Full time 12 Month(s), Part time 24 Month(s)
The MA Creative Writing with English Literary Studies provides a rare opportunity to combine creative and critical writing at Masters level. It’s your chance to learn from the prize-winning, practising authors who lead our long-established Creative Writing scheme and to engage with a vibrant literary culture.
During your studies you will develop strategies for initiating new work, explore verbal textures and narrative structures, and enhance your knowledge of literary forms and conventions. You will hone your critical and creative skills, employ reflective practice, and learn the art of redrafting, revision and close editing. The nature of research within creative writing practice will also be considered as you evolve your own creative and critical portfolio.
Core modules are Research Methods and Professional Practice, which examine the professional and ethical issues around creative writing and help you to develop your reflective practice skills. Four elective modules are then split between Creative Writing and English Literary Studies - those on offer explore a wide range of literary fields and genres, including Psychogeographies, Short Fiction, Poetry, Landscape Writing, the Lyric Essay, Radio Drama, Modern, Contemporary, Romantic, Victorian and Early Modern Literature.
You will also complete a Creative Writing dissertation, which is a 15,000 creative project (or the equivalent for Poetry or Script Writing) and includes a critically reflective essay of 3-5,000 words. All students deliver a research-based talk at our annual MA Showcase - previous events have been held in partnership with Lancaster LitFest and the Dukes theatre.
Your postgraduate degree prepares you for careers in journalism, publishing, reading development, community arts and public relations, as well as PhD research. The critical and creative skills developed through your studies will also enhance your employability.
Part time and full time study options are available.
You will study a range of modules as part of your course, some examples of which are listed below.
This module prepares you for your dissertation project and supports the development of the research, scholarly and critical skills that it will require. You will be introduced to the idea of ethical practice and any students working on memoirs or verbatim work will be offered specific guidance. You’ll also master the ideas, concepts and issues around reflective practice and the vital role of research within creative writing.
We’ll study in a cohesive group, bringing students on combined courses and those following different pathways together to create a wider forum; our discussions will focus on professional practice and research issues.
This module will enhance your knowledge of library, archival and online research and it will develop your understanding of the creative process - taking you from first draft to final submission, including problem-solving strategies for creative blocks or obstacles. The module also places your creative work in the context of a professional literary world.
Indicative study themes:
Understanding the Research Context
Library, Online and Archival Research
Creative and Professional Presentation
Research and Reflective Practice
The Ethical Researcher
The dissertation module is your opportunity to develop an individual project that will lead to a fully-realised piece of creative work. You will be supervised by a specialist in your chosen area of interest.
The creative work may be several pieces of short fiction, a radio play, a coherent collection of flash fiction, prose poetry, poetry, an extended personal essay/memoir/autofiction, or a continuous extract from a proposed novel or other book-length work.
Generate the idea for a piece of creative work in your chosen form
Propose an independent reading plan
Draft no more than 5,000 words for initial tutor review
Take your creative project to fulfilment and present the finished work to a high standard - as appropriate for your chosen form (eg correctly formatted script)
Demonstrate your knowledge of relevant form, technique, and process by writing a 3,000 word reflective essay, including a full bibliography
You will receive informal, verbal feedback during regular dissertation meetings with your supervisor. This will include suggestions for reading and research as well as feedback on the development of your creative project.
This module introduces you flash fiction: a very short narrative form that works through compression, the use of imagery, and the omission of sequential narrative material. We will explore the form through exemplar texts from around the world and you will develop the editorial skills necessary to capture flash fiction’s brevity and imaginative power in your own work.
Taught via literature seminars and practitioner workshops, you will experience a range of techniques, including generative writing prompts. You will also learn how to respond reflectively and creatively to feedback - to this end, one seminar each term will be replaced by a one-to-one personal tutorial.
How narrative shapes experience and memory
Starting points and how to develop them
Positioning the reader - narrative modes
Voice and cultural context - who is talking and how?
Language, imagery and metaphor
Allusion and allegory
Editing and compression
Exploring genre in flash fiction?
