This joint honours degree lets you combine your passion for drama and literature, allowing you to tailor your studies according to your interests. You also have the opportunity to spend a term or year abroad.
The University will consider applications from students offering a wide range of qualifications. Typical requirements are listed below. Students offering alternative qualifications should contact us for further advice.
Please note that meeting this typical offer/minimum requirement does not guarantee an offer being made. Please also see our general entry requirements.
If you’ve taken exams under the new GCSE grading system, please see our conversion table to convert your GCSE grades.
BBB including a Humanities based essay writing subject including a humanities based essay writing subject which includes History, English, Philosophy, Religious Studies or Classical Civilisation.
The University will not necessarily make conditional offers to all Access candidates but will continue to assess them on an individual basis.
If we make you an offer, you will need to obtain/pass the overall Access to Higher Education Diploma and may also be required to obtain a proportion of the total level 3 credits and/or credits in particular subjects at merit grade or above.
The University will consider applicants holding BTEC National Diploma and Extended National Diploma Qualifications (QCF; NQF; OCR) on a case-by-case basis. Please contact us for further advice on your individual circumstances. A typical offer would be to achieve DMM plus A-level English Literature or English Language & Literature at B.
34 points overall or 15 points at HL including HL English A1/A2/B at 5/6/6 OR HL English Literature A/English Language and Literature A (or Literature A/Language and Literature A of another country) at HL 5 or SL 6.
The University welcomes applications from international students. Our international recruitment team can guide you on entry requirements. See our International Student website for further information about entry requirements for your country.
However, please note that international fee-paying students cannot undertake a part-time programme due to visa restrictions.
If you need to increase your level of qualification ready for undergraduate study, we offer a number of International Foundation Programmes.
For more advice about applying to Kent, you can meet our staff at a range of international events.
Please see our English language entry requirements web page.
Please note that if you are required to meet an English language condition, we offer a number of 'pre-sessional' courses in English for Academic Purposes. You attend these courses before starting your degree programme.
Duration: 3 years full-time, 6 years part-time
The following modules are indicative of those offered on this programme. This listing is based on the current curriculum and may change year to year in response to new curriculum developments and innovation.
On most programmes, you study a combination of compulsory and optional modules. You may also be able to take ‘elective’ modules from other programmes so you can customise your programme and explore other subjects that interest you.
This is a module about the implications of Peter Brook's idea that anything can be seen as 'an act of theatre’. Students will be invited to see beyond their own default assumptions about theatre, and introduced to a diverse range of methods of devising their own performances. In practical workshops, they will learn about professional practice, warming up, performance skills, and collaborative group work; and will explore the possibilities of creating performance from a range of starting points, including (for example), space, body, voice, text, or character. This practical exploration will sit alongside an introduction to related aspects of history and theory. In seminars, students will be introduced to such concepts as theatre spaces, traditional play texts, non-traditional theatre texts, historical approaches to characterisation (e.g. Stanislavski, Mike Leigh), physical approaches to acting (e.g. Grotowski, Lecoq), and the different models for engaging an audience (e.g. Brecht, Boal). The experience will be enhanced by 4 ‘Theatre Forums’ within which students experience a short piece of performance by Theatre Companies/Performers who have emerged from the department, followed by an ‘open discussion forum, situating the work within the world of performance, and the influence that their university learning had in relation to their current practice. Students will be assessed by a short in-class performance and an essay. This module (together with Making Performance 2) will offer a solid foundation for all modules in years two and three which involve creative performance work.
Like Making Performance 1, this module is about the implications of Peter Brook's idea that anything can be seen as 'an act of theatre'. Students will be further encouraged to see beyond their own default assumptions about theatre, and introduced to an expanded range of methods of devising their own performances. In practical workshops, they will learn more about warming up, performance skills, and collaborative group work; and will explore the possibilities of creating performance from a further range of starting points, including (for example), improvisation, music, audience, personality, and aural and visual stimuli. Workshops will be longer than in Making Performance 1, to allow for a more developed engagement. Not only will this allow more time for discussion of the assigned reading, but it will also allow students to start engaging with technical aspects of theatre-making. Students will be encouraged to develop their own ideas about theatre and performance through a series of lectures in which different Drama lecturers talk to the students about their ideas of what theatre is and could be, and how these ideas have been shaped by their encounters with theatre as audience members, theatre makers, and academics. This module (together with Making Performance 1) will offer a solid foundation for all modules in years two and three which involve creative performance work.
Changing Literatures: From Chaucer to the Contemporary Literary Forms aims to introduce students to the major forms of literature: poetry, prose and drama, with a core emphasis on innovation. Students will examine the formal structures and generic features of these major forms and, through studying specific examples, observe how these forms change over time and in response to changes in authorship, literary production, and audience/readership. Students will also be exposed to contemporary literary forms, such as literature written via social media (Twitter, Snapchat and Instagram), literature created by Artificial Intelligence, experimental literature, and asked to critically assess them in relation to traditional forms of literature. Embedded in this module will also be the development of writing and research skills that will equip students to manage successfully the transition from A-level to university study in the field of English and American Literature.
Critical theory and theoretical approaches to the interpretation of literary texts have become increasingly fundamental to English Studies, while also offering a number of rich and complex ways of reading and understanding society and culture more generally. In this course, we will introduce you to some key theoretical readings that may, for instance, include: feminism, psychoanalysis, Marxism, Post-Colonialism and Critical Race Studies, and Queer Theory, among others. Through these readings, we will invite you to make connections between theoretical approaches and to think about how they might inform your reading practices on this and other courses. The aim of this work is to help you to understand the significance and usefulness of theory on its own terms, as well as giving you a coherent grounding in the ways theoretical concepts help us to approach and understand literary and other texts. Through this, you will develop a sophisticated understanding of the dynamic relationship between theory and culture, literature and politics.
This module examines early modern literature written from 1500 to 1700. Looking at a wide range of literary forms, including poetry, prose and drama, students will consider how early modern writers engage with questions of love, gender and sexuality; religion and religious belief; nationhood, travel and colonisation; social commentary, governance and political reform. We will consider how important debates surrounding political, social, gender and religious identity inflect and are reflected in the literature of the period.
The module recognises the literary achievements of male and female authors. Students will have opportunity to read canonical works by Edmund Spenser and John Milton alongside those of pioneering female writers, such as Aemilia Lanyer and Lady Mary Wroth. We will also explore the boundaries of the literary canon, encountering pamphlets, petitions, sermons and conduct books, and consider the ways in which literary and non-literary texts both mirror and influence culture and society.
