Students preparing for their graduation ceremony at Canterbury Cathedral

Art History and French - BA (Hons)

UCAS code RV13

This is an archived page and for reference purposes only

2017

This new programme offers a critically engaging and expansive approach to the discipline of art history combined with French. It has been designed to equip you with the key visual, critical and professional skills necessary for a career in the art world and for a range of other employment opportunities.

Overview

In your first year, you are given a firm foundation in some of the aesthetic, interpretative and methodological approaches to the discipline of art history. Throughout your second and third years, there are opportunities for you to develop and expand your engagement with the discipline through a range of specialist modules.

As well as options that explore Renaissance and Baroque art, modernism, contemporary art, French painting, surrealism, photography and aesthetics, this programme also offers an introduction to work-related skills directly relevant to employment in the visual arts sector, such as visual arts writing and exhibition curation.

The French element of this programme enables you to study a wide range of texts and visual material while learning a language. Optionally, you can focus your studies by choosing options which mostly relate to French art and other aspects of French culture.

You have the opportunity to spend a year studying or working in France, where you can improve your language skills and experience French art forms and culture first-hand. Some past students in this programme have chosen to spend their Year Abroad working in art galleries in Paris. With the option of a dissertation in the final year, you may choose to focus on both art history and French by writing about art forms observed during the year abroad.

Think Kent video series

Dr Grant Pooke, Senior Lecturer in History of Art, discusses the work and legacy of Brij Mohan Anand. A trenchant critic of both British Imperium and Indian militarism, BM Anand fashioned an exceptional range of work, from scratchboards, sketches, genre scenes, pastoral images and starkly modernist figure compositions to a series of late, apocalyptic landscapes.

Independent rankings

History of Art at Kent was ranked 8th in The Guardian University Guide 2017.

For graduate prospects, History of Art at Kent was ranked 3rd in The Guardian University Guide 2017 and The Complete University Guide 2017.

In the National Student Survey 2016, 90% of French students at Kent were satisfied with the quality of their course. French at Kent was ranked 1st for research quality in The Complete University Guide 2017.

French students who graduated from Kent in 2015 were the most successful in the UK at finding work or further study opportunities (DLHE).

Course structure

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 ‘wild’ modules from other programmes so you can customise your programme and explore other subjects that interest you.

Stage 1

Modules may include Credits

The module is intended as an introduction to the History of Art, as a body of visual artefacts and as an academic discipline. It is intended to be accessible to those with little or no previous experience, but also stimulating and informative to students with more background knowledge. The approach is chronological, focussing on a sequence of canonical works of art produced within the Western tradition. Such works provide a frame for introducing students to many of the basic analytical concepts and terms routinely deployed by art historians in describing, analysing and interpreting works of art: period, style, iconography, meaning, material/medium, technique, composition, creative process, representation, tradition, social function, patronage, genre etc.

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30

This is an intensive module for absolute beginners, Post-GCSE students and students who have not yet mastered level A2 of the Common European Framework of Reference for Languages (CEFR). On successfully completing the module students will have mastered level A2. The emphasis in this course is on acquiring a sound knowledge of the structure of the language as well as basic vocabulary and cultural insights while developing the speaking, listening, reading and writing skills.

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30

This module is for Post-A-level students and students who have mastered level A2 but not yet B1 of the Common European Framework of Reference for Languages (CEFR). On successfully completing the module students will have mastered level B1. The emphasis in this course is on furthering knowledge of the structure of the language as well as vocabulary and cultural insights while further developing the speaking, listening, reading and writing skills.

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30

This course aims to draw on both the history and theory of art in order to present a wide range of contemporary forms of art and artistic practice, and to articulate some key distinctions useful for addressing the question of the place of art in culture. In particular, a discussion of ideas of the avant-garde, of modernity and postmodernism will be relevant here. The course will explore, through pursuing general themes and case studies of particularly controversial art objects, the different means by which our notions of art and of the artist are 'framed' today, and it will therefore both inform students' broader study of the history of art and complement their individual artistic practice.

