Must the adaptation always be 'secondary'? Criticism which registers, in its own form, language, method and the ways in which it has been transformed by the work s of art it encounters? And how did manuscript documents -- especially letters -- enable the enormous boom in communication characteristic of the seventeenth century? Is it possible to separate a story from its expression? And too often such writing fails to acknowledge the ways in which it itself participates in the literary 'creativity' it is also about. Using these enormously influential authors as a starting point, we read a range of ludic authors, passing back and forth between languages, nations, and genres. And if it is, what is the more and how might it be written?
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- The critical re-evaluation of neglected writers is pushing 20th century scholarship in new directions, and creating new debates and dialogue about how we read the 20th century, we join the conversation.
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- The module is generally taken by a mix of students from the various critical and creative writing MAs, as well as by students in Literature and Philosophy.
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In particular, we spend a portion of each seminar learning how to read the handwriting of sixteenth and seventeenth century documents. Students complete modules on poetry and prose writing along with a module on literary research before you move to a 20,word dissertation. Other modules include prose, poetry, scriptwriting, creative non-fiction, ghost stories and writing for children and young adults.
Prose may enrol for this module. Focusing roughly on the thirty years either side of 'mid-century', we examine what it means to read these writers work in the wake of modernism.
Further modules cover subjects such as how to approach science and medicine and visual culture and theory. What, if any, are the obligations owed to the source text?
The module equips you with the skills in early-modern archival studies that are necessary to tackle these questions. Your assessed work for the hamlet poison essay will be in two parts: The Department of English and Creative Writing delivers a consistently outstanding student experience.
Course facts. The writer is an artist, and therefore writing is an art, making its scandalised entrance into academia not only completely unwarranted, but also plainly hypocritical.
During the module, you'll be reading widely, across genres, time periods and geographies, to further strengthen your understanding of the forms in which you're working. Our approach to contemporary writing encourages the connection between creative artists and literary critics and theorists.
The module starts by providing a historical grounding in debates around 'Critical Philosophy', linking Immanuel Kant's 'critical' distinction of concept and intuition to German Romanticism's model of a 'literary absolute' in which literature actualises itself as 'critique', such that through its ironic relation to its own linguistic medium, it assumes the place of philosophy itself.
Some critics have expressed an "invariable sense of disappointment" with the aesthetic failures of fiction written 'after' modernism: With interests that span the mediaeval to the contemporary period, from Classic Literature to Comic Studies, to Creative Writing and the Theatre, Dundee poses a captivating portfolio of English-based degrees.
Following submission of your completed thesis, a viva will be conducted by a panel of one or more external examiners as well as an internal examiner.
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- By the end of the course, not only will you have developed a significant body of work in the form of sketches and drafts, but you'll have developed a grounding in short fiction theory, enabling you to articulate a sense of your understanding of this most intoxicating literary form.
- There is also a strong philosophical element of the module, you will be encouraged to explore the philosophical theory of aesthetic play in Kant, Schiller, and Nietzsche, and later in Huizinga and Derrida.
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The examination will be conducted by two internal members of staff not on your supervisory team, and will give you the opportunity to gain additional guidance on your research-to-date. We will challenge the formalist distinction between experimental and realist fiction that has dominated the most influential work on the mid-century novel, and which has also stamped many post-war writers as irretrievably minor.
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You'll learn how to identify the strengths and weaknesses of each person's text, and you'll learn how to communicate literary feedback constructively. At the end of the module, you'll be able to test your own work against the literary principles discussed in the workshop.
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Must the adaptation always be 'secondary'? The modules change from year to year as the subjects follow the interests of the academic staff.
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You'll submit three pieces of work over the module of up to 5, words each. On this module we'll explore the short story's intoxicating power together. In so doing, you'll sharpen both your creative and your critical faculties.
Guest speakers often run seminars. And too often such writing help me build a thesis statement to acknowledge the ways in which it itself participates in the literary 'creativity' it is also about.