside a range of literary texts, including works by Keats, Ali Smith,
Shakespeare and Joyce. Through wide-ranging seminar discussions, we will think about the
strangenesses of literature, look at the ways in which it is an institution and consider the
kinds of freedom of speech, writing and thinking it permits. Our aim throughout will be to
establish the possibilities for literary criticism opened up by deconstruction, and also to think
about how deconstruction might give us ways to think about what is taking place in the world
and sometimes in our own lives too. The module is open to everyone, but may be of
particular interest to those who studied critical or cultural theory in the second year. The
second assignment will permit you to experiment with the form of your own critical and
theoretical writing.
2017/8 - LDCL6049A LITERATURE AND DECONSTRUCTION

Timetable Slot:A1*A2*D3
THIS MODULE IS A 20-CREDIT VERSION OF LDCL6048A: LITERATURE AND

DECONSTRUCTION AND IS AVAILABLE TO VISITING/EXCHANGE STUDENTS
ONLY.
2017/8 - LDCL6061A LITERATURE DISSERTATION: PRE-1789 (AUT)

Timetable Slot:C2
This module is an advanced-level unit, for final year students only. It provides students with
the opportunity to write an 8000-word dissertation on literature of the period up to 1830
(excluding American literature). The dissertation topic must be agreed by a supervisor, and
both topic and supervisor approved by the module organiser by the end of the previous
semester.
2017/8 - LDCL6063A LITERATURE DISSERTATION: PRE-1789 (AUT)

Timetable Slot:C2
THIS MODULE IS A 20-CREDIT VERSION OF LDCL6061A: LITERATURE
DISSERTATION: PRE-1830 (AUT) AND IS AVAILABLE TO VISITING/EXCHANGE
STUDENTS ONLY.
2017/8 - LDCL6093A LATIN AMERICAN NARRATIVES

UCU: 30 Organiser: Dr Cecilia Rossi
Timetable Slot:D1*D2*A3
While the term 'narrativa' in Spanish is often used to denote fiction it is not restrictive to the
genre. The aim of this module is to explore the core of storytelling that underpins Latin
American literature and which surfaces in various forms of writing from the 'microrelato' to
the short story, the prose poem as well as the 'rewriting' exercise/critical appraisal, such as
Alejandra Pizarnik's The Bloody Countess. A further aspect of this module is to attempt to
disentangle the web of literary influences woven into some of these Latin American
narratives as well as to trace the itinerary of these influential threads as they travelled from
the South of the American continent to other literatures. As the editors of Issue 113 of Granta
have stated who would have imagined fifteen years ago that writings of the outcast Chilean
Roberto Bolao who washed ashore in Barcelona via Mexico, would exercise so wide an
influence on writers in Spain, Latin America and across the world? And yet, Bolao's
literary output is unthinkable without Borges, just as the Colombian Juan Gabriel Vsquez's
Secret History of Costaguana is inconceivable without Conrad's Nostromo. Readings will
include works by Borges, Cortzar, Bolao, Juan Gabriel Vsquez, Clarice Lispector,
Alejandra Pizarnik, Valeria Luiselli, amongst others.
2017/8 - LDCL6094A LATIN AMERICAN NARRATIVES

UCU: 20 Organiser: Dr Cecilia Rossi
THIS MODULE IS A 20 CREDIT VERSION OF LDCL6093A LATIN AMERICAN

NARRATIVES AND IS AVAILABLE TO VISITING/EXCHANGE STUDENTS ONLY.
2017/8 - LDCL6097A THE CONTESTED PAST: LITERATURE AND THE