Please note that the authors, texts, and themes may change periodically in accordance with the research interests and expertise of academic teaching staff.
The drama of early modern England broke new literary and dramatic ground. This module will focus on key plays across the period. It will explore the development of dramatic writing, the status of playing companies within the London theatres, drama's links to court entertainment and its relationship to the provinces. Dramatic and literary form will be a central preoccupation alongside issues of characterisation, culture, politics, and gender. Shakespeare’s work will be put into context in relation to the plays of his contemporary dramatists as well as the various cultural, historical and material circumstances that influenced the composition, performance and publication of drama in early modern England.
Before 1660 there was no English novel, and by the end of the eighteenth century there was Jane Austen. This module asks how such a literary revolution was possible. It investigates the rise of professional authorship in an increasingly open marketplace for books. With commercial expansion came experiment and novelty. Genres unheard of in the Renaissance emerged for the first time: they include the periodical essay, autobiography, the oriental tale, amatory fiction, slave narratives and, most remarkably, the modern novel. Ancient modes such as satire, pastoral and romance underwent surprising transformations. Many eighteenth-century men and women felt that they lived in an age of reason and emancipation – although others warned of enlightenment's darker aspect. Seminar reading reflects the fact that an increasing number of women, members of the labouring classes, and African slaves wrote for publication; that readers themselves became more socially varied; and that Britain was growing to understand itself as an imperial nation within a shifting global context. It asks students to reflect, as eighteenth-century writers did, upon the literary, cultural and political implications of these developments.
This module looks at some of the most innovative early twentieth century writers. As well as famous authors, such as the novelists Virginia Woolf and James Joyce, and the poet T. S. Eliot, the module examines a wide range of figures, such as Gertrude Stein, who pioneered the 'stream-of-consciousness' technique; the writer and artist Wyndham Lewis, who imitated the bombastic stance of the Italian Futurists; and the African American poet Langston Hughes, who saw the modernist moment as an opportunity to create a new ‘Negro art’. This period is characterised as much by its lively and often strident artistic manifestos as it is by its sometimes monumental literary works, and we take a close look at this climate of literary debate. We will analyse these writers against the background of changing social and sexual attitudes, examine the connections with literary and artistic developments in France and Italy, and unearth some of the less well-known writers of the period who are increasingly viewed as central to modernist literary history.
This module is a study of twentieth-century American literature and culture organized conceptually around the idea of modernity. Students will explore the interconnections between modernity in the United States and the literary and philosophical ideas that shaped it (and were shaped by it) from the start of the century to its close. At the core of the module will be a necessary focus on two versions of American modernity, broadly represented by New York and Los Angeles respectively. Novels, works of art and critical texts will be read alongside one another to explore how these major regional hubs of aesthetic and cultural output developed competing conceptions of "modernity", “American culture” and the place of “the urban” in twentieth-century life, with important effects on contemporary perceptions of the USA. Moving beyond a sense of “modernism” as simply an aesthetic challenge to nineteenth-century modes of romanticism and realism, to consider the embeddedness of “modernist” literature within the particularities of its cultural and historical moment, students will be asked to develop a more nuanced approach to critical reading that pays close attention to the role of differing conceptions of modernity in the USA. The rise of mass culture, the L.A. film industry, the importance of Harlem to the history of race, the role of the intellectual, the urban challenges of the automobile, the birth of the modern American magazine, and questions of conservation and “creative destruction” in cities will all be considered through readings of key novels and critical texts from what Time Magazine editor Henry Luce famously called “The American Century”.
This course will introduce students to the field of postcolonial literature, focusing on the period from the late nineteenth century to the present day. The module will be divided into three consecutive areas: empire and colonisation (three weeks); liberation movements and the processes of decolonisation (either three or four weeks); and migration and diaspora (either three or four weeks). Centred primarily on canonical British colonial texts, the first part of the course may also involve comparison with other less familiar texts and contexts, such as those of Zionist nationalism and settler colonialism, or more popular twentieth-century imperial fantasy and adventure genres. The texts in the second part of the module will be drawn primarily from Africa, the Carribean, the Middle East, and South Asia. The intention is to allow students to bring these disparate regions and texts into a productive dialogue with each other by reflecting on their shared history of decolonisation and their common engagement with colonial and liberation discourses. The course further aims to sketch a narrative of empire and decolonisation that is in part relevant to contemporary postcolonial Britain, to which the final section on migration and diaspora then returns. Some brief extracts from theoretical material on colonial discourse analysis, decolonisation, postcoloniality and migration will be considered alongside a single primary text each week. Students will be introduced to key ideas from the work of (among others) Edward Said, Frantz Fanon, Homi Bhabha, Stuart Hall and Gayatri Spivak. Together with a broad primary textual arc stretching from the British empire to postcolonial Britain, the course will thus give students a cohesive intellectual narrative with which to explore changing conceptions of culture, history, and postcolonial identity across the modern world.
This module aims to introduce students to a wide range of Victorian literature. It will equip students with critical ideas that will help them become more skilful and confident readers of texts in and beyond this period. Students will be encouraged to read texts in a number of contexts: environmental (for example, considering the effects of urbanisation and the Industrial Revolution); imaginative (examining a variety of genres: for example fable, dream-vision, novel); political (class conflicts, changing gender roles, ideas of nation and empire); and psychological (representations of growing up, courtship, sibling and parent-child relationships, dreams and madness). Students will be made aware of such critical concepts as realism and allegory and will be encouraged to think about various developments of literary form in the period .
When the Long Island-born poet Walt Whitman proclaimed in 1855 that the "United States" were history's "greatest poem" he made an important connection between national political culture and literary expression. In some ways this was no exaggeration. As a new experiment in politics and culture, the United States had to be literally written into existence. Beginning with Thomas Jefferson's dramatic Declaration of Independence in 1776, followed by the drafting of the Constitution after the Revolutionary War with Britain, the project of shaping the new United States in the eighteenth and nineteenth centuries was essentially a literary one.
In this module we will explore how American writers in this period tried in numerous, diverse ways to locate an original literary voice through which to express their newfound independence. At the same time, the module includes the work of writers who had legitimate grievances against the developing character of a new nation that still saw fit to cling to such "Old World" traditions as racialised slavery, class conflict and gender inequality.