Flash fiction or prose poems
Led by your own interests, this module will enhance your knowledge of commercial and independent publishing, community writing and online publishing.
You will contact and engage with an external organisation, person or literary context and then reflect on your creative writing in relation to this ‘world’ experience - you will be encouraged to expand your reflections to include wider social, cultural and economic issues.
Skills acquired will include the ability to present yourself professionally in a literary, creative or cultural industry context and the means to assess the criteria for literary awards and competitions. You’ll also enhance your knowledge of community writing settings and the role of funding.
Fortnightly presentations on aspects of the writing industries and various ‘writing worlds’ will be interspersed with seminar discussion of your projects or placements, including suggestions for further reading or background research.
Commercial publishing and the role of the agent
Live theatre and festivals
Writing in community settings
AHRC and funding
Independent and regional publishing
Competitions and journals
eBooks and online writing
The aim of this module is to allow students to explore the practical demands of writing long fiction, to develop their writerly and critical skills, and to develop their insight into the writing process. It will provide students with the opportunity to consolidate their learning about narrative fiction through the practical application of that learning. It is expected that by the end of the module, students will have gained substantial experience of the process of creative writing. These aims will be achieved through a variety of methods:
Strand One: Seminars
The bi-weekly seminar-sessions focus on an element of successful prose fiction.
In each session, students will be expected to make group presentations on the following key areas of long fiction: Narrative Structure, Voice, Person, Point of View, Character and Description. They will use the set texts as a starting point for discussion, but will be encouraged to develop their points using books of their own selection. Presentations will be followed by convenor-led seminar discussions to develop and concretise the ideas presented.
The second part of the seminar session consists of practical writing exercises tailored to the theme of the seminar, in which students are enabled to put into practise the ideas developed in the first part of the session.
The final session of the year will also be tutor-led. Focusing on the challenges of and strategies employed in redrafting creative work, the seminar will take students through the process of moving from a first draft to a polished draft of a piece of prose fiction. This will function both as an exploration of the professional writer's practice, and individually-tailored preparation for developing assessed work.
Strand Two: Workshops
Bi-weekly workshop sessions are designed to develop the students own work-in-progress. Students will submit samples of their creative work through the VLE, for fellow students and the course convenor to access, read, and reflect upon. In the workshop session, students will receive formative feedback in tutor-led classroom discussion of the work, and offer their own feedback on others' work. This practice-led, workshop model of teaching Creative Writing is as recommended by both NAWE and the AHRC, and replicates the professional experience of responding to feedback from writing groups, first readers, editors and agents.
Workshop and Seminar Sessions fall bi-weekly, so that students are enabled to apply the insight gained and skills developed in each type of session to the work undertaken in the other. The move from critical study to creative engagement has been found to be a useful creative strategy in the teaching of Creative Writing within the department, and is something we have been encouraged to continue and develop by external examiners.
Strand Three: Personal Tutorial
Personal tutorials are to be held at a mid-point of the course. At this point the student will have the opportunity to discuss their ongoing creative project and receive individual formative feedback on their work. This takes place at mid-point so as to give the student a moment of reflection and guidance at a useful point in the course, well in advance of assessment.
The short story is a complex and malleable form, capable of so much more than the quintessential modern form, which explores an intense experience in a single moment in time. This module considers the multiple forms and styles of contemporary short fiction from a range of cultural backgrounds and nationalities.
You will develop your understanding of short fiction by drawing upon contemporary writers as well as secondary and critical reading - which will also help you to build a critical and theoretical framework around your own writing.
Peer and tutor review, both oral and written, will encourage you to work reflectively as a creative practitioner. And you’ll be encouraged to demonstrate your knowledge of the forms and genres used in contemporary short story writing by incorporating them in your own short story portfolio.
