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Lancaster’s joint German Studies and English Literature degree is taught by the School of Global Affairs in conjunction with the Department of English and Creative Writing.
Your German Studies programme enables you to acquire high-level language skills and gain a thorough understanding of the German-speaking in a global context. In English Literature you will study a wide range of authors, genres, historical periods, literary movements, techniques and critical approaches.
Your first year comprises an exploration of the German language and its cultural context, as well as a core module in English Literature. Alongside this, you can choose another English module such as World Literature or Creative Writing, or alternatively a minor subject that complements your degree.
Building on your language skills in Year 2, you will study the culture, politics and history of German-speaking countries in more depth, as well as selecting modules which are international in scope and promote a comparative understanding of Europe and beyond. You will combine these with the core English module and choose a range of options.
Spending your third year abroad in a German-speaking country gives you the opportunity to develop your language proficiency while deepening your intercultural sensitivity. You can study at a partner university or conduct a work placement.
In your final year, you consolidate your German language skills, and study specialist culture and comparative modules. You will also select a variety of English Literature modules.
You can find some examples of optional modules in the Course Structure section below.
Beginners Languages
Studying a language from beginners level is somewhat intense in nature so we only allow students to study one language from beginners level. Please bear this in mind when looking at our first year module options. If you apply to study a degree with a language from beginners level, your optional modules will only include higher level languages and modules in other subject areas.
Discover a wide expanse of genres and time periods, right up to newly published literature. Our students explain what it’s like to study English Literature at Lancaster University, from our close-knit community and small-group teaching, to the accessibility of our friendly teaching staff.
Being so close to the spectacular Lake District, home of the Romantic poets, the Department has world-class strengths in Romanticism. Our partnership with the Wordsworth Trust, at Grasmere, is long-established, and has a number of new benefits for all our students.
The Castle Quarter is both a wonderful place to enjoy, with many excellent places to eat and drink, and a wonderful resource for literary studies here at Lancaster. Our students in the Department of English Literature & Creative Writing have many opportunities to make the most of this resource.
Languages and Cultures at Lancaster University
Study up to three languages of your choice and be supported to take an International Placement Year in Europe or beyond. Our students explain what you could experience studying Languages and Cultures at Lancaster University.
Careers
As well as language and subject-related skills, a degree in languages can help you to develop rich interpersonal, intercultural, cognitive and transferable skills. Combined with the communication, self-expression, research and critical understanding skills that can be gained by studying English Literature, a wide range of business and public-sector roles will be open to you. Some of our graduates go on to work in publishing, journalism, librarianship, television and the media, IT, business development, civil service, events management, finance, research and sales, as well as teaching and translating both in the UK and abroad.
Some graduates continue their studies at Lancaster in areas such as humanities and interdisciplinary research, making the most of our postgraduate research facilities. We offer Master's degrees in Translation, Languages and Cultures, English Literary Studies and Creative Writing, as well as a range of PhD research degrees.
Lancaster University is dedicated to ensuring you not only gain a highly reputable degree, but that you also graduate with relevant life and work based skills. We are unique in that every student is eligible to participate in The Lancaster Award which offers you the opportunity to complete key activities such as work experience, employability/career development, campus community and social development. Visit our Employability section for full details.
Explore Student Futures
Our graduates go on to a diverse range of careers from academics to celebrated poets, screen-writers and novelists. Others go into a host of other careers closely related to literary study, such as teaching, publishing, copywriting and advertising. A degree in literary studies can, though, lead to other, less obvious futures, such as psychotherapy, emerging markets consultancy, data analysis and finance.
Required Subjects A level German, or if this is to be studied from beginners’ level, AS grade B or A level grade B in another foreign language, or GCSE grade A or 7 in a foreign language. Native German speakers will not be accepted onto this scheme.
IELTS 6.5 overall with at least 5.5 in each component. For other English language qualifications we accept, please see our English language requirements webpages.
Other Qualifications
International Baccalaureate 35 points overall with 16 points from the best 3 Higher Level subjects including appropriate evidence of language ability
BTEC Distinction, Distinction, Distinction accepted alongside appropriate evidence of language ability
We welcome applications from students with a range of alternative UK and international qualifications, including combinations of qualification. Further guidance on admission to the University, including other qualifications that we accept, frequently asked questions and information on applying, can be found on our general admissions webpages.