This module will introduce students to a wide range of contemporary literature written in English, where 'contemporary' is taken to refer to twenty-first century work. It will equip students with critical ideas and theoretical concepts that will help them to understand the literature of their own time. Students will consider examples of a range of genres: poetry, fiction, creative non-fiction and the essay. They will also be selectively introduced to key ideas in contemporary theory and philosophy. Over the course of the module, students will be encouraged to read texts in a number of contexts. They will consider writers' responses to, for instance, questions of migration, environmental change, austerity, and crisis. They will also consider a range of aesthetic developments and departures, for example: the turn to creative non-fiction; the re-emergence of the political essay. The module will not focus on a given national context. Instead it will set contemporary writing against the background of identifiably international issues and concerns. In so doing it will draw attention to non-national publishing strategies and audiences. Overall, the module will aim to show how writers are responding to the present period, how their work illuminates and reflects current cultural concerns. Throughout, we will explore both thematic and formal concerns.
This module engages with the plays of Shakespeare and his contemporaries as texts for performance; approached through a variety of critical, theoretical and practical methods. It considers the theatrical, cultural and historical conditions that produced and shaped them; examines the role played by the drama in a violent, volatile and rapidly-changing society; investigates and applies the principles of early modern playing spaces and performance practices, and considers the variety of ways in which these works have been encountered and reinvented in the modern period.
This module will look at disability in the arts, covering theatre, film and visual art. The students will engage with the historical representation of disability within the arts and the way in which disability scholars have critically engaged with it. The students will also look at arts institutions (i.e. theatres, cinemas and galleries) and the disabling barriers within those institutions that prevent the full participation of people with impairments in the arts. This will culminate in an 'accessibility review', whereby the students analyse the adjustments made by arts institutions for people with impairments and the extent to which they are effective. Finally, the students will engage with examples of contemporary disabled artists whose impairments informs the aesthetic qualities of their work.
This is a practice-based module exploring the photographic medium and the contexts of its use through the production of photographs in response to a project brief and group-based critical discussion of the work produced. Students investigate how the context in which photographs are made affect how the world is represented, and how in turn these images shape perception. Students choose three practical project briefs that are designed to enable them to explore the medium creatively and through informed and reflective practice. The emphasis of the module is upon this creative practice rather than the acquisition of specific technical skills, and as such students are at liberty to use any photographic production and post-production technologies they wish to experiment with or find appropriate. A camera phone and access to a computer and printer are all that is needed for this module, though students who wish to make use of digital image processing or analogue processes, including use of a darkroom, are encouraged to do so. Each of the practical project briefs will be supported through a series of lectures closely examining various genres, styles and other contexts of photographic production through the work of those who have shaped them. In addition students will present the work they have produced in response to their project briefs, and engage in a broad critical discussion or their own and other's work.
The course will introduce basic skills related to the craft of acting, predominantly within naturalist and realist idioms. This acting course will provide a core practical introduction to mainstream acting techniques descended from the teachings of Stanislavski and his heirs, as well as providing an introduction to contrasting practice and theories from other significant practitioners.
The course will introduce students through practical means, to basic terms and concepts in mainstream rehearsal-room practice. The students will develop a practical and usable understanding of a contemporary approach to the Stanislavskian system. Students will explore approaches concerning the use of detailed textual analysis when preparing a naturalistic role for performance and concepts to be introduced will include text analysis and uniting, actions and activities, objectives, obstacles, stakes, and given circumstances. On some level, this course will allow the student to explore varied and contradicting ideas from the world of actor training.
All of these concepts will be explored in practice through a combination of physical and text exercises, improvisation and close textual analysis. Students will be encouraged to adopt a critical overview of the work and to evaluate for themselves, both via class discussion and through reflective analysis on paper, the strengths and weaknesses of the techniques to which they are introduced.
Students' learning will be organised around research-based performance projects. These will be
based on detailed examinations of particular popular performance genres (for example, variety theatre, slapstick, cabaret, pantomime, radio comedy). Initially, students develop relevant performance skills, which might include, for example, addressing an audience, developing a stage persona, dance skills, singing, and/or simple acrobatics. In addition to this, they will be set research tasks relevant to the particular genre they are studying. These tasks will lead towards a research essay. They will work independently on devising and rehearsing material related to both the research and the skills acquired in workshops, testing this material in front of an audience made up of other students on the module. Subsequently, they will develop their material to create a show in the style of the assigned popular performance genre, which will be performed to a public audience.
This module studies different approaches to physical training for performance. It covers examples from around the world, though developments in Europe during the twentieth century provide a focus for the module. The module is oriented towards training for 'physical theatre' – a term which emerged at the end of the twentieth century and refers to a shift away from script, playwright and linear narrative. As such naturalism and the work of Stanislavski do not fall within the remit of this module.
Students will gain valuable practical experience of physical training in weekly workshops where they will explore the fundamental principles of training the body. Indicative areas include:
• Posture, centre, balance, energy, space, tension, relaxation, sound within the body.
• Precision and clarity in movement
• Presence, spontaneity and improvisation
The module makes elementary investigations into the relationship between training and performance composition, an aspect which will be further explored in Physical Theatre 2.
Practice will be contextualised by historical and theoretical reading that explores the landscape from which the term ‘Physical Theatre’ emerged in the twentieth century. Key historical figures include: Jacques Copeau, Antonin Artaud, Edward Gordon Craig, Jerzy Grotowski, Eugenio Barba, and Jacques Lecoq, among others. Grotowski’s term ‘Poor Theatre’ is a crucial starting point for the module, and we explore how a performer might be prepared for a performance style that focuses so fully on the performer’s body in space, and the demands that come with that style. Eugenio Barba’s ideas about ‘pre-expressivity’ and the study of performer training across different cultures and disciplines are also important.
Students will explore the historical and cultural contexts through which the genre of musical theatre dance developed. Learning will be organised around detailed examinations of particular periods of musical theatre dance including its interface with popular dance forms in the 1920s and the emergence of variety and Vaudeville theatre; the integration of Latin, Indian and African influences through the 1940s, 1950s and 1960s; the standardization of jazz in the 1970s; and the influences of ballet, cabaret, and burlesque theatre across the century's period styles. Weekly workshop sessions will include a comprehensive isolation-based musical theatre/jazz warm-up, followed by movement studies focused in specific periods and the learning of a section of musical theatre dance repertory. In addition, students will view filmed musicals and other performances from specific periods and present critical analyses of these in small groups during seminar classes. Attendance at three live musical performances will also be required. These tasks will lead towards a research essay focused on a period, artist, or musical of the students’ choice.