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15

This module provides students with a broad introduction to the history of photography over the first 150 years of its existence, together with some of the prehistory of the medium. It begins by looking at the origins and invention of photography, as well as reactions to, and early uses of, the medium. Following this background, a number of photographic genre are explored along with key contributors to their development. While the genre explored may change from year to year, the genre covered are likely to include portraiture, documentary photography and landscape photography, but the greatest focus will be given to the various styles and movements giving shape to the history of photographic art.

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15

This module provides students with a broad introduction to the history of photography over the first 150 years of its existence, together with some of the prehistory of the medium. It begins by looking at the origins and invention of photography, as well as reactions to, and early uses of, the medium. Following this background, a number of photographic genre are explored along with key contributors to their development. While the genre explored may change from year to year, the genre covered are likely to include portraiture, documentary photography and landscape photography, but the greatest focus will be given to the various styles and movements giving shape to the history of photographic art.

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30

This course aims to provide students with an introduction to aesthetics and the philosophy of art. The first part of the course focuses on some of the major texts in the history of the philosophy of art in the western tradition (e.g., Plato's Republic, Aristotle’s Poetics, Hume’s Of the Standard of Taste and Kant’s Critique of Judgement). The second part of the course focuses on central contemporary debates in the philosophy of art (e.g., What is Art? Artistic and Aesthetic Evaluation and the problem of forgery, Intention and Interpretation, Ethical criticism of art, Art and Emotion, Art and Feminism.) The student will be encouraged to see connections between the two parts of the module and to understand how contemporary debates (both philosophical and those found in the public opinion and art criticism) can be traced back to or even helpfully illuminated by old and contemporary philosophical debates.

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15

This course aims to provide students with an introduction to aesthetics and the philosophy of art. The first part of the course focuses on some of the major texts in the history of the philosophy of art in the western tradition (e.g., Plato's Republic, Aristotle’s Poetics, Hume’s Of the Standard of Taste and Kant’s Critique of Judgement). The second part of the course focuses on central contemporary debates in the philosophy of art (e.g., What is Art? Artistic and Aesthetic Evaluation and the problem of forgery, Intention and Interpretation, Ethical criticism of art, Art and Emotion, Art and Feminism.) The student will be encouraged to see connections between the two parts of the module and to understand how contemporary debates (both philosophical and those found in the public opinion and art criticism) can be traced back to or even helpfully illuminated by old and contemporary philosophical debates.

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30

This module is designed to introduce students to French literature, culture and history by the close study of a number of dramatic texts from the 17th, 18th, 19th,20th and 21st centuries. The authors studied use drama to explore a wide variety of themes: religious, philosophical, political, literary and social questions will be examined as they are raised in each text. Students will undertake close readings of the primary texts and will make connections with broader political, social, historical and cultural issues.

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15

This module is designed to introduce students to the range and variety of French literature by the close study of a number of short fictional texts from the 18th, 19th, 20th and 21st centuries. The authors studied use short fiction to explore a wide variety of themes: philosophical, political, and social questions will be examined as they are raised in each text. Students will undertake close readings of the primary texts and will make connections with broader political, social and cultural issues. FR302 may be taken independently of FR301.

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15

This module will provide students with a basic knowledge of the most important periods of French cinema (including experimental cinema, the nouvelle vague, Beur cinema, the 1980s 'cinéma du look') and introduce key film concepts such as the ‘politique des auteurs’. Students will gain experience in critical reading and viewing, in close analysis of films, texts and issues, and in developing arguments in French. They will also be introduced to the skills of presentation and the sustaining of cogent argument. The module will examine a number of films from the 1920s to the present which illustrate the scope and development of French cinema. While most of the films are now regarded as canonical, a major aim of the module is to place the works in context so as to emphasize their radical and often transgressive power.