Delivered in partnership with INTO Lancaster University, our one-year tailored foundation pathways are designed to improve your subject knowledge and English language skills to the level required by a range of Lancaster University degrees. Visit the INTO Lancaster University website for more details and a list of eligible degrees you can progress onto.
Contextual admissions
Contextual admissions could help you gain a place at university if you have faced additional challenges during your education which might have impacted your results. Visit our contextual admissions page to find out about how this works and whether you could be eligible.
Course structure
Lancaster University offers a range of programmes, some of which follow a structured study programme, and some which offer the chance for you to devise a more flexible programme to complement your main specialism.
Information contained on the website with respect to modules is correct at the time of publication, and the University will make every reasonable effort to offer modules as advertised. In some cases changes may be necessary and may result in some combinations being unavailable, for example as a result of student feedback, timetabling, Professional Statutory and Regulatory Bodies' (PSRB) requirements, staff changes and new research. Not all optional modules are available every year.
In this year-long module you will encounter a broad range of literature -- from the Middle Ages to the 21st century, moving from Chaucer, through Shakespeare and Milton, to Virginia Woolf, Alison Bechdel, Paul Muldoon, and many others.
You will also encounter a whole range of literary genres including plays, films, short stories, novels, poetry, essays, and the graphic novel. The module is currently focused around themes related to: Englishness and Empire; Authority and Revolution; Gender, Body, and Voice; and Adaptation and Queering.
The module concludes with a range of mini-modules relating literary research to real-world scenarios; recent options have included:
Mediaeval Manuscripts in the Digital Age
Creating a Literary Podcast
Building Minecraft Worlds for the Teaching of Literature
Creating a Literary Tour
Reading Lancaster Priory
Re-writing Waiting for Godot.
The details of this module (for example, materials studied) may vary from year to year.
This module is designed for students who have already completed an A-level in German or whose German is of a broadly similar standard. The language element aims to enable students both to consolidate and improve their skills in spoken and written German. A further aim is to provide students with an introduction to the historical and cultural development of Germany in the twentieth century, and also to contemporary institutions and society.
In seminars, the emphasis is placed on the acquisition of vocabulary and a firm grasp of German grammatical structures. You will have the opportunity to develop listening and speaking skills through discussions and activities and with the support of audio and visual materials.
You are given the chance to examine how key moments in German history have shaped contemporary German culture. We will look at examples including films, plays, and novels.
(If you are studying BSc Hons International Business Management you only complete the language elements of this module).
This module is designed for students having little or no knowledge of the German language. Consequently, a substantial part of the module is devoted to intensive language teaching aimed at making the student proficient in both written and spoken German. At the same time, students will be introduced to aspects of German history, culture and society in the twentieth century.
Seminars are based on a textbook and the emphasis is placed on the acquisition of vocabulary and a firm grasp of German grammatical structures. You will have the opportunity to develop listening and speaking skills through structured activities and with the support of audio and visual materials. Each week, we aim for one of your language classes to be entirely devoted to the acquisition and development of oral skills.
You are also given the chance to examine how key moments in German history have shaped contemporary Germanic culture. We will look at examples including films, plays, and novels.
(If you are studying BSc Hons International Business Management you only complete the language elements of this module).
All first year language programmes are supported by a module designed to offer students further opportunities to expand and consolidate their knowledge and skills base. The module is non-credit bearing but students are expected to participate so as to acquire complementary skills useful in areas such as, essay-writing, expanding vocabulary, diversity of learning styles and engaging with culture, alongside other useful strategies to enhance autonomous language learning outside the classroom.
Optional
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This year long module organises your study of literature through the frame of space, exploring a wide range of major ancient, modern, and contemporary texts, all of which relate to such particular places as archive, museum, castle, stage, mountain, sea, border, plantation, stage, glacier, womb etc. Some of the spaces we will have in mind relate directly to the historic city of Lancaster itself and to its wonderful location near to both the Lakes and the coast, and some of the spaces will relate most directly to places far away. You will study texts such as Sir Gawain and the Green Knight, Margaret Cavendish’s The Convent of Pleasure, Laurence Sterne’s A Sentimental Journey, Thomas Hardy’s Jude the Obscure, Derek Walcott’s Omeros, and Ali Smith’s How to Be Both.