Recent theatrical productions as diverse in form as experimental performance, new writing, musicals and live art have shown a recurring fascination with adapting existing works by other artists, writers, filmmakers and stage practitioners. The transition of an existing source or stimulus to the stage – be it film, book, play, artwork, or other performance – is not a smooth one. It implies negotiations of numerous kinds, such as interlingual and intercultural, but also ideological, ethical, aesthetic and political. Drawing on the work of contemporary international theatre-makers, this module will explore specific approaches to stage adaptation, study adaptation methodologies and develop an understanding of the implications of adaptation. Through seminar discussions, practical and creative work, the module will prompt a reflection on performance's near-obsessive desire to return, rewrite and repeat, establishing a dialogue across languages and cultural identities.
During lectures, students will study several adaptation projects and strategies, which will form the basis for an essay. During seminars, students will experiment with a source of their choice and produce a simple, tech-light group performance based on this source, for which they need to be able to rehearse in the classroom, without any technical assistance. The presentation of the group performance will be followed by a reflective essay on the chosen source and its afterlife, an analysis of the group’s performance, and any other supporting material. The students are expected to keep their performance time and tech to a minimum, and will not be provided with technical support or extra rehearsal space for this module.
This module addresses issues that are central to performance studies and to contemporary social and political debates through its focus on the representation and performance of sex, gender and identity. The module explores these ideas in relation to a diverse range of trans-historical performance examples.
Students will explore changing concepts of gender and sexuality and will consider how performance and performers have engaged with these social changes by examining both contemporary and historical case studies. The module explores questions of self, authenticity, performing difference and identities in transition. Students will interrogate performance using a range of theoretical approaches drawn from gender and sexuality studies in dialogue with practical experimentation. Drawing on this knowledge, students will have the opportunity to develop contemporary performance inspired and shaped by the models of practice which they have encountered. Issues of risk and ethics will be core concerns as students develop understanding of how sex, gender and identity can create a performance aesthetic
Going abroad as part of your degree is an amazing experience and a chance to develop personally, academically and professionally. You experience a different culture, gain a new academic perspective, establish international contacts and enhance your employability.
All students within the Faculty of Humanities can apply to spend a term or year abroad as part of their degree at one of our partner universities in North America, Asia or Europe. You are expected to adhere to any progression requirements including achieving a merit at Stage 1 and Stage 2 to proceed to the term or year abroad.
The term or year abroad is assessed on a pass/fail basis and does not count towards your final degree classification. Places and destination are subject to availability, language and degree programme. To find out more, please see Go Abroad.
This module gives an opportunity for intensive study of one of the major novelists of Victorian England. There are many different views and interpretations of Dickens circulating in our culture. He has been dismissed as a writer of cosy sentimentality, celebrated as a radical critic of his age, and admired for his prodigious output and creative innovation.
Studying a selection of his fiction, we will consider a wide variety of interpretations, in the light of the most current literary criticism of Dickens's works. We will analyse Dickens’s texts in terms of narrative method, genre, characterisation, imagery and book history and – in the process – we will examine how the novels respond to, or challenge, significant aspects of Victorian culture and society such as class, gender, family, nation, childhood, the city, empire, industrialisation, and modernity.
The module raises students' awareness of contemporary issues in postcolonial writing, and the debates around them. This includes a selection of important postcolonial texts (which often happen to be major contemporary writing in English) and studies their narrative practice and their reading of contemporary culture. It focuses on issues such as the construction of historical narratives of nation, on identity and gender in the aftermath of globalisation and 'diaspora’, and on the problems associated with creating a discourse about these texts.
The module is structured around poetry and fiction produced in New York since the Second World War. The emphasis is on New York's experimental and avant-garde traditions, and one organising principle is the inter-connectedness of the arts in New York. The module introduces students to some of the main areas of culture in the city, from the New York school of poetry through Abstract Expressionism, early Punk and on to post-modern fiction. Writers to be studied will include John Cage, Barbara Guest, William Burroughs, John Ashbery and Patti Smith.
This module explores the eighteenth century fascination with bodies and the truths (or lies) bodies were supposed to reveal. Our focus will be on the ways in which the body is read and constructed in eighteenth-century literature and how these readings and constructions reflect various concerns about class, race, gender and sexuality. Efforts to regulate the body (particularly the female, plebeian and racialised body) became the focus of many reformers and philanthropists in the period who sought to recuperate the productive (and reproductive) labour of idle or transgressive bodies to serve the nation's moral and financial economies. Other writers, however, emphasised the body's potential to work against social and cultural norms, focusing on events such as the masquerade, in which women dressed as men and aristocrat’s as chimney sweeps.
Through the course of this module we will examine a range of literary representations of the body which seek both the control the body and to celebrate its disruptive potential. We will read texts from a variety of genres including medical literature, misogynist satire, sentimental novels, popular fiction, travel writing and pornography. Primary texts will be read alongside recent critical work by Thomas Lacquer, Michel Foucault, Roy Porter, and Peter Stallybrass and Allon White, which illuminate the ideological stakes writers played for when writing about the body. Topics for discussion will include disability and deformity, race, the sentimental body, dress and the body, the body as text and the relationship between the body and the body politic. The primary focus of this option will be literature, but we will also examine visual representations of the body in caricature and satire as well as in the portraiture.
While the so-called 'Brontë myth' remains potent in popular culture today, the lives-and-works model associated with it continues to encourage readers to seek partially concealed Brontë sisters in their fictions. Beginning and ending with the problematic of mythmaking – its origins in Gaskell’s Life of Charlotte Brontë and its subsequent perpetuation in film and other rewritings - this module will restore attention to the rich literary contribution made by the sisters through an intensive focus on their novels and some poetry in the context of Victorian debates about gender and the woman question. Situating the Brontë myth in relation to other forms of mythmaking in the period (for example, ideologies of class, gender and empire), it will consider a small selection of film adaptations and go on to examine the Brontës’s experiments with narrative voice and form, their variations upon the novel of education, the tensions between romance and realism in their writing and their engagement with the political, economic and social conditions of women in mid-Victorian culture.
