This year-long module enables you to explore both what literary criticism currently is and what it may yet become. You will have the opportunity to consider a whole range of major theoretical and philosophical concepts, such as the body, race, gender, violence, ecology, God, time, death, war, self, and the animal, etc. We currently look at a range of fascinating modern thinkers, ranging from Marx, Freud, and Nietzsche, through to more recent figures such as Simone Weil, Walter Benjamin, Jacques Derrida, Judith Butler, Fred Moten, Cornel West, and Sara Ahmed. You will have the opportunity to write in both short and long form, to present orally alongside fellow students, and to explore, if you wish, radically experimental modes of theoretical writing.

The details of this module (for example, materials studied) may vary from year to year.

This module explores American writing as part of a 'cultural declaration of independence' in the 19th century, with particular focus on literatures of dissidence and imaginative resistance including radical abolitionist writings.

What we call ‘American Literature’ and how we define America and ‘the American experience’ depends on who is writing and to whom. In this module we encounter many different voices, many conflicting and contrasting views, a diversity of complex experience, and a great range of writing in form and style. And we explore such as: What role do different literary forms play in narrating the self? How does American writing seek to establish a new way of looking at the world? And, how and why does literature help shape forms of protest and new critiques of modernity?

Key writers usually include Emily Dickinson, Walt Whitman, Henry David Thoreau, Rebecca Harding Davis, Frederick Douglass, and Harriet Jacobs.

This module explores colonial writing at the end of empire, the explosion of new national literatures in the era of decolonisation in the middle of the twentieth century, and contemporary writing that draws on and reinvents these decolonising commitments. Our interest throughout will be in how literature reflects and critiques imperial impulses and anxieties, and how literature undertakes the work of cultural, political, and psychic decolonisation. We read both exciting major writers, key to the canon of colonial and postcolonial literature, and new voices that grapple with the ongoing powers of empire and racism.

Migration is arguably the defining characteristic of the post-WW2 world. This module explores contemporary creative representations of migration in multiple modes - considering exile, expatriation, travel, urbanisation, and statelessness in literary genres that include fiction, memoirs, poetry and travel writing, as well as some visual media and philosophy. In particular, we critically examine the voluntary nature of migration, emphasising different kinds of displacement. The module, taught in a City of Sanctuary, draws on histories that encompass transatlantic slavery, the Holocaust, postcolonial and climate displacement, travelling cultures, globalisation, and an ongoing ‘refugee crisis.’

This course explores how American Literature has evolved from its colonial origins, with particular emphasis on key writing from the seventeenth to the nineteenth-centuries. What we call ‘American Literature’ and how we define America and ‘the American experience’ depends on who is writing and to whom.

We shall encounter many different voices, many conflicting and contrasting views, a diversity of complex experience, and a great range of writing in form and style. We pay particular attention to colonialism and freedom in the literature of early modern America, including rival ideas of self, nation, race and religion. And we explore questions such as: Why does the idea of America as a 'city on a hill' become so vital? How is the 'frontier' imagined? What strategies do writers use to challenge the hegemony of colonialism? Key texts usually include Native American Oral Literature and the writings of De Las Casas, Bradstreet, Rowlandson, Wheatley, Jefferson, and Franklin.

The aim of this module is to give you a good, broad introduction to some of the key themes in epistemology (the theory of knowledge). We begin with the question what is knowledge? This then leads us on to questions about how knowledge relates to other things, like belief, and truth. Our answers to these questions have implications for how we think about the structure of knowledge (e.g., must all of our knowledge rest upon a “firm foundation”?). Throughout the term we will see that it is much harder to answer our core question than you might think and this raises the question of why it is so hard to give a clear, general, account of what knowledge is. We also look at different sources of knowledge - especially, perception, self-knowledge and “testimony” (other people’s say-so) and, towards the end of term explore some of the relationships between epistemology and ethics, ending the term with the question whether we ever ought to refrain from seeking knowledge.

This module offers a critical introduction to Chinese philosophy by focusing on its diversity and contemporary relevance. The module introduces the main schools of thought that emerged during the classical era (one of the most vibrant periods of Chinese philosophy), including Daoism, Confucianism, Legalism, Mohism, and the school of names.

Students will be introduced to the main concepts used in classical Chinese philosophy as well as the central issues debated by classical Chinese philosophers, such as whether human nature is good or bad, whether one should engage in society or retrieve from it in order to live a fulfilled life, whether humans are at the centre of the world or simply a part of it, and whether language is enhancing human potential or limiting it, to name but a few examples.

Can we know what it is like to be a fish? Why do we spontaneously try to save a child who is in danger? Is a white horse a horse? Should we rejoice in non-action, engage in politics, or do both at the same time? Is there such a thing as feminist philosophy in ancient China? These are some of the issues that will be discussed during the term.