The longer short story of Alice Munro
The historical short story (eg The Assassination of Margaret Thatcher)
Myth and fairy tale in the short story
Magical realism and the fantastic
Science and the short story (the Comma Press 'Science into Fiction' Series)
Politics and the short story
How do writers recreate place - real or imagined? How do readers imaginatively inhabit place? This module explores elements of place writing and New Nature Writing, looking at domestic space, urban space, the countryside and the ‘edgelands’ that lie inbetween.
We will encourage you to develop your own creative work and reflect upon the different dimensions of place writing and ‘literature-as-place’. A critical interpretation of texts will allow you to reflect upon the authorial decisions made and the effects you seek in your own creative projects.
Bi-weekly seminar sessions enable you to gain critical insight and develop new skills before applying them to your portfolio of work in the alternating bi-weekly creative workshops.
What is place, or ‘place writing’? Who invented it? How does that relate to ideas of space? Recent ideas of wilderness, the old emphasis on walking, the New Nature Writing.
The archive, the curatorial and the imaginary museum. Key text: Jonathan Meades Museum Without Walls
The city, the countryside, and the spaces in between. Key texts: Paul Farley and Michael Symmons Roberts Edgelands, Jean Sprackland Strands
Deep place – the natural world in our midst, and the nonhuman viewpoint. Key texts: Charles Foster Being a Beast
Occupying imaginary worlds: cinema’s parallel universe, and the journey through landscape. Key text: Geoff Dyer Zona
This module aims to do two things: to encourage the student to think about contemporary poems in several different visual dimensions but always from the viewpoint of the practitioner; and it offers an opportunity for them to develop their own work in progress, while at the same time actively promoting their critical reflection upon the process of writing and the visual dynamics a poem can activate and contain. The module admits that the ‘how to’ approach might be of less use when it comes to writing poetry, and instead promotes and explores a wider sphere of influences, encouraging experiment and engagement. A critical exegesis allows the student to reflect upon the decisions made and the effects sought in their creative project.
The aim of this module is to enable you to write drama for radio, developing your own scriptwriting style and gaining an awareness of the professional requirements of the genre. We will study exemplar radio dramas and use them to contextualise the creative choices in your own work whilst also exploring the effects of different structural and stylistic approaches.
Peer and tutor feedback will guide the development of your creative portfolio as you work towards a single radio drama script of 25 pages. Reflective practice will help you to master the art of redrafting and editing and you will pen a 1,000-word essay placing your experience of this in the context of radio drama.
Taught through a combination of seminars and workshops, we will initially focus on the key elements of writing for radio, with weekly tasks corresponding to study themes. Latterly, we will move on to more intensive workshopping of your own work.
The radio landscape
Navigating through and creating soundscapes
Character creation and character voice
Script format (and software resources)
Exploring experimental modes of writing, this module focuses on form and mode whilst placing new media writings in a longer tradition of experimental writing. This gives you the opportunity to critically explore your own writing practice in relation to literary texts, new media texts, and experimental and collaborative practices.
We will engage with and develop writing practices which correspond to a range of forms and media: the codex (book), e-lit or digital literature, games, visual media. And we will evaluate the range of critical responses to experimental literature, digital literature, remix culture and games narrative.
Experiments (1): Constraint and cut up
Experiments (2): word, vision, sound and text in media
Form and mode (1): from page to media
Form and mode (2): Geoff Ryman’s 253 as hypertext and print remix
Narrative and game dynamics (1): ergodic literature and writing machines
Narrative and game dynamics (2): Dear Esther
Remixing the book (1): Cortazar, Johnson, Danielewski
Remixing the book (2): glitches, codes and uncreative writing
This module introduces you to the personal essay: a flexible, hybrid form incorporating elements of cultural and literary criticism, memoir, journalism, fiction and auto fiction. We will explore a number of modes of personal writing, assisting you in the development of a form that best serves your creative intentions.
Taught via literature seminars and creative workshops, you will experience a range of literary techniques, including generative writing prompts and exemplar texts. You will also learn how to respond reflectively and creatively to feedback - to this end, one seminar each term will be replaced by a one-to-one personal tutorial.