Much Irish writing in the 20th and 21st centuries has been torn between tradition and innovation, between the need to define a national identity in opposition to Britain and the desire to transcend national boundaries and embrace a cosmopolitan modernity. With four nobel laureates in the 20th century (Yeats, Shaw, Beckett, Heaney), modern Irish literature has gained international recognition. In recent years, Irish Literature has undergone surprising changes in theme and content, moving from the insularity of parochialism to the emergence of the 'Global Irish novel". The charting of this development will provide an important framework for the discussion in this module of recurrent issues in Irish writing, such as history, cultural memory, violence and society, queer sexualities and gender relations, national and cultural identities, and the negotiation of what the historian Roy Foster has called the 'varieties of Irishness'. The module will consider a broad variety of Irish writing from 1975 to 2014: sampling significant developments in poetry, drama and prose.
This module explores the intersections between nation, narration and globalisation in the twentieth and twenty-first century novel. It will focus this exploration through textual representations of 'the stranger', a figure theorised since the beginning of the twentieth century as symptomatic of modernity in European cultures, and more recently by postcolonial critics as the paradigm through which the effects of globalisation are 'encountered' in contemporary ‘multicultural’ national and transnational spaces. Students will be encouraged to analyse the historical and conceptual relations between novel and nation and the particular ways in which the body of ‘the stranger’ has been reified through them. At the same time, they will be invited to consider ‘the stranger’ as a disorientating embodiment of distance and proximity, and to evaluate how this dynamic constructs and deconstructs the form and boundaries of the novel as a genre, and the surrounding familial, national and racial paradigms of belonging. Through discussions of the theoretical work of writers such as Georg Simmel, Freud, Fanon, Edward Said, Judith Butler, Zygmunt Bauman, and Homi Bhabha, students will be asked especially to consider the mutual effects of estrangement across gendered, racial, and colonial divides. The broad aims of the course are to problematise ‘the stranger’ as a literary means of orientating the individual and the nation; to situate the twentieth and twenty-first century novel as a symptomatic site for ‘strange encounters’; and to understand the extent to which it poses ‘strangeness’ and ‘homeliness’ as inseparable, necessary and possible acts of narration.
Beginning in Harlem in the 1920s and ending in Vancouver at the turn of the 21st century the module will follow a chronological and geographical route from South to North and East to West, exploring a diverse range of literary fiction and poetry that fuses urban black experience and a history of migration. Drawing on material from the US, Canada, and the Caribbean, we will spend time analysing the representation of black identity and experience, aesthetics, and the ethics/politics of literary production. Considering both the material conditions and intellectual challenges faced by different communities, we will examine a rich cultural matrix, from soulful rural folk culture to hard-edged urban cynicism, from the collage and blues aesthetics of the Harlem Renaissance, to the hip-hop vernacular of Vancouver's southwest side.
This module explores the Gothic from its eighteenth-century origins to its present-day incarnations, examining in particular the conventions that have allowed this diverse and evolving genre to remain at once relevant and recognisable. The course focuses on the elements of terror, hauntings and transgressions and how these conventions are deployed and reworked by writers in key literary and historical moments in the genre's development, such as at the end of the end of the eighteenth century, the fin de siècle, post-war America and the millennium. It asks students to consider the Gothic within the social, political and cultural contexts that inform the novel’s various concerns about gender, sexuality, race, class and the law. There will be a strong emphasis on examining and exploring the theoretical discourses underpinning the shifts and developments in the major critical debates and trends. Students will be encouraged to relate textual and critical analysis to topics such as aesthetics, popular culture and literature, religion, social and political history as well as contemporary concerns such as marginalization, queer identity, the body and immigration. The module will demonstrate the ongoing significance of the Gothic as an experimental and evolving form that functions as a vehicle for political and social critiques and, as such, relates to concerns central to the study of undergraduate English and American literature.
This module provides students with an opportunity to explore literature written by, for and about medieval women. It will consider women as writers, readers and the subjects of literature; as the consumers, compilers and scribes of books; and as the protagonists and antagonists in a variety of literary and artistic forms produced in England and Europe during late-medieval period. In the course of the module, we will explore how literature reflected, and helped to construct and constrain, women's lives, bodies, sexualities, identities and experiences, and the avenues through which they expressed their thoughts, desires and fears. By examining a range of material, including lyrics and romances, devotional manuals, saints lives, plays, letters, conduct books, sculptures, iconography and the everyday objects owned by women, we will encounter, for example: women as they were and how they were supposed to be; female friendship and same-sex desire; women’s diverse roles in society and in the home; how their bodies and relationships were used in polemic and political discourse; their influence on prominent male writers of the period; and the construction and erasure of late-medieval women’s voices in the historiography of later ages. The specific topics, materials and the date range covered by the module may alter from year to year to reflect teaching staff’s specialisms and interests.
"The empires of our time were short-lived, but they have altered the world forever; their passing away is their least significant feature" (V.S. Naipaul).
British colonialism changed the world, but it also changed Britain. Since the period known as the 'end of empire' in the 1950s and 60s, Britain has grappled with its loss of imperial power, a loss that has informed contemporary debates about immigration, multiculturalism, and nationalism. This module explores how writers have represented the consequences of imperial decline for British society and culture. Beginning in the midst of the ‘end of empire’ and ending in the world in which we find ourselves today, we'll explore how some of the core concerns of contemporary Britain are best understood in terms of post-imperiality. These concerns include racism towards migrants and refugees, nostalgia for a romanticised imperial past, and the re-emergence of colonial discourse in debates about the ‘War on Terror’. Alongside these, we'll discover how literature can enable an investment in new forms of community and identity. Many of the writers on this module bring the category of ‘British’ into crisis, and in doing so, enunciate new forms of commonality that actively reject the harmful and exclusionary imperial myths about racial and cultural difference.
This module offers students the opportunity to read and analyse Shakespeare's earliest extant plays and poems and to consider the issue of 'early’ writing and style. This module will consider the theatrical, social, historical, and material contexts for the first plays Shakespeare wrote when he migrated from Stratford-upon-Avon to East London. In the course of the module, we will look specifically at Shakespeare’s practices of co-authorship with other dramatists in his early career, including Christopher Marlowe, George Peele, and Thomas Nashe. We will also consider such issues as performance spaces, company involvement, touring, patronage, and poetic ambition. Students will have the opportunity to read across genre and form, including canonical plays as The Taming of the Shrew and Richard III, and less often studied works such as Edward III and the plague narrative poems.