POLITICS OF MEMORY
UCU: 30 Organiser: Dr Petra Rau
How do we negotiate the darker aspects of our past, particularly when individuals'
experiences clash with official history? This module explores the public and private practices
of remembering and forgetting in the aftermath of civil war, totalitarianism, colonialism or
otherwise repressive rule. In particular, we will examine the writer's role as collaborator,
witness, archivist or dissident: how does the writer facilitate access to, and debate about,
contentious, painful or obfuscated history? Our approach to the politics of commemoration is
interdisciplinary and draws on ideas from philosophy, historiography, memory and cultural
studies as well as heritage and museum studies. The primary material encompasses a range of
fictional, non-fictional and visual material from a wide range of genres; most of it postwar
and relatively recent. Since this is a global issue you will encounter writers from formerly
colonised nations in Africa and Asia, from Central and Eastern Europe, and South America.
2017/8 - LDCL6098A THE CONTESTED PAST: LITERATURE AND THE

POLITICS OF MEMORY

UCU: 20 Organiser: Dr Petra Rau
THIS MODULE IS A 20 CREDIT VERSION OF LDCL6097A THE CONTESTED PAST:

LITERATURE AND THE POLITICS OF MEMORY AND IS AVAILABLE TO
2017/8 - LDCL6112A STOP, LOOK, LISTEN

UCU: 30 Organiser: Dr Stephen Benson
Stop, Look, Listen is devoted to the theory and practice of description: its history, its forms
and its possibilities. This perhaps makes it sound a little dull description is felt by some to
be a rather dubious activity, the reasons for which well consider but the module sets out to
suggest otherwise through the collaborative reading of a set of brilliantly attentive texts. Our
reference point will be the Journals (2006) of the English poet R.F. Langley, an extraordinary
volume of set-piece encounters with the natural world, with artworks and with everyday
objects and spaces. Well read Langleys descriptions alongside the words or images or
objects to which he attends, and trace the aesthetic and philosophical influences that establish
a poetics, and an ethics, of descriptive attention. These include the ancient rhetorical figure of
ekphrasis, evident in Homer and Virgil, along with traditions of nature writing (Hopkins;
Richard Jefferies; Nan Shepherd) and art criticism (Ruskin; Pater; Adrian Stokes). Well
spend time reading and thinking about the theory and practice of description in the novel and
in poetry, and consider some of the theoretical aspects of the act and art of describing. The
module is intended for both literature and creative writing students, especially those with an
interest in visual art, aesthetics and nature writing. It will offer scope for creative-critical
experiment.
2017/8 - LDCL6113A STOP, LOOK, LISTEN

UCU: 20 Organiser: Dr Stephen Benson
THIS IS A 20 CREDIT VERSION OF LDCL6112A STOP, LOOK, LISTEN AND IS

AVAILABLE TO VISITING/EXCHANGE STUDENTS ONLY.
2017/8 - LDCL6130A THE ART OF MURDER

UCU: 30 Organiser: Dr Bharat Tandon
IN TAKING THIS MODULE YOU CANNOT TAKE LDCL6150A OR TAKE LDCL6151A
Crime, like death, has always been with us, yet it was only in the nineteenth century that de
Quincey proposed considering murder as one of the fine arts and Poe established many of the
central tenets of crime fiction with his 'tales of ratiocination'. Currently, crime fiction is the
most bought, and read, literary genre and one diverse enough to include 'whodunits'; Baker
Street's most notable resident; the genteel amateur detectives of the 'Golden Age'; hard-boiled
thrillers; noir; psychological fiction and even the post-modern iterations of anti-detective
fiction. Narratives about crime and criminals, detection and sleuths (not forgetting the
violence and victims) can be both conservatively formulaic and radically diverse. It can
articulate dangerous and disturbing transgressions against society (the crime) while also
revealing the ideological forces of law (what constitutes a crime) order (the various detective
figures) and the systems of justice and ill-justice (courts and punishment, state and
government) with which a society protects and proscribes itself. Crime fiction is also
concerned with interpreting clues, discovering secrets and solving enigmas, much in the way
that critical theory investigates and analyses literary texts. This module aims to explore key
texts and writers in the development of crime fiction as well as examining critical and
theoretical responses to such texts. It will allow students to respond both creatively and
critically to the concerns of, and thinking about, this diverse genre.
2017/8 - LDCL6131A THE ART OF MURDER