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15

This module explores how four major 'crises' in twentieth-century France are reflected in cinema: World War I, World War II, the Algerian crisis, and the events of May 1968. Some films are almost contemporary with events, whereas others were made decades later. This module will explore themes such as realistic depiction, socio political agendas, nationalist ideologies and the politicisation of (collective and individual) memory.

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15

This module, which covers the period from the 17th century to the First World War, examines through the study of relevant literary and other texts some of the major historical, cultural, social, political and literary movements of France and its colonies during this era. Close textual analysis will be combined with study of the texts' various contexts: the module encourages students to analyse cultural artefacts in connection with the historical, social and cultural contexts and discourses within which they were created. The choice of primary materials covers a wide variety of genres: letters, drama, fiction, political texts, travel writing. Students will learn to adopt critical strategies to analyse all of these sources, and to reflect on moments of major historical and cultural significance in the development of modern France. Events such as the French Revolution, the Paris Commune and the Dreyfus Affair will be analysed as they are represented in the chosen primary texts. Students will be encouraged to consider questions of national and other forms of identity in France and in the Francophone world more generally as they are mediated through cultural production, thinking through the stereotypes often used to characterise nations, their citizens/subjects and their history.

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15

This module, which covers the period from World War I to the present day, examines some of the major historical, cultural, social, political and literary movements of France and its former colonies during this era. Close textual analysis will be combined with study of the texts' various contexts: the module encourages students to analyse cultural artefacts in connection with the historical, social and cultural discourses and contexts within which they were produced. The choice of primary materials covers a wide variety of genres: fiction, political texts, cultural criticism, popular song, film. Students will learn to adopt critical strategies to analyse all of these sources, and to reflect on moments of major historical and cultural significance in the development of contemporary France. Events such as the Second World War, the formation of the 5th Republic, North African and South-East Asian decolonisation and contemporary debates about 'laïcité’ will be analysed as they are represented in the chosen primary texts. Students will be encouraged to consider questions of identity – and their mediation through cultural production – in France and in the Francophone world more generally, thinking through the stereotypes often used to characterise nations, their citizens or colonial subjects, and their history.

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15
You have the opportunity to select wild modules in this stage

Stage 2

Modules may include Credits

Three topics are covered each week: grammar, oral/aural skills, and written skills. Students will develop the four linguistic skills (listening, speaking, reading, and writing) to a level where they can confidently understand and convey information about themselves and their environment in all the tenses, and express their feelings and wishes in the conditional and subjunctive moods. They can account for and sustain views clearly by providing relevant explanations and arguments for and against particular points of view.

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30

This module addresses the influence of the early avant-garde on later experimental performance forms such as performance art and multimedia performance. It examines the impact of new technologies on performance and representation throughout the last century, and explores the relationship between media culture and theatre practice. Key modernist and postmodernist practitioners are discussed as the module traces the evolution of multimedia theatre and performance art. Students analyse how time, space and bodies manifest within a diversity of contemporary media art and performance art, and focus is placed on the nature of audience engagement. The module also considers questions concerning the live and mediated aspects of performance, and explores concepts such as 'liveness', ‘the body’, ‘intermediality’, ‘posthumanism’ ‘public space’ and ‘participation’.

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30

The art historian Aby Warburg – an avid reader of Thomas Carlyle's philosophical novel about clothes Sartor Resartus (1836) – said that a good costume, like a good symbol, should conceal as much as it reveals. This module will take an interdisciplinary approach to the study of costume and fashion – the art that can be worn – in order to explore their roles in drama, film and the visual arts. The social values encoded by clothes, their relation to class or sexual identity, will be discussed, along with how these assumptions inform the use of costume in adaptations or stagings of texts, or how they colour our view of a character, or of a director’s interpretation (for example, using deliberate anachronism). The role of clothing and costume in the history of art will be analysed from artists’ representation of clothes, contemporary or otherwise, to their involvement in fashion design.