This module will offer an introduction to feminist philosophy by addressing the question of what feminist philosophy is and providing an overview of some important debates in feminist philosophy including the debate on the concept “woman” and the distinction between sex and gender, the literature on intersectionality and the relationship between gender-based and other forms of oppression, and feminist thinking on care, marriage and the family. These issues are among the most important ones in contemporary feminist philosophy as well as being issues that occupy a prominent place in public debate. Further, discussing them will allow us to explore different traditions and approaches to feminist philosophy, analysing contributions of analytic and continental feminist philosophers, of liberal feminist philosophers and those critical of the liberal tradition, and centring feminist perspectives that are often marginalised.

This year-long module explores the adaption of literature to film and other media. We currently focus on how Austen’s so-called ‘classic’ Pride and Prejudice is adapted to classical Hollywood cinema, and how Shakespeare’s Romeo and Juliet has been adapted to both postmodern Hollywood and Bollywood cinema. We also explore the trajectories between Carroll’s Alice books and film animation, and how Dante’s Inferno has been adapted to a videogame. We study a range of other literary texts and media, ranging from children’s fiction to horror, social realism to science fiction, poetry to graphic novels, and reverential adaptations to outright parodies. The module includes a creative project that enables you to produce your own work of adaptation. This may take many forms – written, (audio)visual, digital, or three-dimensional -- and/or take the form of a game, or production, or performance, etc.

The details of this module (for example, the materials studied) vary from year to year.

This module focuses on the ways in which early modern English literature understood and represented love, sex and death and the connections between them. Reading texts from the late medieval period through to late seventeenth century, we explore how ideas about love, sex and death were shaped by discourses of religion, science, gender, marriage and the body, and how these changed over time.

Our readings are mainly be focused on topics designed to provide us with ingress into the literature, culture and historical vitality of the period. Poetry, prose and drama will be explored, and readings will range from the earthy late-medieval play Mankind to Milton’s capacious epic, Paradise Lost, and from the love sonnets of Philip Sidney, Mary Wroth, and John Donne to the dark and disturbing theatre of John Ford.

Studying this module should improve students’ knowledge and understanding of some key issues in metaphysics as determined by the syllabus. This focuses primarily on some issues concerning space and time, the nature of physical objects and persons, and some key philosophical distinctions. Studying this module should also enable them to see connections between various philosophical issues that should be of value to them with regard to other philosophy modules that they are studying.

This course considers philosophical issues that arise in connection with the sciences. It will consider what scientific method is, how science relates to the rest of knowledge, whether it provides an ideal model for rational inquiry in general, and whether we should think of science as describing reality.

In the first few weeks we will consider traditional accounts of scientific method and theory-testing, and then examine philosophical challenges to the status of science as a rational form of enquiry. We give particular consideration to three of the most important twentieth-century philosophers of science: Popper, Kuhn, and Feyerabend. Next we will consider whether and in what sense we should be confident that our best current scientific theories are accurate descriptions of reality.

It is not assumed that students have an extensive knowledge of science: the relevant scientific concepts will be presented in a simple and accessible way, and there will be no maths.

This module examines early modern literary representations of power, politics and place. We consider a broad range of genres (prose, poetry and drama), moving from the late medieval period’s interest in spiritual and earthly travel to the episodes of power, revolution and restitution that characterised Stuart rule (1603-1688). The module examines the literatures of political influence and change from the late fourteenth through to the seventeenth centuries, from John Mandeville’s marvellous journeys through Europe, Northern Africa, Asia and the Holy Land to the fantastical romances of Margaret Cavendish, and the brilliant and edgy theatre of Christopher Marlowe and Ben Jonson to the writings of revolutionaries such as John Milton and Margaret Fell and monarchist libertines like Aphra Behn.

We begin by understanding the full historical context of the French Revolution and the extraordinary impact this had on all areas of literature and thought. We examine revolutionary writing of the Romantic period, including the poetry of Anna Barbauld, William Blake, and William Wordsworth, and the prose of Edmund Burke, Thomas Paine, and Mary Wollstonecraft. Later we turn our attention to the emergence of the Gothic in the 1790s, and dives into this popular and lasting form.

The course aims to give students a sense of the diverse range of writers in this period. We use close knowledge of key texts to tackle broader, more abstract ideas such as: nature, the imagination, and the sublime. We will also consider literary ideas within a broader social, historical and philosophical context.

On this course we examine the relationship between politics and poetics for second-generation poets Anna Barbauld and Percy Bysshe Shelley, and then the remarkable and shocking slave narratives of Olaudah Equiano, Mary Prince, and the orientalism of S. T. Coleridge and Thomas de Quincey. Finally, the course moves inward to explore the core theme of subjectivity and the self, a theme that finds expression in both positive and negative ways in Byron, Keats, Clare, and Smith.