IN TAKING THIS MODULE YOU CANNOT TAKE LDCL6150A OR TAKE LDCL6151A
THIS IS A 20 CREDIT VERSION OF LDCL6130A THE ART OF MURDER AND IS

AVAILABLE TO VISITING/ERASMUS STUDENTS ONLY.
2017/8 - LDCL6136A CHARLES DICKENS: BEYOND REALITY

Charles Dickens has been described, and cherished, as one of the great chroniclers of the
panorama of mid-Victorian society. At the same time, much modern criticism has rightly
emphasised what a strange and innovative writer he is, less a documentary social realist than
an early practitioner of what might now be called 'magical realism'. This module will
examine works from across Dickens's writing career, in a variety of different modes - fiction,
journalism, drama, and public speaking - reading them not only in the context of Dickens's
times, but also in the context of how other writers in those times dealt with comparable
questions. As a result, students will be able to develop their larger interests in the
relationships between social reality and its literary representations, in a module which
combines in-depth study of Dickens with a broader engagement with theories of realism.
2017/8 - LDCL6137A CHARLES DICKENS: BEYOND REALITY

THIS IS A 20 CREDIT VERSION OF LDCL6136A CHARLES DICKENS: BEYOND

REALITY AND IS AVAILABLE TO VISITING/ERASMUS STUDENTS ONLY.
2017/8 - LDCL6138A URBAN VISIONS: THE CITY IN LITERATURE AND VISUAL

CULTURE

UCU: 30 Organiser: Dr Nola Merckel
Timetable Slot:D2*A3*B4/B5*B6*B7
This interdisciplinary module explores the idea and representation of 'the city' through a
range of writings (fiction, poetry, essays, theory), visual (painting, photography, film) and
occasionally other sensory material (sound, smell), spanning from the mid-19th to the 21st
century and focused on two great capitals of modernity, Paris and London. In this period, the
growth of the great European cities created a new and diverse set of environments and
possibilities. Utopias, dystopias, sites of ruin and construction of all kinds; what different,
contradictory or coherent versions of urban experience do these texts and images offer? What
kinds of writing, art, discourses and attitudes do cities seem to generate? Was modernism 'an
art of cities'? How do textual and pictorial techniques intersect, for example, in the case of
Impressionist art and writing, Surrealism and Situationist provocations, or street art and
photography? In the company of the flneur (or flneuse?), the detective and other urban
wanderers, we'll explore aspects such as space, place, urban being and time, love and
eroticism, hauntings, memory and the presence of the past, the individual and the crowd, the
role of consumer capitalism, nature and the natural, psychogeography, and the pressures,
preoccupations and thrills peculiar to urban living. Writers to be studied vary and may
include Balzac, Dickens, Edgar Allan Poe, Baudelaire, Zola, Gissing, Conan Doyle, Andr
Breton, Virginia Woolf, Maureen Duffy, Iain Sinclair, Peter Ackroyd, Zadie Smith and China
Miville alongside a selection of theorists, poets, artists and photographers and a selection of
city films. Assessment is individually designed and there is scope to work in both critical and
creative-critical modes, and to incorporate visual material.
2017/8 - LDCL6139A URBAN VISIONS: THE CITY IN LITERATURE AND VISUAL

CULTURE

UCU: 20 Organiser: Dr Nola Merckel
Timetable Slot:D2*A3*B4/B5*B6*B7
THIS IS A 20 CREDIT VERSION OF LDCL6138A URBAN VISIONS: THE CITY IN
LITERATURE AND VISUAL CULTURE AND IS AVAILABLE TO
VISITING/ERASMUS STUDENTS ONLY.
2017/8 - LDCL6146A MINOR LITERATURES: RESISTANCE, RADICALISATION