The Writing 'I' developing a voice, the strategic I, literary personae, authority and double perspective.
Mode and register: memoir, documentary, reflection and commentary.
Scene setting and dramatisation: applying creative technique to 'real life' material.
Finding a subject the writing self and the world.
Autofiction, truth and artifice.
Developing a Form: The List Essay.
Developing a Form: The Braided Essay.
Developing a Form: Collages, shapes, mockuments and concrete essays.
Rereading, rewriting, reconsidering: reflective editing and responding to feedback.
This module looks at poetry culture in the UK and beyond, preparing you to enter the world of the publishing poet by closely examining the prize culture, some of the significant prize- winning collections by new poets over the last few years, and current poetry journals.
You will investigate current trends, learning what it takes to get your work read - by editors, publishers and the poetry-consuming public. And you’ll put together a publication package with the aim of building your own portfolio in readiness for the vibrant and varied poetry marketplace - which continues to defy predictions of its demise.
Each seminar will be divided into reading and workshopping of your creative work in light of what we've read.
Indicative study texts:
Seamus Heaney, Seeing Things (Faber, 1991)
Sarah Howe, Loop of Jade (Chatto 2015)
Kei Miller, The Cartographer Tries to Map a Way to Zion (Carcanet 2014)
Sam Riviere, Kim Kardashian's Marriage (Faber 2015)
Andrew McMillan, Physical (Cape 2015)
Max Porter, Grief is the Thing with Feathers (Faber 2015)
The Current Forward Anthology for that year
A series of poetic journals (as chosen by your cohort)
Michael Symmons Roberts, Drysalter (Cape 2013)
Sinead Morrissey, Parallax (Carcanet 2013)
'Psychogeographical' practices encourage the overlaying of history, story and myth and a deep engagement with urban and natural environments. This module provides a means for you to investigate space, place and narrative through such practices.
We will draw out experimental approaches to the literary representation of place through practices of walking, inhabitation, site-specific practices, visual and textual materials. We will also study key critical and fictional texts.
You will undertake writing tasks via creative workshops and benefit from the opportunity to further develop your research skills. You’ll also be encouraged to critically explore the interface between creative and critical modes of writing.
Myth and Place (1): Sinclair’s London
Myth and Place (2): the folk horror revival
Practices of walking (1): Solent’s Wanderlust
Practices of Walking (2): writing in the field
Hauntology (1): place as palimpsest
Hauntology (2): visual strategies
Landscape (1): hills, fields and coasts
Landscape (2): urban psychogeography
The modules ENGL419M and ENGL149LS are intended for all MA students and for new first year Ph.D. students who have not taken an MA at Lancaster (it is designed in accordance with UK research councils training guidance). Seminars will run across terms 1 and 2, and dissertation supervision and a conference will take place in term 3. The modules aim to equip you with a range of skills, approaches and competences to draw on as early career researchers in the field of English Literary Studies and/or Creative Writing. As generalist modules, they are designed to complement the more specialist training you receive in seminars and supervisions. The modules will include sessions on research and writing skills, working with archives, working with theory, and will encourage reflection on the work of literary research. The modules will be assessed by a portfolio of tasks (that will be outlined fully within the seminar sessions). In the summer term, the module will conclude with a conference – organised by the students themselves – at which they will all give a paper relating to their research.
This module examines the range and variety of contemporary British fiction. Its five subdivisions are designed to highlight the different ways in which the sense of time manifests itself in present-day fiction – from the minimalism of Cusk and McGregor’s 24-hour novels to the temporal panoramas of Barnes and Mitchell’s fragmented world histories -- and to foster debate about the contemporary novel’s complex relationship with its modernist and realist forebears.
The module takes as its primary material three trilogies published in the last 15 years of the twentieth century: Paul Auster's New York Trilogy, Toni Morrison's trilogy comprising Beloved, Jazz, and Paradise, and Cormac McCarthy's Border Trilogy.