Given the extensive transformations experienced in the nineteenth century, it is no surprise that Victorian writers and thinkers reflected at length on matters of belief. These beliefs ranged from the public to the private, the collective to the individual, and included issues relating to politics, religion, economics, society, Empire, and so on.

In this module we explore: what people believed, why communities held those beliefs, and the experience of changing one’s beliefs and/or seeing those around you change their beliefs. We will think about such questions by looking at a range of material from the period, including fiction, poetry, and drama.

The authors we study will change from year to year but might include figures such as Oscar Wilde, Elizabeth Barrett Browning, Charles Dickens, Elizabeth Gaskell, Wilkie Collins, Alfred Lord Tennyson, and Christina Rossetti.

The nineteenth century saw widespread and rapid change across Britain. Responses to these changes varied enormously but looking back on the period it is noticeable how the Victorians were willing to experiment and test the boundaries of what was known.

In this module we explore that interest in experimentation by looking at a range of literature of the period, including novels, short fiction, and poetry. We think about experimentation thematically (e.g., science, spiritualism, vivisection) and formally (e.g., narrative perspective, fantasy, dramatic monologues, and sprung rhythm).

The authors we study change from year to year but might include figures such as George Eliot, Charlotte Bronte, H.G. Wells, Charles Kingsley, Gerard Manley Hopkins, Robert Browning, Sir Arthur Conan Doyle, and Vernon Lee.

You will spend this year working in a graduate-level placement role. This is an opportunity to gain experience in an industry or sector that you might be considering working in once you graduate.

Our Careers and Placements Team will support you during your placement with online contact and learning resources.

You will undertake a work-based learning module during your placement year which will enable you to reflect on the value of the placement experience and to consider what impact it has on your future career plans.

In 21st Century Theory, we will build upon the general introduction to critical and cultural theory given on ENGL201 by focusing on one specific theme in contemporary theory: biopolitics. To explore biopolitics – or the politics of life itself – we will examine a selection of classic theoretical works by Michel Foucault, Georgio Agamben and others and then read them alongside some key literary and filmic texts from Kazuo Ishiguro’s Never Let Me Go to the Batman Trilogy. This course will seek to address the following questions. What exactly is biopolitics? How have theorists, novelists and film-makers imagined such concepts as sovereign power, bare life, the state of exception and so on? To what extent might it be possible to resist the biopolitical hold over our political imaginary?

The course will begin with writing that looks back to the First World War, and end with writing that anticipates the Second World War. In between, you will explore and interrogate the inter-war ‘moment’ through close attention to texts by such as D.H. Lawrence,Katherine Mansfield, Virginia Woolf, and W H Auden. The course will focus on many of the great themes of the period such as exile, unemployment, Englishness, eugenics, militarisation, and political commitment, as well as many of the great cultural motifs of the period such as borders, radios, planes, cars, trains, cameras, and telephones. Close attention will also be paid to many of the great intellectual debates of the period such as the nature of history, the role of the State in everyday life, and the place of literary experimentation in time of war.

The details of this module (for example the texts or authors studied) may vary from year to year.

In this module we will look at a selection of biblical texts alongside literary works that appropriate, rewrite, and subvert them. We will be thinking about the Bible as literature; the reciprocal relationship between the Bible and literature; what the Bible does to a literary text. We will explore questions such as: in what ways does awareness of the Bible provoke more profound readings of a literary text? and does rewriting refine or subvert the Bible? We currently study work by such as Margaret Attwood, William Blake, Thomas Hardy, Angela Carter, John Donne, and Sylvia Plath, as well as Terence Mallick’s film The Tree of Life.

The details of this module (for example, materials studied) may vary from year to year.

This module will trace the development of Buddhist thought, from its emergence in India in the fifth century BCE, through its development across Asia, particularly China, but also Tibet and Japan. It will also look at how Buddhist philosophy has been received by Western philosophers from the 19th century. In addition to tracking and analysing key concepts, such as not-self, dependent origination, emptiness, and Buddha nature, this module will examine themes that pervade Buddhist philosophy in its various contexts, such as the relationships between teaching and practice, philosophy and literature, and religion and politics. Although the regional emphasis will change depending on the lecturer, this module will offer students an in-depth exploration of one of the most enduring, voluminous, and influential philosophical traditions of the world.

This module will focus upon the motif of ‘the child’ within 20th and 21st century horror fiction and film, and aims to explore the cultural significance of this motif through analysis of themes such as innocence and evil, psychic powers, child abuse, parenting, technology and grief. The module will develop in students a sophisticated ability to think critically and analytically about how an exploration of popular fiction and film can reveal deep cultural anxieties and fixations at both historical and psychological levels. We currently explore literary texts such as Henry James, The Turn of the Screw (1898), Daphne du Maurier, Don’t Look Now (1973), and Stephen King, The Shining (1977), and films such as The Bad Seed (1956), director Mervyn LeRoy, The Exorcist (1973), director William Friedkin, and Hereditary (2018), director Ari Aster.