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30

The development of Abstract Art is one of the distinctive features of the 20th Century. This module examines the roots of the aspiration to allow ‘the object to evaporate like smoke’ in European and Russian art, and the establishment of Constructivism as a central force in artistic practice in 20th century art. The spiritual, philosophical and social ideas (and ideals) of key artists (such as Malevich, Tatlin, Kandinsky, Mondrian and Klee) are considered in relation to their artistic practice; the work and ideas of American abstractionists are addressed through an examination of legendary figures such as Rothko, Pollock and Stella; discussion of Nicholson, Moore, and de Staël, among others, enables us to think about the response of the British and European artworld to the challenges and opportunities of abstraction and construction. Finally, we will explore how contemporary artists make use of this ‘radical tradition’. Throughout the module we will raise the question of how to make, think about and respond to an ‘art without objects’.

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30

This module aims to introduce second and third year students to the key aesthetic concepts of the sublime, disgust and humour, and to their application in the analysis of art and visual culture. Through a sustained focus on these key theories and a range of case studies, the module will also facilitate the development of students' subject-specific and key skills.

The module will be typically be divided into three parts which focus separately on the sublime, disgust and humour; although general issues confronting the study of experience in art history and theory will be discussed throughout. The first part of the module will focus on the historical origins of the concept of the sublime in the works of Edmund Burke and Immanuel Kant. Their theories will be discussed in relation to eighteenth and nineteenth century visual culture, and in relation to instances of the sublime in modern and contemporary culture, including representations of nature and the cosmos, religious experiences and ascetic practices. The second part of the module will examine theories of disgust, including Charles Darwin’s evolutionary approach and Julia Kristeva’s account of 'the abject’. The vogue for the disgusting in contemporary art, beginning during the 1990s will be critically discussed, and the relation of disgust to shock and horror will also be considered. The third part of the module will examine theories of humour, including the ‘incongruity’ and ‘release’ theories, and Sigmund Freud’s theory of jokes. Various uses artists have found for humour, from Marcel Duchamp to postmodern irony, will be discussed. While focusing on the visual arts, the module will also consider case studies from literature and popular visual culture, including film and television.

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30

This module will pursue three interrelated aims through the use and study of drawing:

Firstly, it will introduce students to the range of drawing techniques used by the Old Masters, the different types of drawings they produced and their function in the process of designing and executing works of art. It will equip students with the tools for analysing and identifying drawings, providing the foundations for effective connoisseurship. Working with collections of Old Master drawings such as those at the British Museum, the Courtauld Institute, the Strang Print Room and the Victoria & Albert Museum it will familiarise students with a representative range of graphic art from the European tradition by such artists as Leonardo da Vinci, Raphael, Michelangelo, Dürer, Annibale Carracci, Rubens and Van Dyck.

Secondly, it will equip students with a practice-based understanding of the role of drawing in artistic training and of its importance as a tool for creative work. Students will participate in drawing seminars where they will carry out exercises modelled on artistic practice during the period 1400-1700 and illustrated with examples of Old Master drawings to provide guidance. These will begin with rudimentary conventions for drawing eyes and ears, through copy drawings to mechanical drawing methods like perspective and shadow projection, tracing and the use of the grid. The exercises will then build on these simple beginnings and develop towards portrait drawing informed by anatomical analysis of the skull, drawing from sculptural casts, from the draped and nude figure, sketching the landscape, and finally working towards the compositional drawing and methods for enlarging it. Drawing exercises will clarify for students the processes of artistic visualization and design, and make available to them an important tool of visual and art historical analysis.

Thirdly, the module will provide students with historical insights into the importance of drawing for art in the Western tradition, and of the theoretical expression of this importance in the concept of 'disegno'. It will explore theories defining drawing as an intellectual process of design (as well as a graphic technique), and related debates concerning the relative importance of drawing and colour, and painting and sculpture.