This module is designed to give students both the freedom and the responsibility of negotiating, with an assigned tutor, their own area of study and/or writing within the perimeters of the particular MA pathway they have chosen. This study can be pursued either alone or with other students and takes the form of a structured series of tutorials with a member of the MA team. The students will share, with the tutor, the responsibility for designing the course of study and/or writing. The study and/or writing proposal will be formulated by the student, using a form that can be obtained from the Department’s postgraduate office. This form needs to be submitted along with your option form. It must then be approved by both the tutor and the MA convenor (Dr Liz Oakley-Brown).
The topic for study and/or writing is entirely open. If creative, it could take the form of a sequence of poems, short story, or the opening of a novel, along with a piece of reflective writing. If critical, it could, for example, take the form of a study of a single author (e.g. Emily Dickinson); a particular period, movement or moment (e.g. Decadence); the literature of a particular nation or region (e.g. North Africa); or a specific literary theme (e.g. revolutions). Alternatively, it could be linked to a Research Centre and/or special library collection and/or department reading group and/or conference hosted at Lancaster, and/or series of guest seminars given by a visiting scholar or writer. Obvious examples include: the seminars given here by Terry Eagleton and the Ruskin Seminars. The curator of the Ruskin Library, Professor Stephen Wildman, is available to supervise a special subject topic.
The student and the tutor will meet for a series of tutorials and plan the work on a mutually agreed time-scale. Since this module is assessed in the same way as other MA modules the module will occupy one term.
One essay or equivalent, normally of 5000 words, is the method of assessment (for creative writing projects, this word count includes a 1,000-word reflective piece).
This module examines the formal, historical, generic, cultural, intercultural, and interhistorical relationships between Victorian literature and other media, including painting, illustration, theatre, music, film, television, and new media.
This module addresses the ways that contemporary literature, film and television engage with the Gothic literary tradition. Focusing specifically on texts produced since 2000, it explores the continuing relevance of Gothic in contemporary culture. The module aims to demonstrate the diversity and increasing hybridity of contemporary Gothic and with this in mind, enquires what happens when Gothic cross-fertilises a range of other modes and genres including musical, soap opera, noir, documentary, comedy, science fiction and the historical novel. It examines how traditional Gothic personae from vampires and ghosts to guilty fathers and disturbed children may find new life in the twenty-first century, and how traditional Gothic spaces from the haunted house to the fairground may be refigured in postmodern British and American culture. Finally, it reflects on what critics mean when they talk about Gothic and the ways in which the term is put to work in both popular media and in academic criticism. The self-reflexively uncanny properties of books, films, DVDs and other media will be a central feature of many of the texts under discussion, foregrounding the echoes and continuities between Gothic and postmodern fictional forms.
Each seminar will be based around two parallel strands, covering literature and television/film from 2000 to the present day. Screenings of the relevant films/programmes will be timetabled during the week preceding the seminar. Students will find it useful to have some prior knowledge of Gothic literature and/or film, but this is not essential.
This module explores the evolution of prose fiction from the late Romantic era through the first two decades of Victoria’s reign. A defining focus of the course will be on the ways in which the Victorian novel negotiates with Romantic legacies: the primacy of self, the necessity of intellectual and personal liberty and an ambivalence towards the past are crucial to the development of the genre. The historical frame of the course allows us to move from James Hogg’s Confessions of a Justified Sinner (1824) to Herman Melville’s Moby Dick (1851), one of the first novels of the American ‘Renaissance’. We will consider the shaping presence of other genres in the development of nineteenth-century fiction, including spiritual autobiography and the long poem. Historical contexts will also be emphasised with particular reference to the religious and political debates of the period. We will explore the emergence of the novelist as a major cultural figure and interrogate the ways in which the writers under review both internalise and contest the ethical, spiritual and economic forces of their historical moment.
This module – distinctive in its focus on the wider Middle East – explores twentieth and twenty-first century narrative texts by women writers, examining creative literary engagements with (post)colonial histories, societies and politics. Novels and memoirs are read alongside theory drawn from various disciplines – literary criticism, history, geography, sociology and anthropology. The texts represent a range of responses to colonialism, national identity, patriarchy, Islam, migration and transnationalism. Key themes are revolution; the female body in private and public space; violence; education; modes of resistance; memory; testimony; and the politics of representation.