The details of this module (for example, materials studied) may vary from year to year.

The twenty-first century has seen the emergence of Middle Eastern literature in English and translation as one of the most exciting new areas of world literature. The region has experienced, so far this century, the ‘war on terror’, revolutions and wintery aftermaths, civil wars, sectarian violence, the rise and fall of ‘Islamic State’, and an ongoing refugee crisis. On this course, we will explore some of the shapes and styles of contemporary Middle Eastern literature, the concerns and aspirations that drive it, and its growing international visibility. We will study novels, short stories, and new genres from the region, in English and in translation. No prior knowledge is needed.

This module introduces three of the most important thinkers from the ‘continental’ tradition of philosophy, with a focus on moral and political questions. The aim is to give you an understanding of their main ideas and help you develop your own critical perspective on them. We begin by looking at Friedrich Nietzsche’s provocative account of the origins and development of morality. We then turn to Michel Foucault, who adapts Nietzsche’s method of historical analysis in order to challenge our assumptions about progress, freedom and welfare in modern societies. Finally, we turn to Hannah Arendt. Using a parallel method of historical analysis, Arendt examines the social and political elements that came together in the disaster of Nazi and Stalinist totalitarianism.

Course Outline:

This module is run by the Department of English Literature and Creative Writing, with the support of the Faculty of Arts and Social Sciences Engagement team and the central Careers Team. It aims to enhance students’ employability by providing an assessed work placement opportunity as an optional module It will also encourage students actively to think about the transferability of skills gained through the study of English Literature and/or Creative Writing.

The Department, via the FASS Engagement team, will set up a number of work placements in the (broadly defined) culture, heritage and creative sectors: with, for example, publishers, museums, newspapers, heritage sites, and arts venues. Students may alternatively source their own work placements, subject to prior discussion with the FASS Placements provider. Information on how to source a placement will be circulated to all enrolled students during summer.

Recent placements include: Copywriter at Copify; Publishing and Editorial Intern at Saraband; Project Assistant at Lancaster City Council; Communications Assistant at Three Left Feet Theatre Company.

Students must be prepared to pay their own transport/accommodation costs, though a small Departmental contribution toward travel can be applied for. It is expected that placements will be either close to Lancaster University or to the student’s home; many placements occur remotely. Students typically work for 30-40 hours with their host organization (not all of which will necessarily be on-site) in the Lent term.

They maintain contact with both the departmental course convenor and FASS placements team throughout the placement period. Placement providers are required to complete risk assessment and health and safety forms and to ensure an induction process. Both students and placement providers are required to sign a Learning Agreement.

Please note that you cannot take both this module and ENGL 376 Schools Volunteering.

Please also note that the maximum number of students on this course is fixed, and that in fairness to students, and in dialogue with the FASS Placements Officer, we have chosen to set up a selection process. If you choose this course, you will be sent an online form to complete as an application. The criteria will be enthusiasm, commitment, and having aspirations which can be realistically met on this module. You do not have to have prior placement experience, but it is fine if you do.

The module will look at philosophical issues that arise out of Darwin’s theory of evolution. These include questions about how best to understand the theory of evolution, and questions about what evolution implies for our view of the world, and in particular of ourselves. The course breaks down into three broad areas:

• Different ways to understand the theory of evolution, e.g., Is evolution, as some would have us believe, all about genes? Is natural selection the only important factor in evolution?
• Conceptual issues relating to biology, e.g., How do we define ‘function’? Is there one right way to classify living things
• Implications of Darwinism for understanding human nature, e.g., Does the fact that we have evolved affect ow we should see human nature? Why are evolutionary theories of human nature so controversial? Does Darwinism have any implications for moral questions?

Course Aims and Objectives:

The final-year Dissertation is your opportunity to devise, research, and explore a topic of your own choice through a programme of directed independent study. You will be helped to begin your thinking at the end of your second year and then, through your third year, you will develop your research, thinking, and writing, as you build toward a maximum of 10,000 words. You will be supported throughout by your appointed supervisor with whom you will have a series of one to one tutorials. In addition, there are two overview lectures (one in the Michaelmas Term and one in the Lent Term) as well as four research skills seminars.

Almost anything is possible: some students explore famous literary names or themes, whilst others explore obscure figures and unusual topics; some draw on the University Library’s special collections or those housed within The Ruskin Library, whilst others go way beyond Lancaster to develop their research; some are inspired by the medievalism of historic Lancaster or the Romanticism of nearby Lake District, whilst others are drawn to the far textual shores of the digital world; some build towards MA study, whilst others build toward the world of work; and, finally, some write in classic literary critical styles, whilst others push the boundaries of literary studies in all sorts of new and startling ways.