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30

This module explores a range of neo-avant-garde and post-war art practice from the 1960s through to the contemporary; from the Minimalism & Pop Art of the 1960s through to the YBAs and after. It will introduce and discuss some of the key artistic figures within the period, exploring their practice, critical contexts and legacy. Taking a thematic approach to one of the most innovative and stylistically diverse art historical periods, we will consider a range of genres – painting, sculpture, installation, performance and land art – exploring how artists have re-defined and developed their practice in the cultural period following Modernism. Artists exampled will typically include Jake and Dinos Chapman, Gilbert & George, Eva Hesse, Jenny Saville, Yinka Shonibare, Gerhard Richter and Rachel Whiteread.

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30

The organising principle of this course is derived from Giovanni Pietro Bellori’s Vite de’ Pittori et Architetti Moderni (1672). In selecting a small group of twelve exemplary artists for his history, Bellori was employing artistic biography to expound his theory of art based on the Idea. This charted a middle way between naturalism and mannerism, through which the imitation of nature informed by the principles of antique art produced works which surpassed nature. Among the artists included in Bellori’s corpus are Annibale and Agostino Carracci, Michelangelo da Caravaggio, and the non-Italian artists Nicolas Poussin, Peter Paul Rubens, and Anthony Van Dyck. Several of the leading artists of the period were excluded from the canon, notably Gian Lorenzo Bernini, Francesco Borromini and Pietro da Cortona. Bellori presumably had these artists in mind when he condemned his contemporaries who “juggle madly with corners, gaps and twirling lines, discompose bases, capitals and columns with stucco nonsense, trivial ornament and disproportions”. The aesthetic and theoretical judgements which informed Bellori’s exclusion of artists from his book can be glimpsed in this quote. In the art historical literature on this period such critical judgements are explained in terms of the dichotomy between “classicism” and “the baroque” (although these were not terms used in the period). Following Riegl and Wölfflin the baroque has been defined in opposition to classic art, as an art of becoming rather than of being, addressing the emotions, rather than the intellect, through a tactile evocation of appearances. Often the theoretical writing of the period has been characterised as reacting against, or irrelevant to, what was truly innovative about the work of baroque artists like Bernini and Borromini. These generalisations will be tested through close study of the works of the artists named above, and also by exploring how they might relate to contemporary artistic debates, such as those at the French Académie Royale about the relative merits of Poussin and Rubens, or between Andrea Sacchi and Pietro da Cortona in Rome over the number of figures which should be included in a narrative painting. In addition to exploring the acute interest in stylistic criticism during the seventeenth century, the study of individual artists will also involve consideration of the role played by their patrons, especially their ideological, religious and antiquarian concerns. Although the course will progress by studying individual artists in roughly chronological order, the treatment will be thematic rather than monographic. Lectures at the beginning and end of the course will introduce and summarise the more general historiographical themes; the remaining lectures will be on artists including Caravaggio, Annibale Carracci, Bernini, Borromini, Pietro da Cortona, Poussin, Rubens and Van Dyck.

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30

The module will focus on selected aspects of the development of art in France, during the period when Paris was widely seen as the powerhouse of innovation and achievement in the Western art world. The underlying structure will be chronological. Relevant tendencies and movements include Neo-classicism, Romanticism, Realism, Impressionism, Symbolism and Cubism. Prominent artists to be considered include David, Géricault, Delacroix, Courbet, Manet, Monet, Cézanne, Van Gogh, Gauguin, Seurat, Rodin, Matisse, and Picasso. Such visual material will be considered in the context of: wider political and social history; the evolution of exhibiting institutions and the art world; current art theory and criticism; attitudes towards artistic tradition and the visual cultures of non-western societies (e.g. the phenomenon of 'primitivism'; the impact and evolution of photography, launched in 1839; the emergence of the idea of the artistic avant-garde; the reinterpretation of specific genres, such as the portrait, landscape, the nude, history painting; patterns and shifts within art-historical scholarship on the material. The importance of studying original art objects will be embedded in the module through the scheduling of a visit to relevant galleries in London (e.g. National Gallery, Tate Modern, Courtauld Gallery) and/or Paris (subject to funding). Chronological coverage may vary between successive iterations of the module.