The module concludes with a range of "mini-modules", each one focusing on a very specific place, or kind of place. Options may include: the North, the map, the church, the digital, the desert.
The details of this module (for example, materials studied) may vary from year to year.
This year-long module seeks to look beyond the boundaries of traditional courses in English Literature by enabling you to explore a wide and exciting range of literatures in English and in translation. These include texts that have influenced the development of literary English, from the Bible and classical figures such as Ovid and Homer, through to Medieval and Early Modern authors such as Dante and Rabelais. It also considers modern and contemporary world authors in translation (such as Kafka, Borges, Salih and Murukami), as well as new-media writing and the graphic novel. The module concludes with a creative-critical project which introduces students to the possibilities afforded here by creative modes of literary criticism.
The details of this module (for example, materials studied) may vary from year to year
Core
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This module comprises of both oral and aural skills, to be taken alongside the Written Skills module. It builds upon skills gained in the first year.
This module aims to enhance your linguistic proficiency in spoken German in a range of formal and informal settings (both spontaneous and prepared). Specific attention will be given to developing good, accurate pronunciation and intonations well as fluency, accuracy of grammar, and vocabulary when speaking the language.
This module also aims at broadening students’ knowledge about different aspects of modern society, politics and culture, and contemporary issues and institutions in order to prepare them for residence abroad in their 3rd year.
By the end of this module, you will have had the opportunity to enhance your comprehension of the spoken language, as used in both formal speech, and in everyday life situations including those that you may encounter in German-speaking countries.
This module comprises of both oral and aural skills, to be taken alongside the corresponding Written Language module. It builds upon skills gained in the first year. Students who have taken the Intensive language course in their first year, normally follow this course throughout the second year.
The module aims to enhance your linguistic proficiency in spoken German in a range of formal and informal settings (both spontaneous and prepared). Specific attention will be given to developing good, accurate pronunciation and intonations well as fluency, accuracy of grammar, and vocabulary when speaking the language.
This module also aims at broadening your knowledge about different aspects of modern society, politics and culture, and contemporary issues and institutions in order to prepare them for residence abroad in their 3rd year.
By the end of this module, you will have had the opportunity to enhance your comprehension of the spoken language, as used in both formal speech, and in everyday life situations including those that you may encounter in German-speaking countries.
This module comprises of reading and writing skills to be taken alongside the Oral Skills module.
This module aims to consolidate skills you have hopefully developed in the first year of study, and enable you to build a level of competence and confidence required to familiarise yourselves with the culture and society of countries where your studied language is spoken.
The module aims to enhance your proficiency in the writing of German (notes, reports, summaries, essays, projects, etc.) including translation from and into German; and the systematic study of German lexis, grammar and syntax.
The module aims to enhance your linguistic proficiency, with particular emphasis on reading a variety of sources and on writing fluently and accurately in the language, in a variety of registers.
This module comprises of reading and writing skills to be taken alongside the Oral Skills module.
This module aims to consolidate skills you have hopefully developed in the first year of study, and gives you the opportunity to build a level of competence and confidence required to familiarise yourselves with the culture and society of countries where your studied language is spoken.
The module aims to enhance your proficiency in understanding spoken German, as well as in the writing of German (notes, reports, summaries, essays, projects, etc.) including translation from and into German; and the systematic study of German lexis, grammar and syntax.
The module aims to enhance your linguistic proficiency, with particular emphasis on reading a variety of sources and on writing fluently and accurately in the language, in a variety of registers.
This module is a non-credit bearing module. If you are a major student going abroad in your second or third year you are enrolled on it during the year prior to your departure, and timetabled to attend the events. These include: introduction to the International Placement Year and choice of activities; British Council English Language Assistantships and how to apply; introduction to partner universities and how they function; working in companies abroad; finance during the International Placement Year; research skills and questionnaire design; teaching abroad; curriculum writing and employability skills; and welfare and wellbeing.