Recent topics have included:

• Living in Liminality, Finding Yourself: Muslim Women's Boundary Negotiation and Identity Formation
• How is the Value of Sacrifice Presented in Post-War Japanese Literature?
• A Storm in Five Acts: King Lear, Gerard Manley Hopkins, Walter Benjamin
• Academia and Ecclesia: Following the Academy After the Church
• Playing with Time: Queer Temporality in Video Games
• “Out of the ash / I rise” : An Exploration of the Editing of Sylvia Plath’s Posthumous Publications and Legacy
• A Divine Being and a Fallen World: Milton's Justification of God's Ways to 17th Century England
• Virginia Woolf’s Paintings: Visual Arts and the Figure of the Artist in the Writings of Virginia Woolf
• Understanding the Effects of War on Children through World War Two Literature
• Green Romanticism: An Ecocritical Reading of William Wordsworth and Mary Shelley
• Kaleidoscopic Epistemology in the world of Anna Kavan
• “You'll be hungry all the time”: Food and Hunger in Jim Crace and Samuel Beckett
• RS Thomas: Post-Romanticism and Spirituality

The details of this module may vary from year to year.

This course considers conceptual questions around 'health' and 'disease' (and related concepts of 'disability', 'normality', 'medicine', 'treatment') and explores how these relate to issues of health policy. We start by considering concepts of health and disease:

• Does whether a condition is a disease depend purely on matters of biological fact?
• Does a condition also have to be harmful to count as pathological?
• Is there any distinction that can be drawn between mental and physical disorders?
• Is it justified to treat people with mental disorders differently, e.g. in involuntary treatment?
• Should psychopaths who commit horrible crimes be considered to suffer from a disorder, or are they evil?
• What does it mean to say that someone is ‘normal’?

Many critics worry about medicalisation, and think that ever more conditions are coming to be considered diseases. Is this true, and does it matter?

We’ll also consider conceptual issues connected to treatment. ‘Evidence Based Medicine’ aims to employ treatments that have been shown to work. But, how can it be determined whether a treatment works? What should the aims of therapy be? What is the distinction between medicines and other drugs?

This module will give students the opportunity to study all the major works of one of the most celebrated novelists in English literary history. It will combine close attention to the stylistic textures and narrative strategies of Jane Austen’s fiction with broader consideration of key themes and preoccupations such as friendship, desire, matchmaking, snobbery, illness, resistance, transgression and secrecy.

Film historians consider 1939 to be ‘the greatest year in the history of Hollywood,’ a year in which 365 films were released and 80 million tickets sold. This module considers how literature and film interact and conflict in that year to construct mythologies of the American past and present in the context of the Great Depression and on the eve of the Second World War. The module also considers the context of Hollywood, the functions of motion picture palaces, American film’s relationship to British literature, and more. Texts currently studied include John Steinbeck, Of Mice and Men (1937), Emily Brontë, Wuthering Heights (1846), and Frank Baum, The Wonderful Wizard of Oz (1900), and films such as Mr Smith Goes to Washington, director Frank Capra, Gunga Din, director George Stevens, and Gone with the Wind, director Victor Fleming.

The details of this module (for example, materials studied) may vary from year to year.

Friedrich Nietzsche was far from alone in suggesting that God had died by the end of the nineteenth century; however, the literature of the fin de siècle (c. 1880-1914) paints a very different picture from the one offered by those who suggest that religion simply disappeared. A number of prominent writers in the period converted to Catholicism, whilst others explored the permeable boundaries between orthodox belief and esoteric spirituality. Those who turned to literature to think about religion did so in a wide variety of ways: experimenting with form, narrating religious experience, exploring the relationship between spirit and matter, and thinking about religious practice in ways both conventional and bizarre. Texts currently studied include: Oscar Wilde, Salome, G. K. Chesterton, The Innocence of Father Brown, and poetry produced by the Decadent movement.

The details of this module (for example, materials studied) may vary from year to year.

Is it possible to ‘read’ a painting? Can an artist interpret a poem in paint? This module addresses the complex relationship between literature and the visual arts, tracing key debates in aesthetic theory from Romanticism to the twenty-first century. Literature and the Visual Arts will begin with an introduction to key critical terms and an examination of the painting-inspired poetry of, for example, John Keats and W. H. Auden. Subsequent seminars will explore the work of figures such as William Blake, John Ruskin and the Pre-Raphaelites who blur the distinction between literature and art; the revival of the Pop Art tradition and postmodern narrative practices; the advent of photography; and, finally, the fusion of word and image in graphic novels including texts such as Art Spiegelman’s Maus and Persepolis by Marjane Satrapi. The module will draw on the unique resources of the University’s Ruskin Library and rare book archive.

The module provides an introduction to formal logic together with an examination of various philosophical issues that arise out of it. The syllabus includes a study of the languages of propositional and quantificational logic, how to formalize key logical concepts within them, and how to prove elementary results using formal techniques. Additional topics include identity, definite descriptions, modal logic and its philosophical significance, and some criticisms of classical logic.