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30

It is commonly accepted that identity or a sense of self is constructed by and through narrative – the stories we tell ourselves and each other about our lives. This module explores the complex relationships that exist between memory, nostalgia, writing and identity in a range of twentieth-century autobiographical and first- and third-person fictional works in French. These texts foreground issues of childhood, memory, history, and trauma in the construction of identity.

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15

This module allows students to study plays by major French writers and to explore the techniques they used, both verbal and visual, to renew the art of theatre during the first half of the twentieth century. It will include plays in French by major authors such as Apollinaire, Cocteau, Sartre and Ionesco. Taking one play each week, the syllabus will be approached in broadly chronological order, with emphasis given to diversity but also to continuing links and developments, such as the use and influence of popular culture, politics and classical mythology.

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15

The module is an opportunity to embark on extended written analysis of a chosen area of study, related to, but not part of, another stage two French non-language module. It culminates in the presentation of an essay, normally in English, of between 4,000 and 6,000 words

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15

Students are taken through essential aspects of the conduct of business in France (and French-speaking countries), both learning about those aspects and becoming familiar with specific features of the French language encountered in a professional context. In terms of key skills, business skills and language skills, encourages the practice of meticulous accuracy.

As an option, students may register for the Diplôme de français professionnel B1 (DFP B1) of the Chambre de Commerce et d'Industrie de Paris Ile-de-France (CCIP). The syllabus of FR590 closely follows some of the pedagogical requirements of the business French programme of the CCIP.

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15

Among the capital cities of Europe, Paris has a particularly rich and interesting history. In the revolution of 1789 and subsequent political upheavals in the course of the nineteenth century (1830, 1848, 1870-71), the city played a key role in deciding the fate of the nation. In the same period, it grew dramatically in size and emerged as a modern metropolis. Widely divergent views were expressed as to the wholesomeness of city living; opinion differed equally violently among writers as to the benefits to be derived from the explosive growth of the city. The module will examine conditions of life in the real Paris of the 19th Century and in particular the radical and highly controversial changes to the face of the city brought about during the Second Empire under the direction of Baron Haussmann. The main focus of the module, however, will be the images of the city as mediated in contemporary fiction (Balzac and Zola amongst others), poetry (Baudelaire) and painting (Manet’s vision of city life).

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15

Among the capital cities of Europe, Paris has a particularly rich and exciting history. It played, for example, a key role during the revolution of 1789 and subsequent political upheavals in the course of the 19th century. This module follows on from FR593 – ‘Paris: Myth and Reality I’ (which is NOT a prerequisite for FR594). It explores the different and evolving representations of Paris of the 20th century in the context of modernity and postmodernity. Although the main focus of the course will be literary, including poetry and fiction, there will also be examination of the changing landscape of the capital as mediated through film.

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15

This module will examine ways in which this turbulent and divisive period of French history is reflected in imaginative writing. Some texts are nearly contemporaneous with events; others reflect collective memory of the Occupation across generations. Questions raised will include: problems of realistic description and of narrative technique; the relationship of the individual to events beyond his/her control; conflicting loyalties and responsibilities; Resistance and occupation as metaphor; the mode rétro in French fiction since the 1960s. A certain amount of historical background reading will be essential.

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15

Written and spoken French are now, arguably, so far apart as to constitute distinct varieties. Unlike most French modules, this module will take the latter as its starting point. The phonology (sound system) will first be explored, and basic transcription skills acquired, with consideration of recent and ongoing changes in the general system known as français standard. The module will then move on to consider the gap between written and spoken French grammar, notably in such areas as the tense/mood system, morphosyntax or pronouns, grammatical gender and agreement, and verb classification. The treatment of neologisms, and particularly the status of franglais in contemporary French, will also be considered. Although the module will provide students with some basic tools of linguistic description, no background in Linguistics is required or assumed.