This module focuses on the idea of the ‘posthuman’ in fiction and film. It explores a range of literary and filmic texts from Romanticism to Postmodernism that have explored the question of what, if anything, might come ‘after’ the human race. To explore the figure of the posthuman in more detail, we will focus on a series of recurring tropes in posthumanist literature from H. G. Wells to Lars von Trier: the god, the monster; the robot; the cyborg and the clone. We will also place these texts in the context of various contemporary philosophical, religious, political and scientific debates surrounding the meaning (or meaninglessness) of human existence. In summary, the course will ask such questions as: why is the end of the human race such an enduring subject of fascination for writers and film-makers? Is it possible for human beings to imagine a world without human beings? Finally, what might a world after the human race look like?
This module is a core postgraduate course for the interdisciplinary study of literature and film. It examines their relations in the contexts of word and image debates, interart and intermedial discourses, theories of adaptation, and case studies. It fulfils both RVL and M&CLS course requirements, addressing issues that apply to both schemes of study, materials particular to each field of study, setting them in dialogue.
The module seeks to challenge the conventional tendency to think of the Victorian era as an age of moderation, as 'a land / In which it seemed always the afternoon' (to quote Tennyson). We shall, therefore, be paying close attention to the many extremes and extremities within Victorian culture: for example extreme faith, extreme doubt, extreme chauvinism, and extreme feminism, as well as margins, peripheries and minorities. Throughout we shall be exploring the relation between these Victorian extremes and the coming of Modernity. This exploration will include writings beyond the chronological extreme of what we normally think of as the Victorian period. Some of the texts are only available as reprints: see below for recommended reprint editions.
The aim of this MA module will be to give students at a more advanced level a chance to engage with long poetic texts by bringing them to bear upon each other. The course develops out of a particular research expertise in the form of the long poem as well as my role as General Editor of The Reading Guides to Long Poems series with Edinburgh University Press and interest in textual criticism, editing and the “mapping” of works. Close work on The Prelude feeds directly into a new immersive week at The Wordsworth Trust which is centred upon this text.
This module uses contemporary theoretical models to explore the relationship between emotions and place in examples of early modern English literature. It begins by looking at the ways space is mapped in written and pictorial records, with an introduction to items in the Rare Book Archive in the Library and the electronic archive Early English Books Online. Site specific studies of texts (e.g. in Lancaster Castle and Penshurst Place) combine with study of fantasy sites like More’s Utopia (no-place) and early science fiction and travel writing. The course can be taken as part of the early modern pathway or as a stand alone module for those interested in developing transhistorical understandings of politics and place.
This module is concerned with texts that mix genres; in particular, such genres as critical essay, philosophical treatise, poetry, comic dialogue, fragment, novel, anecdote, manifesto, autobiography, history, textual commentary, and travelogue. Special attention will be paid to texts that blur the genre-boundary that, traditionally, separates critical writing from creative writing, and students will be invited, if they wish, to submit such texts themselves.
This module seeks to explore textual constructions of nineteenth-century urban spaces and those who inhabit them. What does it mean to live in the city in the nineteenth century and what might the city mean to its inhabitants and to the English population at large? We will consider the ways in which different types of space - the street, the graveyard, the house – are meaningful as well as the different ways more general conceptions of ‘the city’ are articulated across the century. We will pay attention to issues such as mobility, transport, technology, Englishness, class, gender, ethnicity, and religion, and we will engage with different theories of space and place (by authors such as Simmel, Heidegger, Bachelard and Massey). Throughout the course we will address the relationship between representation and place and how different types of imaginative literature present their urban spaces.
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; 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.