What did theatre look like before Shakespeare? How were devils and vices, divinity and virtue, coronations and carnivals staged during the Medieval period? This module will introduce you to a range of medieval drama, including mystery cycles, civic pageantry, morality plays and interludes, as we explore the weird and wonderful drama of towns, cities, and courts, and look at some of the earliest professional companies to identify the distinctive features of medieval English theatre. As well as reading texts, you will watch recordings of modern performances of medieval theatre. NB No prior knowledge of Middle English is required --the use of modern translations is encouraged to aid understanding.

The details of this module (for example, materials studied) may vary from year to year.

This course examines the early twentieth-century explosion of literary experimentation known as Modernism. Often this explosion is understood as a movement that ends around 1939; however, this course explores the ways in which Modernism continues, through and beyond the Second World War, as a restless spirit of experimentation. The course, then, has two parts. In the Michaelmas Term we explore ‘Modernisms Then’ (c1900 to c1939) where all students study major modernist texts – these usually include work by such as T. S. Eliot, Virginia Woolf, Jean Rhys, and authors involved in the Harlem Renaissance. In the Lent Term we explore ‘Modernisms Since’ (c1939 on) where each student chooses two 4-week min-modules from a range of options – these options usually include such options as: ‘British Migrant Modernisms;’ ‘The Woodcut Novel: Stories Without Words’; ‘Late American Modernisms’; and ‘Godot On – The Later Samuel Beckett.’

How are acts of desire, murder, fake and ‘real’ deaths represented on stage in early modern drama and how are these experiences gendered? This module will explore both the construction and deconstruction of death, desire, and genders, by focusing on performance. The performativity of gender, on stage and beyond, was materialised in the theatres of early modern England where boys played female roles, thus often representing both female desire and same-sex desire at the same time. We will study texts by Marlowe, Middleton, Heywood, Webster, Wroth as well as some contemporary productions and film adaptations. We will also engage in some short practical explorations -- such as getting the text ‘on its feet’; and the module will culminate in a series of short presentations and performances by the group. No previous experience of (or expertise in) acting is necessary.

The details of this module (for example, materials studied) may vary from year to year.

This module introduces central issues, problems and theories in philosophical aesthetics by critically examining a number of central topics including: the nature of aesthetic experience; the objectivity of aesthetic judgement; emotional responses to fiction; the moral and cognitive value of art; the aesthetic value of nature. In addition to central philosophical discussions, various findings from empirical psychology and neuroscience will also be used. Although examples from all of the arts will be employed throughout the course, the emphasis will be on the wider issues just listed, and not exclusively focussed on art. That is, aesthetics will be explored as an important area of the philosophy of value in general.

Are psychopaths evil or sick? Should the NHS pay for the treatment of nicotine addiction? Is it right for shy people to take character-altering drugs?

Whether a condition is considered a disease often has social, economic and ethical implications. It tends to be taken for granted that what it is to be healthy can be identified and is desirable. Similarly, it is assumed that those who are diseased or disabled can be diagnosed and require help. In this module we question these assumptions via examining the key concepts of normality, disease, illness, mental illness, and disability.

It’s an illuminating fact that the very phrase ‘climate change’ was first deployed by colonising thinkers who wanted to transform local environments to serve their purposes. Today, it is clearer than ever that the catastrophic effects of global climate change will be most keenly felt by the global poor, especially in colonised or postcolonial spaces. This module explores how postcolonial writing, from a variety of locations, grapples with environmental change, crisis and collapse, especially the looming spectres of the so-called ‘Anthropocene.’ We’ll read established and emerging voices from Africa, the Caribbean, and elsewhere. Texts currently studied include: Raja Shehadeh, Palestinian Walks: Notes on a Vanishing Landscape, J M Coetzee, Life and Times of Michael K, and V S Naipaul, The Enigma of Arrival.

The details of this module (for example, materials studied) may vary from year to year.

It has been argued that the Gothic, and the rise of the Gothic novel, is part of a history that goes back to long before the eighteenth century. This module therefore coins the term ‘Premodern Gothic’ to consider some of the ways in which a range of generically diverse texts produced in England between c.1450 and 1600 engage with Gothic tropes and sensibilities (ghosts, vampires, castles, darkness, magic, terror, and wonder etc.) long before the rise of the Gothic novel. Texts currently studied include: Sir Gawain and the Green Knight, Shakespeare’s Titus Andronicus, Edmund Spenser’s The Faerie Queene, and Thomas Nashe’s The Terrors of the Night.

The details of this module (for example, materials studied) may vary from year to year.

This module enables you to explore both critically and/or creatively the relationship between literature, film, and music, both digital and analogue. The module is designed to be suitable for those with and those without musical expertise.