In his 1980 essay, 'The Mathematics of Rimbaud', the poet, performer, and painter Allen Fisher observed that – as a consequence of the innovations in artistic practice throughout the 20th century – the idea of "art as objects and poetry as poems" had gradually lost its credibility. In stating this, Fisher not only articulated a compelling summary of the ways in which the study and practice of poetry and art over the last fifty years have consistently challenged the idea that these works are somehow enclosed, autonomous, or didactic units of meaning. He also indicated that sometimes poetry goes beyond text. Whether we think of the developments in the fields of concrete and visual poetry; poetry's interaction with larger art installations; sound poetry; poetry in performance; or any combination of these different practices, contemporary poetry often invites us to think of 'poems’ as something more than just words printed on a page.
In this module, you will have the opportunity to explore and engage with a diverse range of poetry beyond text, both on a creative and critical level. The curriculum will cover topics and themes including performance poetry (as well as poetry and performance more broadly), verbal artefacts, and intersections between poetry and sonic, visual and digital arts. Through both theory and practice, including regular creative exercises, the module offers you the opportunity to engage with these interdisciplinary poetry practices from both creative and critical perspectives. The assessment methods will also allow you the opportunity to pursue independent research projects that can be either creative or critical, or a combination of the two. Throughout, our studies will help to further enhance your understanding of poetry as a kinetic and mutable form of art.
This module provides an opportunity for students to think about the role of literature, writing, and reading in community settings and develop and implement their own community engagement project. Students will plan and deliver a project which will take place in a community setting. Examples include, but are not limited to, a creative writing workshop with a local charity; a poetry walk in collaboration with an arts organisation; a reading group with a specific community. The class based activities will introduce students to key concepts in community engagement, both theoretical and practical; interrogate the ethics and politics of literature and/or writing outside of a university context; support students in thinking creatively when planning and developing a community based initiative; enable students to reflect critically on their own learning and evaluate the successes and failures of literary based community projects, including their own.
Thomas Hardy is one of the most important writers of the last two hundred years. Born into a family that was somewhere below working class, he went on to become one of the most articulate explorers of human emotion and circumstance, whose abilities to describe the natural world are unmatched by any of his peers. In later life, he had achieved so much in the world of letters that even royalty visited him at his home. In his early sixties, he retired from novel-writing and decided to have a go at publishing poetry, unaware that he would go on to have an equally long career as a poet and would become one of the preeminent writers of verse in the twentieth century.
In this module, you will discover why Hardy persists in being one of Britain's most important, modern and relevant writers. It will explore the range of Hardy's work including his novels, some short fiction poetry, prose, and autobiography, in the light of specifically nineteenth-century concerns such as the emergence of modernity, the impact of science, the beginnings of modernism, and the shift from the rural to the urban. Themes to be explored will include Hardy’s changing position as an author throughout his career; his development of forms of narrative; his views on history and philosophy; the representation of class; anxieties about social, cultural and economic change; the status of the human and the animal; his interest in evolutionary theory and its widespread effect; and finally, his career and position as a twentieth-century poet.
What is at stake when artists and writers decide to take the "real world" as the subject of their art? In the later nineteenth century, to depict "reality" in fiction and art became a radical act of social protest and critique. In an endeavour to locate the "truth" behind American society, realists moved well beyond pre-existing societal norms to investigate the squalid living conditions of immigrants in the New York slums, participate in Native American religious ceremonies, and probe the psychosexual neuroses of the middle classes. This module explores the American "ideology of realism" (Michael Elliot) in the late nineteenth- and early- twentieth centuries as expressed in a variety of forms and genres, including: the novel, painting, anthropology and photography. We will discuss the reasons behind the emergence of realism in the later nineteenth century, how it interacted with the new "mass culture", whether it critiqued or reinforced dominant racial, sexual, ethnic and class-based prejudices, and, finally, why it declined in the twentieth century as the favoured aesthetic of the American avant-garde. On this module we will move far beyond seeing realism as merely a tame, neutral artistic style to investigate how it pointed to a radical "way of seeing" the nineteenth- and early-twentieth-century world.
This module examines the development of Virginia Woolf's writing across the span of her life. It explores Woolf's most important modernist texts alongside some of her lesser-known writings, and considers a range of literary genres she wrote in (novels, essays, short stories, auto/biography). As well as paying close attention to the distinct style of modernist literature, there will be consideration of various historical, cultural, philosophical, political and artistic contexts that influenced, and were influenced by, Woolf’s writing. Students will be introduced to the key critical debates on Woolf, featuring discussion of topics as diverse as feminism, visual art, the everyday, war, sexuality, gender, class, empire, science, nature and animality. With Woolf as its central focus, this module therefore seeks to understand the lasting significance of modernist literature.
What is the relationship between 'animal' and ‘human’, and how is this explored through writing? This module seeks to examine creaturely relations by focusing on literature from the eighteenth century up to the present, alongside key theoretical and contextual material that engages with questions concerning animality and humanity. We will focus on how writers imagine distinct animal worlds as well as how they understand the role of animals in human cultures. A range of novels, short stories and poems will raise questions about how we look at, think with, and try to give voice to animals, and topics covered will include ‘Becoming Animal’, ‘Animal Autobiography’, ‘Observing Animals’, ‘Colonial Creatures’, ‘Animal Experiments’, ‘Taming and Training’, and ‘Questions for Animals’. Students taking this module will gain a firm grounding in the diverse critical field known as ‘animal studies’, whilst also considering the broader cultural, philosophical and ethical implications of how we think about the relationship between humans and animals.
The New Woman, a controversial figure who became prominent in British literature in the late nineteenth century, challenged traditional views of femininity and represented a more radical understanding of women's nature and role in society. She was associated with a range of unconventional behaviour – from smoking and bicycle-riding to sexuality outside marriage and political activism. This module will examine some of the key literary texts identified with the New Woman phenomenon including women’s journalism in the period. The module’s reading will be organised around central thematic concerns such as: sexuality and motherhood; suffrage and politics; career and creativity. We will consider to what extent the New Woman was a media construction or whether the term reflected the lives of progressive women in the period. This module will also examine how the New Woman became a global phenomenon, beginning with the plays of Henrik Ibsen, before spreading to literature, journalism, and political essays produced around the world by writers from Britain (Mathilde Blind, Mona Caird, Margaret Harkness, George Gissing, Amy Levy, Evelyn Sharp, and Augusta Webster), America (Charlotte Perkins Gilman), Australia (George Egerton), India (Sarojini Naidu), New Zealand (Katherine Mansfield), and South Africa (Olive Schreiner). The module will also consider the legacy of the New Woman in a neo-Victorian novel, Sarah Waters’s Tipping the Velvet (1998).