What has it meant to be German over the past two hundred years? This module provides students with awareness of the ‘must-know’ moments and movements that have shaped contemporary German-language culture, while developing skills in critical-textual analysis, including film, poetry, drama, and political writing. It takes you on a journey through moments and movements across two centuries of cultural history, encountering along the way a series of radical thinkers, writers, filmmakers and creative artists. The main aim of the module is twofold: to build students' reading knowledge of German while giving them a flavour of the rich cultural output that has defined the modern German-speaking realm.
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.
Optional
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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 humanities were once regarded as having an intrinsic value. As disciplines devoted to the study of cultures and societies, the humanities enjoyed prestige as areas of inquiry that were uniquely placed to probe the human condition. But do the humanities still have a role to play in a world where science and technology appear to be driving political and social agendas? Can they help us address global challenges?
This module encourages you to engage with these questions by examining the history of the humanities in different linguistic and cultural contexts, by exploring the connection between the humanities and other disciplines across time and space, and by engaging with the tradition of critical thinking that is central to the identity of the discipline.
You will explore the intersection between the humanities and other disciplines with the aim of understanding what other disciplines can bring to study of art and, conversely, the value of art in our contemporary, outcome-driven world.
In this module, students learn how the language used by institutions shapes individual perceptions of identity. It aims to provide a basic theoretical framework for understanding the relationship between language and power as reflected in current language policies at regional, national, and supranational levels. It gives you the opportunity to recognise forms of prestige and stigma associated with varieties of the three main languages under study. We aim to raise critical awareness of the portrayal and representation of linguistic variations in the media and in the sphere of literature.
The main topics covered in the course include language and power; European language policies; German as a pluricentric language; regional variations of France: linguistic diversity and French national identity; the languages and language attitudes of Spain (Castilian Spanish, Catalan, Basque, Galician); language and power in the Sinophone world.
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.
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.
This module seeks to support you to apply your linguistic and cultural understanding in a specific professional context. This module gives you the opportunity to spend time on a work-based placement in the UK or abroad. You will be given the opportunity to develop, reflect on and articulate both the range of competences and the linguistic and cross-cultural skills that enhance employability by working in language-related professional contexts and reflecting on key issues in relation to their placement organisation. There is the opportunity to join a local work placement developed by the department, or for you to source your own placements (subject to departmental approval). Workshops before and during the placement will provide preparation and guidance on sourcing, confirming and then reflecting on academic work. Students will share their experiences and learning with each other by means of end-of-module presentations.
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.
How do films deal with topics such as immigration, environment, the posthuman and gender? Do they entertain viewers, instruct them, or both?
This module explores European, Latin American, and Chinese films in their social and historical contexts; the topics mentioned are the focus of key lectures and seminars. The module begins with introductory lectures on cinema and society and on film aesthetics and content. The main aim is to make connections between the films and such contexts, not only on the level of narrative, characterisation and dialogue, but also on that of form and technique.
This module explores cultural and theoretical approaches to queerness and LGBTQIA+ lives, identities, and politics across diverse linguistic and cultural contexts. It includes texts and artworks by philosophers, writers, filmmakers, and artists from the LGBTQIA+ community around the globe, asking how different queer voices and cultures have approached questions such as:
What does it mean to be queer or LGBTQIA+ today?
How are human experiences of gender, sexuality, and queer identity conceptualised and expressed?
How do queer people stand up against oppression and violence, and how have they in the past?
What might queer tomorrows look like?
How do LGBTQIA+ people and communities imagine the future?
The module explores key theoretical approaches in queer theory, and gender and sexuality studies, typically spanning cutting-edge fields such as queer environmentalism, postcolonial queer studies, transgender studies, intersex studies, and the queer medical humanities.
This module aims to give you a background to and insight into the diversity of twentieth and twenty-first century thought and contemporary definitions of culture.
Some key questions explored on the module include: What is 'culture' and how does it work? How do 'art' and 'culture' relate to each other? What do we mean when we talk about the production and consumption of culture? Why does popular culture arouse conflicting responses? What role does the body play in our understanding of culture? How does culture define who we are? Can a work of culture be an act of resistance?
With these questions in mind, this module focuses on texts which raise questions about class, race, gender, and subcultures.
The module encourages intercultural dialogue between students from different backgrounds and specifically welcomes Visiting and International students.
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.