Focussing on a wide range of literary texts, films, and music, the module will develop both close-reading and close-listening and pay particular attention to the ways in which text and sound both interact and fuse.

Themes will vary and could include:

• sonic cosmogonies
• film score
• improvisation
• error
• citation
• jazz (re)production
• lyricism
• orality
• the commons of hip-hop
• sampling
• both de- and re- territorialization

We employ diverse assessment methods designed to develop your skills further; so, for example, this could take the form of a project such as a sonic-textual response to a literary text and a related piece of music (you submit, that is, a song, session, remix, or playlist) or a critical text written in the style of an album review (you submit, that is, a poetical reflection, or listen-and-describe explication).

Texts, films and music studied will vary from year to year but may include C.S. Lewis’s The Magician’s Nephew, H.P. Lovecraft’s The Dream-Quest of Unknown Kadath, Saturday Night Fever (dir. John Badham), Amadeus (dir. Milos Forman), The Pianist (dir. Roman Polansky), Miles Davis, Birth of the Cool (dir. Stanley Nelson), Emese Kurti’s Screaming Whole, Rasheedah Phillips and Camae Ayewa’s Black Quantum Futurism Collective, Eknath Easwaran’s The Upanishads, and Across the Universe (dir. Julie Taymor).

This module is run as a partnership between the Department of English Literature & Creative Writing and the University’s Schools Outreach Office, and normally involves a 10-week placement in a local school. This will usually include classroom observation, teacher assistance, and the opportunity to design and develop a teaching-related ‘special project’ to be conducted with a designated group of students or the class as a whole. This will enable you to develop confidence in communicating your subject, as well as an increased awareness of the roles of schools and universities in educational processes and structures.

The details of this module (for example, materials studied) may vary from year to year.

This module will trace the development of science fiction (or SF) in literature and film, providing an insight into the conventions of the genre and, in particular, how the key themes of the science fiction genre have been successfully adapted for the screen. It will encompass narratives of time travel, evolution, and temporal dislocation, and consider journeys, encounters, and species, as well as questions of human subjectivity, gender, race, transcendence, love, and loss. Work currently studied include texts such as: H.G. Wells, The Time Machine (1895), Octavia Butler, Kindred (1979), and Amal El-Mohtar and Max Gladstone, This Is How You Lose the Time War (2019); and films such as: La Jetée (1962) 2001, A Space Odyssey (1968), Star Trek: First Contact (1996), and Arrival (2016).

The details of this module (for example the texts or authors studied) may vary from year to year.

Ben Jonson claimed of Shakespeare ‘he was not of an age but for all time.’ This course examines Shakespearean drama and poetry in its own time: as a platform in which early modern debates about agency and government, family, national identity, were put into play, and in relation to how we perceive these issues now. The stage was and is a place in which questions of gender, class, race, gain immediacy through the bodies and voices of actors. By examining texts from across Shakespeare’s career, we will explore their power to shape thoughts and feelings in their own age and in ours. We will consider Shakespeare’s manipulation of genre (poetry, comedy, history, tragedy and romance) and the ways the texts make active use of language (verse, prose, rhyme, rhythm) and theatrical languages (costume, stage positions) to generate meaning. The course will consider how, in the past and in the present, Shakespeare’s texts exploit the emotional and political possibilities of poetry and drama.

As part of their assessment for this course, students may opt to take part in a full-scale public performance of one of the plays we have studied; this is usually staged at Lancaster Castle.

Working in a small group, you’ll select a written text, ancient or modern, obscure or well known, and together with other students work on converting the text into wholly new format. For example, this might be:

• A scholarly edition, a visual or digital adaptation
• An exhibition for a heritage space
• A podcast
• An art installation
• A fashion show

The brief will be to increase accessibility to, and awareness of, the selected text. In short, you will be taking the text “out of the box.”

Through a series of tutor-led workshops, you will be introduced to the processes and principles of adaptation.?

The module is designed to give you experience of the kind of work undertaken in industries such as heritage, journalism, and publishing.

This module examines the work of three of the great writers of the Romantic period: the poets Lord Byron and Percy Shelley, and the novelist Mary Shelley. Famously, these three writers lived and worked together during the summer of 1816, an episode that produced two of the dominant myths of modern literature – Frankenstein (in Mary Shelley’s novel) and the Vampire (in a story based on Byron by another member of the group, John Polidori) – both of which we will examine. Throughout their careers these writers were engaged in a creative and critical conversation with each other that addressed major themes including: conceptions of the heroic; the possibilities of political change; literary, scientific and biological creation; empire, slavery, and the East; transgressive love; gender roles; and the Gothic. The module will provide an opportunity to study in detail these writers’ works, and to consider them within their historical, cultural, and intellectual contexts.

The details of this module (for example, materials studied) may vary from year to year.