The module examines some key texts in the theory and literary presentation of utopia. In the first part of the module we will examine classic early utopian texts (Plato, More) and will set these in the context of the modern theory of historical progress (Hegel) the failure of that progress to materialise (Agamben) and the nature of hope for the future (Bloch). In the second part of the module, we will examine modern classics which look at the failure of the communist utopia (Zamyatin, Huxley, Orwell) and at later texts which revived the genre of utopia (LeGuin, Atwood).
This module offers students a synoptic perspective on Marxist cultural criticism from the mid-nineteenth century to the present day in Europe, Russia and North America. It begins with an analysis of a selection from Marx’s own writings, with the aim of introducing key terms, such as “alienation,” “ideology,” and “dialectic.” Students’ understanding of these terms and their critical uses for literary and cultural studies will develop during the course of the module, as they encounter a range of important Marxist thinkers and their writings.
Throughout the module students will be invited to interrogate and transgress the boundaries separating literary from critical texts, and theory from practice. They will be invited to consider creative practice and Marxist criticism in dialogue with one another at particular historical moments. Although anchored in the literary and the textual, the module will also offer opportunities to think critically about the term “culture” itself in its broadest senses, encompassing a range of aesthetic and social practices, such as sport and music. Progressing through the great class conflicts of the early twentieth century, the Frankfurt School, New Left and anti-racist decolonization movements of the postwar period, up to the contemporary neoliberal moment, the module aims finally to offer students a set of tools with which to understand their own cultural encounters in the present as well as to reconfigure and re-evaluate the cultural knowledge they have accumulated in stages one and two of their degree programmes.
The module explores 'physical theatre' as a complex and rich term which describes works focusing on the primacy of the body in performance rather than text or character. It will focus on how Physical Theatre practitioners have deployed compositional techniques, and the principals that underlie such work. It differs from Physical Theatre 1 in focussing less on training for performance and much more on composition and different possibilities of structuring Physical Performance, using space, sound, movement, rhythm and the body.
Students will conduct in-depth investigations into the relationship between training and performance and devising techniques and compositional approaches through weekly practical workshops.
This module will introduce students to practical and theoretical aspects of stand-up comedy. Initially, they will analyse the work of individual comedians, exploring such issues as comic theory, traditions of stand-up, and historical context. Later, they will work on creating their own short stand-up acts, generating original material and developing key performance skills such as developing persona, working an audience, improvisation, and characterisation.
The module will offer students the chance to work on an independent creative project of their own devising, which will be a culmination of practical elements of their degree programme. Performance, workshop, design, stagecraft, producing or other creative skills encountered in earlier modules will be developed, extended and explored in autonomous work, which will be supported by regular group supervision sessions. Projects will also involve research which will contextualise the practical elements.
Supervision will take place in timetabled teaching slots, in which students involved in several projects will be supervised together. Practical outcomes might take the form of performances, workshops or public interventions.
This module will ask students to critically engage with fundamental questions about theatre, such as 'what is performance?', 'who decides what a performance means?', 'why do we care about the fates of fictional characters?', 'why do we enjoy watching tragic events on stage?', 'what ethical questions does performance raise?', 'can performance be a kind of philosophy?'. After writing an essay focussing on one of these questions, the class will then turn its attention to a specific performance text and the various conceptual and philosophical questions that arise from it. Once they have engaged with a range of theoretical perspectives on the text the course will culminate in an assessed presentation where the students propose a production which engages with these issues.
This module explores critical and creative approaches to working with real lives in performance. You will examine how auto/biographical and documentary material is used and manipulated to construct identity in and through performance. You will question the concept of the 'true story' and explore the ethics and practicalities of using the personal in performance. You will also work creatively to produce a practical project on auto/biographical theatre. In this module you will work with a range of dramatic material and forms, studying, for example, play texts, performance art, verbatim and documentary theatre. You will also engage with a range of theoretical approaches and perspectives.
The module gives School of Arts students across a range undergraduate programmes the opportunity to undertake a written independent research project at stage 3.
Students who wish to take the module must approach a permanent academic member of staff with a proposal, typically in advance of module registration, during the Spring term of the previous year. Students pick a research topic of their choice; however, students are only allowed to register for the module with the permission of a staff member who has agreed to supervise the project, and who has the expertise to do so. Potential supervisors must also ensure before they agree to supervise a project that the resources required to complete the project will be available to the student, and that adequate supervisory support will be available to the student throughout their study on the module.
Students will be supported in the preparation and submission of their work by their supervisor, although a central expectation of the module is that students will take increasing responsibility for their learning, consistent with expectations of Level 6 study.
Students will engage in a work-based situation of their choice. The student will be responsible for finding the work-based situation, though support from the School and CES will be available. The internship should bear relevance to their subject of study or a career they expect to pursue upon graduation. The total of 300 hours will be divided as required for purposes of preparation, attendance of work placement and reflection/completion of required assessment.
This interdisciplinary course will examine historical and current theoretical ideas and research on the ways in which art is created and perceived. Artforms that will be considered include visual arts (painting, sculpture, architecture, popular art), performing arts (dance and theater), music, and film. Readings will interface with subdisciplines of psychology such as perception, psychoaesthetics, neurophysiology, social psychology, and studies of emotion. Principal areas of focus will include aesthetics, arts-experimental design, perception of art, meaning in art, the psychology of the creative process, social and cultural issues, and the ramifications of arts-sciences research. The primary focus will be on Western art forms, though other world art traditions and aesthetics will be discussed. Assessment methods will test understanding through a summary and critical reflection on a selected text and the proposal, research, and design and oral presentation of a potential interdisciplinary research project.
This module introduces the applied theatre form, and considers the historical and social context in which the form developed. It offers students the opportunity to both understand and apply workshop techniques, planning, facilitation and management of projects within an Applied Theatre context. Practical work is based on a theoretical understanding and grounding in the historical and social contexts of Applied Theatre. The module will be structured in 2 distinctive parts:
The first introduces and considers the historical development of applied theatre, current debates, methodologies and case studies within the field. This stage of the module will include a range of lectures, seminar discussions, and exploratory/task based workshops.The second stage will focus on developing associated practical skills to include project planning, management, workshop and facilitation skills.
The aim of this course is to introduce students to the specific acting challenges presented by the classical texts of Shakespeare and his contemporaries and to facilitate, through practice, an in depth examination of proven analytical and practical approaches to these challenges. Instruction in the analysis of language structure and verse forms, verse structure, style, metre, imagery and language texture forms a key component to this course.