Core
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As part of The International Placement Year you will normally spend at least eight months abroad in your third year. You will have the opportunity to:
analyse the contemporary relevance of a tradition, contemporary social, political or economic issue, or a living part of the regional culture.
reflect critically on cultural differences observed in everyday life such as social relationships, politics, attitudes to food, drink, religion, etc., explaining them in the context of various historical, social and cultural developments.
think analytically about your intercultural position and understanding of the relevant culture(s).
reflect on language use (different registers, varieties of pronunciation and accents, dialects, vocabulary and idiomatic expressions, and aspects of grammar) and the process of the acquisition of skills in the relevant language(s).
The module also aims to enhance and develop your language skills, with all assessments being written in the target language. If you have started a language as a beginner in year one you will spend a minimum of four months in a country where that language is spoken. If you are a joint honours student who is studying two languages, you may choose to spend the year in either of the two countries concerned or, if appropriate arrangements can be made, you can spend a semester in each country.
Lancaster University will make reasonable endeavours to place students at an approved overseas partner. Students conduct either a study placement at a partner University, a teaching assistantship placement with the British Council or an appropriate working placement with a vetted employer abroad or a combination of placements (please note that there are some restrictions on British Council placements which usually last for the whole of the academic year).
Joint honours degrees
If you are a joint honours student who is combining a language with a non-language subject, your placement year will provide the opportunity to develop your language skills and cultural awareness, but will not necessarily relate to the non-language aspect of your degree.
Lancaster University cannot accept responsibility for any financial aspects of your International Placement Year.
Core
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This is a non-credit bearing module aimed at preparation for coursework and employability. If you are a major student you will be timetabled to attend the events. These include areas such as returning to Lancaster, academic writing after the year abroad, careers information on graduate schemes and postgraduate study opportunities.
This module is integrated with the German Language: Written Skills module.
Both the oral and the written language modules focus on particular topics of cultural and contemporary interest. The general aim of these modules is to develop further the abilities you have hopefully gained during their second year and the year abroad.
By the end of this module, we aim for you to have developed an informed interest in the society and culture of the German-speaking world. We hope you will also have acquired almost native-speaker abilities in both spoken and written language.
This module is integrated with the German Language: Oral Skills module.
This module has two main aims. The first one is to enhance students’ linguistic proficiency with emphasis on the understanding of spoken and written German, the speaking of German (prepared and spontaneous) in both formal and informal settings, the writing of German, and the systematic study of German lexis, grammar, and syntax. The second aim is to increase your awareness, knowledge, and understanding of contemporary Germany.
By the end of this module, we aim for you to have developed an informed interest in the society and culture of the German-speaking world. We hope you will also have acquired almost native-speaker abilities in both spoken and written language.
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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?
This module will consider different ways in which the concept of ‘dictatorship’ has been understood and critiqued throughout the twentieth century. Considering examples from Argentina, the Dominican Republic, Germany, Guinea, Italy, Kenya, Uganda and Zimbabwe, students will explore the differences between the Latin American caudillo, European dictators, and the ‘Big Men’ of Africa. Selected critical and theoretical sources will be drawn upon to develop a more critical understanding of dictatorship, including the work of Hannah Arendt, Roberto González Echevarría and Achille Mbembe.
The module will also examine relationships between dictatorship and cultural production. How have dictators represented themselves in their writing, speeches and literature? To what extent have they controlled cultural production and to what end? How, in turn, have they been represented in cultural production? What role do writers, artists and intellectuals play in evaluating and critiquing dictatorship? In turn, can the writer, artist or intellectual be considered to be a dictator in the particular world view he/she projects and/or the rhetoric he/she adopts?
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 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.
German-speaking countries have, over centuries, gained a reputation for innovation in technology and engineering – ‘Vorsprung durch Technik’, progress through technology, as the Audi marketing slogan boldly claims. But is it still viable, in an age of anthropogenic climate change, to see technology as a tool of ‘progress’? Another strand of thinking in German-language culture expresses a deep anxiety about technology and associates it with dark power, mystery and a loss of control. This unit examines the relationship between climate, technology and ideas of progress (or catastrophe) in German-language culture (visual art, film, poetry, prose, pop culture and everyday life), and situates this tension in a historical context.