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15

This module will introduce a selection of short narrative fiction in French drawn from the eighteenth and nineteenth centuries. It will reflect on the techniques and forms used by a number of authors and inquire whether short fictions tend to display common features. The authors chosen use the form in a wide variety of ways, from illustrating a philosophical position to dramatising an ethical dilemma or even questioning the conventions of fiction themselves. The texts will be considered with some reference to concepts drawn from general theory of narrative.

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15

Detective fiction is an extremely popular genre whose basic template can give rise to a multitude of approaches, settings, plots and values. This course is designed to give students an overview of the tradition of French crime fiction as it has evolved from the mid-19th century to the early 21st century. Short crime fiction, full crime novels, and film will be analysed. Close attention will be paid to generic conventions, and how they alter over time. Questions of social order and disorder will be central to our enquiry. We will also study the extent to which detective novels mount a critique of contemporary society. All texts are studied in French and teaching is partly in English, partly in French.

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15
You have the opportunity to select wild modules in this stage

Year abroad

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 Year Abroad is assessed on a pass/fail basis and will not count towards your final degree classification. You spend the year working as an English language assistant or in approved employment, or studying at one of our partner universities. For a full list of our partner universities, please visit Go Abroad.

Stage 3

Modules may include Credits

Three topics are covered each week: advanced written skills, oral/aural skills, translation. Students develop the four linguistic skills (listening, speaking, reading, and writing) to an advanced level where they can understand a wide range of demanding, longer texts, recognise implicit meaning, and produce clear, well-structured, detailed text on complex subjects, showing controlled use of organisational patterns, connectors and cohesive devices. Students taking FR647 also spend additional time developing their compositional skills to help make up for not participating in the Languages Year Abroad.

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30

The module will focus on selected aspects of the development of art in France, during the period when Paris was widely seen as the powerhouse of innovation and achievement in the Western art world. The underlying structure will be chronological. Relevant tendencies and movements include Neo-classicism, Romanticism, Realism, Impressionism, Symbolism and Cubism. Prominent artists to be considered include David, Géricault, Delacroix, Courbet, Manet, Monet, Cézanne, Van Gogh, Gauguin, Seurat, Rodin, Matisse, and Picasso. Such visual material will be considered in the context of: wider political and social history; the evolution of exhibiting institutions and the art world; current art theory and criticism; attitudes towards artistic tradition and the visual cultures of non-western societies (e.g. the phenomenon of 'primitivism'; the impact and evolution of photography, launched in 1839; the emergence of the idea of the artistic avant-garde; the reinterpretation of specific genres, such as the portrait, landscape, the nude, history painting; patterns and shifts within art-historical scholarship on the material. The importance of studying original art objects will be embedded in the module through the scheduling of a visit to relevant galleries in London (e.g. National Gallery, Tate Modern, Courtauld Gallery) and/or Paris (subject to funding). Chronological coverage may vary between successive iterations of the module.