How are bodies configured in sixteenth- and seventeenth-century texts and how do we read them from a twenty-first century perspective? What cultural weight do bodies bear when represented as gendered; as icons of nationhood or mortality; as objects of desire - sometimes of violent desire - in literary texts? Is social identity inevitably shaped by corporeality or do the processes of bodily exposure and concealment offer ways of self-fashioning? This module addresses these questions by examining the ways in which embodied identities are contingently constructed in a period of religious and political and change.
This module will focus on the interdisciplinary relationship between literature, science and medicine in the Romantic period and will examine the ways in which scientific thought is expresssed in culture, history and politics;
Students will develop a range of interdisciplinary interpretive skills by guided reading of an eclectic range of texts, from scientific speculation, poetry, novels, lectures and periodical essays. The module seeks to identify and cross established discipline boundaries while developing an understanding of Romantic-period literature and culture.
This module will explore literary modernism as a multiple, or plural movement that, in truly modernist spirit, refuses any single definition of itself, just as one might expect of a movement that really is a movement, something that moves, and still moves and thus exceeds even itself, in particular the periodised, rationalised and generically limited version of itself, as institutionalised by the academy. The course will, then, explore a host of ‘other’ modernisms including, inter alia, manifesto modernism, political modernism, trench-war modernism, surrealist modernism, philosophical modernism, Holocaust modernism, theatrical modernism, comic modernism, and even a modernism-for-now that incorporates a literary-critical modernism - a modernism within literary criticism that might yet challenge the realist and, as it were, ‘Victorian’ conventions of conventional academic scholarship. Students can, if they wish, submit just such experimental or, critical-creative work instead of a conventional essay.
This module will explore different forms of the adventure story as it emerges and develops across the eighteenth and nineteenth centuries. We will consider themes across the whole such as the role of hero and antihero; adult/child readership; gender and imperialism; material factors such as serial publication and the presentation of images and maps alongside the text.
This module provides an exciting opportunity to study major texts of British Romanticism in the locations where they were written and that they describe, the English Lake District and the Alps. After introductory seminars taught at Lancaster, we will undertake two four-day field trips, one to the Lake District and one to the Alps. The first field trip will be based in Grasmere and will study the work of William and Dorothy Wordsworth, making use of the archives of the Wordsworth Trust's Jerwood Centre while also visiting key outdoor locations central to poems such as ‘Michael’, ‘Home at Grasmere’ and The Prelude. The second trip will be to the Alps and will focus on works by Lord Byron (e.g. Manfred), Percy Shelley (e.g. 'Mont Blanc') and Mary Shelley (e.g. Frankenstein). It will involve visits to the Alpine locations associated with these writers, such as Chamonix, the Mer de Glace, Lac Leman and Chillon Castle.
This module offers an introduction to understanding and exploring ideas of space, movement and identity in relation to major writers and texts across the nineteenth century. We will read key writers of place alongside a range of relevant spatial and philosophical texts and extracts for each of the thematic themes that are addressed across the module.
The module focuses on three themes: walking and writing; mapping literary place and space; and interior and exterior. We use these themes to think about how place and space are constructed through movement, action and reaction, as well as to consider how the visual representation of place via maps can transform the ways we understand the world around us. We consider multiple types of place, including rural farmland, mountains and lakes, islands, cities and the home. We will place these themes in the context of twentieth-century thinking on place and space via the works of phenemenologists like Maurice Merleau Ponty and spatial theorists, including Gaston Bachelard, Michel de Certeau, Henri Lefebvre, Franco Moretti and Yi Fu Tuan.
Information contained on the website with respect to modules is correct at the time of publication, but changes may be necessary, for example as a result of student feedback, Professional Statutory and Regulatory Bodies' (PSRB) requirements, staff changes, and new research.
Director of Studies: Jenn Ashworth
Entry requirements: An upper second class honours degree (or equivalent) in English/Creative Writing or related subject
IELTS: Overall IELTS of 7.0 with a minimum of 6.5 in each element
Assessment: Combination of coursework, dissertation/portfolio and research methodology portfolio
Funding: All applicants should consult our information on fees and funding.
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