This module introduces you to major themes that shape the experience of contemporary city dwellers: gender, social inequality, and practices of citizenship. These interlinking themes are introduced through novels, poetry and films and typically covers the following European, North American (with the emphasis on immigrant communities within its cities) and Latin American cities: New York, Mexico City, Santiago de Chile, Barcelona, and Berlin.
The combination of lectures, workshops and textual analysis encourages cross-referencing between the themes; students are encouraged to identify links between the topics studied (for example, gender and sexuality are relevant to an analysis of social inequality, and vice versa).
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.
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.
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.
What makes a good translation and how do translations do good? This module aims to help you understand the practice of translation as it has evolved historically from the 18th century to the present across European and American societies.
The materials we study include historical textual sources as well as contemporary documents. Our aim is to look at translation as both a functional process for getting text in one language accurately into another and a culturally-inflected process that varies in its status and purpose from one context to another.
We will pay particular attention to the practical role that literary translators play within the contemporary global publishing industry and consider the practicalities of following a career in literary translation in the Anglophone world.
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.
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.
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 explores both fictions and memoirs that feature encounters among plants and animals (including humans). We consider such questions as:
How might we understand, imagine or even re-imagine these encounters?
In what ways do the texts being studied challenge or replicate anthropocentric assumptions?
How do they explore disparities between plant and human time?
To what extent do they represent plants as agents?
To what extent do they engage with environmental inequality and/or explore hopeful, transformative visions?
Some of the texts studied are gothic fantasies of plant menace, some are writing of indigenous and traditional knowledge, some represent colonial-settler harming of ecologies, and some come out of SolarPunk and Afrofuturism.
You will study a range of texts which may include: Polly Atkin’s Some of Us Just Fall, Elizabeth-Jane Burnett’s The Grassling, Charles Darwin’s Insectivorous Plants, John Wyndham’s The Day of the Triffids, and Robin Wall Kimmerer’s Braiding Sweetgrass.
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.
DELC338 Spirits in the Material World: Cultures and Sciences
This module lives in the space between the here-and-now and a future made possible by science. You’ll explore perceptions of science across different languages and cultures, from Asia to Europe to the Americas, and explore relationships between the spiritual and the material.
You’ll look at some intriguing questions about science and the twenty-first century human condition such as: Where is AI taking humanity and are we already robots? Are science fiction writers a form of contemporary shaman? What possibilities do modern medical advances offer for transformative queer and trans healthcare?
You’ll find out about differing views on these and other topics from a wide range of source materials, such as speculative fiction, graphic novels, film, philosophical essays, and online talks. Themes typically cover Spirit and Matter, Speculative Fiction, The Post-Human, Philosophy, Art and Neuroscience, Biomedicine and the Hospital.
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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.
How have German-language writers imagined alternative worlds and speculated about the future through their work? And what can those works tell us about those writers’ engagement with the socio-political conditions of their cultures’ past, present and future? This module guides students through the history of German-language speculative fiction as a way of opening up new discussions about the history and politics of German-speaking Europe. It explores questions of transnational engagement with other traditions of speculative writing in Europe and beyond, and motivates students to ask why science fiction and other forms of speculative futures remain a neglected field of study in German-speaking countries. It encompasses a range of sources from the nineteenth century to the present day.
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).
This module covers key debates on how television shows are consumed both nationally and transnationally, the appeal of crime dramas, cultural translation, and in particular the concept of domestication. Theoretical frameworks are applied to examples from television series produced in languages that are taught to degree level at Lancaster and are available in English via dubbing or subtitling. Selected case studies are devoted to the exploration of a particular theme. Typically, such themes may include aspects such as the sympathetic perpetrator, setting, local colour and exoticism, gender, race and ethnicity.
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.
Fees and funding
We set our fees on an annual basis and the 2025/26
entry fees have not yet been set.
You will be able to borrow many books free of charge from the university library, however most students prefer to buy their own copies of at least some of the texts. Costs vary depending on whether these are bought new or second hand. The International Placement Year is mandatory for language programmes and typically costs include: travel to placement country or countries; travel documents – passport, VISA or work permit (if required); proof of funds (if required); accommodation while working overseas; travel to place of work while overseas unless this is paid by the employer. It is possible that there may be further costs e.g. for required documentation, however these are not typical. There may be opportunities to apply for funding and/or a bursary that would help to cover these costs.