Through a classical repertoire, the student will be taught a systematic analysis of verse structure which, they will learn, is an integral part of an actor's development. This work on unambiguous structural matters will enable the student actor to articulate experience in time, avoiding the risk of leaving performance at the level of the pursuit of feeling and expression. Focus will also be placed on how this analysis can direct the performer, facilitating discovery in both action and character.
The course will also create an awareness of the vocal, physical and emotional demands placed on the performer when working with these plays and through practice, promote knowledge of how the actor’s instrument can meet these demands.
The module will run in two parts, the first part focusing on the demands of the verse monologue and its performing challenges, culminating in a solo performance assessment. The second part will explore performance text analysis when working with group scenes and how this analysis can direct the performer. The course will close with assessed practical scene performances taken from classical texts accompanied by a written scene analysis for later submission.
The 2021/22 annual tuition fees for UK undergraduate courses have not yet been set by the UK Government. As a guide only full-time tuition fees for Home undergraduates for 2020/21 entry are £9,250:
For details of when and how to pay fees and charges, please see our Student Finance Guide.
Full-time tuition fees for Home undergraduates in 2020 were £9,250.
For students continuing on this programme, fees will increase year on year by no more than RPI + 3% in each academic year of study except where regulated.*
Kent is supporting its EU students as the UK leaves the EU with a special EU fee offered for students joining in 2021 for the duration of their programmes. EU, other EEA and Swiss nationals will no longer be eligible for home fee status, undergraduate, postgraduate and advanced learner financial support from Student Finance England for courses starting in academic year 2021/22. It will not affect students starting courses in academic year 2020/21, nor those EU, other EEA and Swiss nationals benefitting from Citizens’ Rights under the EU Withdrawal Agreement, EEA EFTA Separation Agreement or Swiss Citizens’ Rights Agreement respectively. It will also not apply to Irish nationals living in the UK and Ireland whose right to study and to access benefits and services will be preserved on a reciprocal basis for UK and Irish nationals under the Common Travel Area arrangement.
The University will assess your fee status as part of the application process. If you are uncertain about your fee status you may wish to seek advice from UKCISA before applying.
Fees for Home undergraduates are £1,385.
Fees for Home undergraduates are £1,385.
Students studying abroad for less than one academic year will pay full fees according to their fee status.
There may be some additional costs related to the subjects studied in this programme. Please see the Additional costs section for each subject below. Please note that these may vary depending on your specific module selection:
Kent offers generous financial support schemes to assist eligible undergraduate students during their studies. See our funding page for more details.
You may be eligible for government finance to help pay for the costs of studying. See the Government's student finance website.
Scholarships are available for excellence in academic performance, sport and music and are awarded on merit. For further information on the range of awards available and to make an application see our scholarships website.
At Kent we recognise, encourage and reward excellence. We have created the Kent Scholarship for Academic Excellence.
The scholarship will be awarded to any applicant who achieves a minimum of AAA over three A levels, or the equivalent qualifications (including BTEC and IB) as specified on our scholarships pages.
The scholarship is also extended to those who achieve AAB at A level (or specified equivalents) where one of the subjects is either mathematics or a modern foreign language. Please review the eligibility criteria.
Teaching is through workshops, seminars, lectures and practical projects. Drama and Theatre modules are continuously assessed based on coursework, projects and presentations, performances, essays and dissertations.
Modules are taught by weekly seminars. Compulsory modules include a weekly lecture, plus individual supervision is offered for the Long Essay. Assessment at Stage 1 is by a mixture of coursework and examination. Some modules may include an optional practical element.
For a student studying full time, each academic year of the programme will comprise 1200 learning hours which include both direct contact hours and private study hours. The precise breakdown of hours will be subject dependent and will vary according to modules. Please refer to the individual module details under Course Structure.
Methods of assessment will vary according to subject specialism and individual modules. Please refer to the individual module details under Course Structure.
For programme aims and learning outcomes please see the programmes specification for each subject below. Please note that outcomes depend on your specific module selection:
All University of Kent courses are regulated by the Office for Students.
Based on the evidence available, the TEF Panel judged that the University of Kent delivers consistently outstanding teaching, learning and outcomes for its students. It is of the highest quality found in the UK.
Please see the University of Kent's Statement of Findings for more information.
Drama and Cinematics at Kent scored 94% overall in The Complete University Guide 2021 and 90.4% in The Times Good University Guide 2020.
English at Kent was ranked 1st for research intensity and scored 92% overall in The Complete University Guide 2021, and was ranked 16th in The Guardian University Guide 2020. Over 94% of final-year English and Creative Writing students were satisfied with the quality of teaching on their course in The Guardian University Guide 2020.
The Department has developed partnerships with some of the major players in theatre in the UK including: Battersea Arts Centre, the RSC and The Gate. Selected programmes offer you the opportunity to go on work placements which can lead to future full-time employment. The range of modules we offer ensures you develop key skills such as planning and organisation, teamworking, adaptability and leadership.
Past graduates have become theatre producers, actors, literary managers, journalists, authors, directors, performers, scriptwriters for television, stand-up comedians, casting agents, event managers, arts administrators, community theatre officers for local councils, drama teachers. Many of our graduates choose to go on to postgraduate study.
We also support past students to set up companies and remain in Kent with the Graduate Theatre Scheme.
Throughout your studies, you learn to think critically and to work independently; your communication skills improve and you learn to express your opinions passionately and persuasively, both in writing and orally. These key transferable skills are essential for graduates as they move into the employment market.
Our graduates have gone into: journalism, broadcasting and media, publishing, writing and teaching; more general areas such as banking, marketing analysis and project management; or on to further study for postgraduate qualifications.
Full-time applicants (including international applicants) should apply through the Universities and Colleges Admissions Service (UCAS) system. If you need help or advice on your application, you should speak with your careers adviser or contact UCAS Customer Contact Centre.
The institution code number for the University of Kent is K24, and the code name is KENT.
See the UCAS website for an outline of the UCAS process and application deadlines.
If you are applying for courses based at Medway, you should add the campus code K in Section 3(d).
Discover Uni is designed to support prospective students in deciding whether, where and what to study. The site replaces Unistats from September 2019.
Discover Uni is jointly owned by the Office for Students, the Department for the Economy Northern Ireland, the Higher Education Funding Council for Wales and the Scottish Funding Council.
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