This module is centred upon understanding Children’s Literature as a genre which evolves over time and doing so in the context of the places and spaces of fiction. Our two core themes are: first, the gradual move away from highly didactic reading that must teach children a clear moral lesson, towards reading for pleasure and enjoyment; and, second, the effect of this shift on spatial representation in the texts. We will compare the relationship between realist and fantastic spaces and consider the reason so many children's books are "bridge" texts that start and end in the real with the main narrative set in a fantasy world. Texts usually studied include: Gulliver’s Travels (1726), Robinson Crusoe (1719), The Water Babies (1852), Peter Pan (1901), The Hobbit, or There and Back Again (1937), and The Borrowers (1952).

In the Twentieth Century, Western philosophy underwent a number of fundamental “turns” — the linguistic turn, the phenomenological turn, the postmodern turn. Some of these changes were viewed as “revolutions” in philosophy. At the extreme end, there were even arguments that Western philosophy, as conceived since Plato, was finished. In this module we explore some of these key transformations. We consider the “linguistic” turn, and the formation of “analytic philosophy” at the turn of the C20. One central figure of this linguistic turn is Ludwig Wittgenstein. But Wittgenstein shifts from being at the centre of analytic philosophy to arguing that philosophy is finished. At the same time, philosophy also undergoes a phenomenological turn. We focus on how this leads, via Sartre, to a revival of existentialism. The contrasts between French philosophy and English-speaking philosophy become even more pronounced in the final third of the C20, with post-structuralism and post-modernist philosophy viewed by the “analytic” philosophy community as not even being a kind of philosophy. We assess the roots of, and justification of, this “analytic/continental” divide.

This course explores twentieth and twenty-first century texts about the city that use Gothic generic conventions and modalities. The built environments of the Gothic are often plastic and mutable, the setting for animate, changeable, and malevolent forces. We will explore the ‘architectural uncanny’ and the ‘urban sublime,’ and consider how traditional elements of Gothic fiction are pressed to new ends in response to changing sensory, social and political contexts of urban space and place. While most sources will be textual (currently: Peter Ackroyd, Hawksmoor (1985), N. K. Jemisin, How Long ‘Til Black Future Month (2018), Caitlín R. Kiernan, 'Goggles (c.1910)' (2012), and Patrick McGrath, Ghost Town: Tales of Manhattan Then and Now (2005)) these will be complemented with reference to screen media, fine art, graphic novel and UrbEx photography.

The details of this module (for example, materials studied) may vary from year to year.

In the Victorian period, the decaying castles, corrupt priests and ancestral curses that were so prominent in the first phase of the Gothic novel gave way to an increased emphasis on spectral and monstrous others: ghosts, witches, werewolves, vampires, mummies and other creatures of the night. The module will explore these phenomena in their historical, cultural and literary contexts, with particular focus on emerging discourses of gender, sexuality, colonialism and class. The module will pay special attention to visual aspects of the Gothic, examining book illustration, painting and photography from the period and their relationship with Gothic texts. Students will be asked to consider the relationship between newly emergent forms of modernity (from medical discourses to photography) and the preoccupation with history and the past that is a generic feature of the Gothic. Texts will comprise a selection of novels and short fiction, with additional images and extracts from contextual works provided online and in class.

This module is centred upon three new genres which emerge in the mid-late Victorian period: Detective Fiction; The Adventure Story; and Children’s Fiction. Why do these new forms appear when they do? What determines them? We will spend three weeks on each, focussing on key texts and writers within the emerging genre, and looking at how certain conventions, principles, and core concerns develop for new genres as well as considering issues of literary status and canonicity. Within each session we will explore texts in terms of overlapping themes within a genre and the issues they raise for how we interpret the subject; these themes include: Colonialism, Imperialism, Gender, and Education. Texts currently studied include: R. L. Stevenson, Treasure Island, J. M. Barrie, Peter Pan, F.H. Burnett, The Secret Garden, and E.E. Nesbit, Five Children and It.

The details of this module (for example, materials studied) may vary from year to year.

In A Room of One’s Own, Virginia Woolf famously asks, ‘what would have happened had Shakespeare had a wonderfully gifted sister?’ This module follows Woolf’s lead by seeking to redress the historical marginalisation of women writers in the English literary canon through an exploration of: how women have come to writing at different historical moments; and what they have chosen to write, and how. A selection of texts from the 17th century through to the 21st, encompassing autobiographical forms, the novel, poetry, and drama, are used to examine relationships between gender, sexuality, race/ethnicity, and literary production, and to explore continuities, connections, and disparities between different representations of female experience. Texts currently studied include: Pat Barker, Regeneration (1990), Jackie Kay, The Adoption Papers (1991), Toni Morrison, Beloved (1987), Sarah Waters, The Night Watch (2006), and Dorothy Wordsworth, Grasmere Journals (1800-3).

The details of this module (for example, materials studied) may vary from year to year.