There may be extra costs related to your course for items such as books, stationery, printing, photocopying, binding and general subsistence on trips and visits. Following graduation, you may need to pay a subscription to a professional body for some chosen careers.
Specific additional costs for studying at Lancaster are listed below.
College fees
Lancaster is proud to be one of only a handful of UK universities to have a collegiate system. Every student belongs to a college, and all students pay a small college membership fee which supports the running of college events and activities. Students on some distance-learning courses are not liable to pay a college fee.
For students starting in 2025, the fee is £40 for undergraduates and research students and £15 for students on one-year courses.
Computer equipment and internet access
To support your studies, you will also require access to a computer, along with reliable internet access. You will be able to access a range of software and services from a Windows, Mac, Chromebook or Linux device. For certain degree programmes, you may need a specific device, or we may provide you with a laptop and appropriate software - details of which will be available on relevant programme pages. A dedicated IT support helpdesk is available in the event of any problems.
The University provides limited financial support to assist students who do not have the required IT equipment or broadband support in place.
Study abroad courses
In addition to travel and accommodation costs, while you are studying abroad, you will need to have a passport and, depending on the country, there may be other costs such as travel documents (e.g. VISA or work permit) and any tests and vaccines that are required at the time of travel. Some countries may require proof of funds.
Placement and industry year courses
In addition to possible commuting costs during your placement, you may need to buy clothing that is suitable for your workplace and you may have accommodation costs. Depending on the employer and your job, you may have other costs such as copies of personal documents required by your employer for example.
The fee that you pay will depend on whether you are considered to be a home or international student. Read more about how we assign your fee status.
Home fees are subject to annual review, and may be liable to rise each year in line with UK government policy. International fees (including EU) are reviewed annually and are not fixed for the duration of your studies. Read more about fees in subsequent years.
We will charge tuition fees to Home undergraduate students on full-year study abroad/work placements in line with the maximum amounts permitted by the Department for Education. The current maximum levels are:
Students studying abroad for a year: 15% of the standard tuition fee
Students taking a work placement for a year: 20% of the standard tuition fee
International students on full-year study abroad/work placements will be charged the same percentages as the standard International fee.
Please note that the maximum levels chargeable in future years may be subject to changes in Government policy.
Scholarships and bursaries
You will be automatically considered for our main scholarships and bursaries when you apply, so there's nothing extra that you need to do.
You may be eligible for the following funding opportunities, depending on your fee status:
Unfortunately no scholarships and bursaries match your selection, but there are more listed on scholarships and bursaries page.
Scheme
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We also have other, more specialised scholarships and bursaries - such as those for students from specific countries.
Download the course booklet to find out more about Lancaster University, how we teach English Literature and what you'll study as an English Literature student.
Lancaster has a flexible approach to undergraduate study. Many degree schemes incorporate a minor in other subjects to complement your major subject.
International placement year
Spending a year abroad is an integral and assessed part of our language degrees. We offer flexibility to split your time abroad between different activities.
Careers and Employability
When you arrive in Lancaster, you might not have a plan for after you graduate, but when you're ready to take the next step, we're here to help you. Studying a language strengthens your written and oral communication competence, your organisational skills, your aptitude in analysing and synthesising information, your ability to contribute to discussions and suggest ideas, and your understanding of other countries and cultures in a global world.
The information on this site relates primarily to 2025/2026 entry to the University and every effort has been taken to ensure the information is correct at the time of publication.
The University will use all reasonable effort to deliver the courses as described, but the University reserves the right to make changes to advertised courses. In exceptional circumstances that are beyond the University’s reasonable control (Force Majeure Events), we may need to amend the programmes and provision advertised. In this event, the University will take reasonable steps to minimise the disruption to your studies. If a course is withdrawn or if there are any fundamental changes to your course, we will give you reasonable notice and you will be entitled to request that you are considered for an alternative course or withdraw your application. You are advised to revisit our website for up-to-date course information before you submit your application.
More information on limits to the University’s liability can be found in our legal information.
Our Students’ Charter
We believe in the importance of a strong and productive partnership between our students and staff. In order to ensure your time at Lancaster is a positive experience we have worked with the Students’ Union to articulate this relationship and the standards to which the University and its students aspire. View our Charter and other policies.
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