AND READING

This module explores writing as a site of resistance and protest and considers representation
itself as inherently political. Does this make the work of a reader radical, or how can that
work be radicalised? Taking a lead from the thinking of Gilles Deleuze and Felix Guattari the
module will ask what does it mean to write or speak a dominant language in such a way that
it stutters or stammers? What would such writing or speaking look or sound like? Deleuze
and Guattari suggest that minor literature (minoritarian form in general) takes a dominant,
hegemonic, major language and force it to say something different, and to do so differently,
dislocating (deterritorialising) it so that a new voice (speaking from a new constituency) can
be heard. They use the works of Kafka, a Czech Jew writing in official German, as a
representative example of how a dominant, major language can be pressed into the service of
a minor literature, as a way of inscribing new constituencies, while other critics have
considered sub-cultures re-appropriation of language, post-colonial writing back, musical
subgenres and alternative/underground cinema as also being iterations of minoritarian
impulses. This module explores various aspects of writing or speaking back, writing against
the grain, saying the things major language finds itself unable or uncomfortable to speak
about, and articulating the unheard. Writers and texts might include Kathy Acker, William
Burroughs, Elias Khoury, Dana Spiotta, Jennifer Egan, along with punk zines, samizdat
writing and manifestoes.
2017/8 - LDCL6147A MINOR LITERATURES: RESISTANCE, RADICALISATION

AND READING

THIS IS A 20 CREDIT VERSION OF LDCL6146A MINOR LITERATURES:

RESISTANCE, RADICALISATION AND READING AND IS AVAILABLE TO
2017/8 - LDCL6148A FROM KAFKA TO SEBALD: ASPECTS OF 20TH CENTURY
'GERMAN' WRITING

This module presents an opportunity to study in depth a number of key works of 20th century
German literature and to explore ways in which they respond to, and reflect, the upheavals of
20th century history. While the focus will be largely on works of prose fiction, this does not
preclude the study of other genres. Starting with the modernist crisis of language ("Chandos-
crisis") we will look at works by authors such as Kafka, Rilke, Benjamin, Thomas Mann,
Joseph Roth, Elias Canetti, Paul Celan, Ingeborg Bachmann, Christa Wolf and W. G. Sebald.
All works studied are available in translation so that a knowledge of German, while always
welcome, is not a requirement.
2017/8 - LDCL6149A FROM KAFKA TO SEBALD: ASPECTS OF 20TH CENTURY

'GERMAN' WRITING

THIS IS A 20 CREDIT VERSION OF LDCL6148A FROM KAFKA TO SEBALD:

ASPECTS OF 20TH CENTURY 'GERMAN' WRITING AND IS AVAILABLE TO
2017/8 - LDCL6160A GHOSTS, HAUNTING AND SPECTRALITY

From Defoes True Relation of Mrs Veals posthumous visit to her friend Mrs Bargrave
through the classic English ghost stories of MR James to the ghosts in the machine of modern
media, the ghost, shade, revenant or spectre continues to haunt human imagination. Subtle
shadings of the spectre materialise at different times, in different contexts materialised
reminder of unquiet remains; manifestation of memory or the unconscious; physiological
disturbance; psychical stain. These undecidable and ambivalent presences, or uncanny
sensations of hauntedness, will be explored in this module. Writers studied on the module
might include Daniel Defoe, M.R. James, Henry James, Margaret Oliphant, May Sinclair and
Susan Hill. The module will draw on studies mapping the development of the belief in ghosts
(Sasha Handleys Visions of an Unseen World) and exploring the cultural history (Andrew
Smiths The Ghost Story 1840 1920). It will also consider critical engagements, such as
Jacques Derridas Specters of Marx and Jodey Castricanos Cryptomimesis.
2017/8 - LDCL6161A GHOSTS, HAUNTING AND SPECTRALITY

THIS IS A 20 CREDIT VERSION OF LDCL6160A: GHOSTS, HAUNTING AND

SPECTRALITY AND IS AVAILABLE TO VISITING/ERASMUS STUDENTS ONLY.

LDC Autumn 2017-18

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2017/8 - LDCC5001A CREATIVE WRITING: PROSE FICTION (AUT)

Autumn Semester, Level 5 module

IN TAKING THIS MODULE YOU CANNOT TAKE LDCC5005A OR TAKE

2017/8 - LDCC5002A CREATIVE WRITING: SCRIPTWRITING (AUT)

Autumn Semester, Level 5 module

IN TAKING THIS MODULE YOU CANNOT TAKE LDCC5005A OR TAKE

2017/8 - LDCC5003A CREATIVE WRITING: POETRY (AUT)

Autumn Semester, Level 5 module

IN TAKING THIS MODULE YOU CANNOT TAKE LDCC5005A OR TAKE

2017/8 - LDCC5005A CREATIVE WRITING: INTRODUCTION (AUT)

Autumn Semester, Level 5 module

IN TAKING THIS MODULE YOU CANNOT TAKE LDCC5001A OR TAKE

2017/8 - LDCC5013A THE WRITING OF JOURNALISM (AUT)

Autumn Semester, Level 5 module

The Writing of Journalism is concerned with journalism as a practice, and a genre. By

2017/8 - LDCC6003A CREATIVE WRITING DISSERTATION (AUT)

Autumn Semester, Level 6 module

2017/8 - LDCC6005A CREATIVE WRITING DISSERTATION (AUT)

Autumn Semester, Level 6 module

2017/8 - LDCD4007A INTRODUCTION TO WORLD DRAMATIC LITERATURES

Autumn Semester, Level 4 module

2017/8 - LDCD5016A PERFORMANCE SKILLS: THE ACTOR AND THE TEXT

Autumn Semester, Level 5 module

IN TAKING THIS MODULE YOU CANNOT TAKE LDCD5026A OR TAKE

2017/8 - LDCD5020A EXPERIMENTS IN PERFORMANCE

Autumn Semester, Level 5 module

As the contemporary avant-garde continues to break new ground in site-specific, multi-media

2017/8 - LDCD5055A THE DIRECTOR, THE ACTOR AND THE SCRIPT

Autumn Semester, Level 5 module

IN TAKING THIS MODULE YOU CANNOT TAKE LDCD5016A

THIS MODULE IS RESERVED FOR STUDENTS ON DEGREE PROGRAMMES

Autumn Semester, Level 6 module

An independently researched dissertation of 8000 words on some aspect of drama or dramatic

2017/8 - LDCL4008A LITERATURE IN HISTORY 1

Autumn Semester, Level 4 module

2017/8 - LDCL4010A INTRODUCTION TO CULTURAL STUDIES

Autumn Semester, Level 4 module

This module seeks to foster an interdisciplinary awareness by examining literature as cultural

2017/8 - LDCL4015A READING AND WRITING CRITICISM

2017/8 - LDCL5021A ADAPTATION: SHAKESPEARE ON STAGE AND SCREEN

Autumn Semester, Level 5 module

2017/8 - LDCL5031A CRITICAL THEORY AND PRACTICE

Autumn Semester, Level 5 module

2017/8 - LDCL5041A EIGHTEENTH-CENTURY WRITING

Autumn Semester, Level 5 module

2017/8 - LDCL5042A SEVENTEENTH-CENTURY WRITING: RENAISSANCE AND

Autumn Semester, Level 5 module

2017/8 - LDCL5045A MODERNISM

Autumn Semester, Level 5 module

2017/8 - LDCL5051A GOODBYE TO BERLIN? LITERATURE & VISUAL

Autumn Semester, Level 5 module

2017/8 - LDCL5061A READING AND WRITING TRANSLATIONS

Autumn Semester, Level 5 module

2017/8 - LDCL5063A MEDIEVAL WRITING

Autumn Semester, Level 5 module

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

2017/8 - LDCL5064A PUBLISHING (AUT)

Autumn Semester, Level 5 module

IN TAKING THIS MODULE YOU CANNOT TAKE LDCL5065B OR TAKE LDCL5078B

2017/8 - LDCL5072A LITERATURE AND PHILOSOPHY

Autumn Semester, Level 5 module

2017/8 - LDCL5074A THE SHORT STORY (AUT)

Autumn Semester, Level 5 module