Read more
30

The organising principle of this course is derived from Giovanni Pietro Bellori’s Vite de’ Pittori et Architetti Moderni (1672). In selecting a small group of twelve exemplary artists for his history, Bellori was employing artistic biography to expound his theory of art based on the Idea. This charted a middle way between naturalism and mannerism, through which the imitation of nature informed by the principles of antique art produced works which surpassed nature. Among the artists included in Bellori’s corpus are Annibale and Agostino Carracci, Michelangelo da Caravaggio, and the non-Italian artists Nicolas Poussin, Peter Paul Rubens, and Anthony Van Dyck. Several of the leading artists of the period were excluded from the canon, notably Gian Lorenzo Bernini, Francesco Borromini and Pietro da Cortona. Bellori presumably had these artists in mind when he condemned his contemporaries who “juggle madly with corners, gaps and twirling lines, discompose bases, capitals and columns with stucco nonsense, trivial ornament and disproportions”. The aesthetic and theoretical judgements which informed Bellori’s exclusion of artists from his book can be glimpsed in this quote. In the art historical literature on this period such critical judgements are explained in terms of the dichotomy between “classicism” and “the baroque” (although these were not terms used in the period). Following Riegl and Wölfflin the baroque has been defined in opposition to classic art, as an art of becoming rather than of being, addressing the emotions, rather than the intellect, through a tactile evocation of appearances. Often the theoretical writing of the period has been characterised as reacting against, or irrelevant to, what was truly innovative about the work of baroque artists like Bernini and Borromini. These generalisations will be tested through close study of the works of the artists named above, and also by exploring how they might relate to contemporary artistic debates, such as those at the French Académie Royale about the relative merits of Poussin and Rubens, or between Andrea Sacchi and Pietro da Cortona in Rome over the number of figures which should be included in a narrative painting. In addition to exploring the acute interest in stylistic criticism during the seventeenth century, the study of individual artists will also involve consideration of the role played by their patrons, especially their ideological, religious and antiquarian concerns. Although the course will progress by studying individual artists in roughly chronological order, the treatment will be thematic rather than monographic. Lectures at the beginning and end of the course will introduce and summarise the more general historiographical themes; the remaining lectures will be on artists including Caravaggio, Annibale Carracci, Bernini, Borromini, Pietro da Cortona, Poussin, Rubens and Van Dyck.

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30

This module explores a range of neo-avant-garde and post-war art practice from the 1960s through to the contemporary; from the Minimalism & Pop Art of the 1960s through to the YBAs and after. It will introduce and discuss some of the key artistic figures within the period, exploring their practice, critical contexts and legacy. Taking a thematic approach to one of the most innovative and stylistically diverse art historical periods, we will consider a range of genres – painting, sculpture, installation, performance and land art – exploring how artists have re-defined and developed their practice in the cultural period following Modernism. Artists exampled will typically include Jake and Dinos Chapman, Gilbert & George, Eva Hesse, Jenny Saville, Yinka Shonibare, Gerhard Richter and Rachel Whiteread.

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The development of Abstract Art is one of the distinctive features of the 20th Century. This module examines the roots of the aspiration to allow 'the object to evaporate like smoke' in European and Russian art, and the establishment of Constructivism as a central force in artistic practice in 20th century art. The spiritual, philosophical and social ideas (and ideals) of key artists (such as Malevich, Tatlin, Kandinsky, Mondrian and Klee) are considered in relation to their artistic practice; the work and ideas of American abstractionists are addressed through an examination of legendary figures such as Rothko, Pollock and Stella; discussion of Nicholson, Moore, and de Staël, among others, enables us to think about the response of the British and European artworld to the challenges and opportunities of abstraction and construction. Finally, we will explore how contemporary artists make use of this ‘radical tradition’. Throughout the module we will raise the question of how to make, think about and respond to an ‘art without objects’.

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• This module will be for final year students who are interested in gaining employment within the art and heritage press and/or marketing sectors. It will complement the vocational and work-based emphasis of the existing HPA Internship module (HA579). It will comprise a series of taught seminars supplemented by visiting speakers from the art/trade press, and from across the marketing and heritage sectors [6-8 speakers per module delivery].

• NB: This is not an NCTJ validated course and makes no pretence at providing the full competencies of such. What it will provide will be an introduction to a range of press and related activities within the visual arts and heritage sectors. It will be of relevance for those students considering the possibility of working within these areas and for those who wish to explore some of the practicalities of researching and submitting copy and undertaking related promotional and marketing activities.

• The module will start by considering examples from the range of trade, specialist and institutionally affiliated publications which service the art and heritage markets. It will consider their target readerships, commissioning practices and particular subject and industry angles. Publications such as The Antiques Trade Gazette, The Art Newspaper, Tate Magazine and Art Monthly will be among those evaluated.

• Seminars will introduce some of the basic principles of trade writing: standing up and presenting copy proposals for commissioning; adapting copy to differing house-styles; preparing for and undertaking interviews for writing briefs and useful sources of information for generating ideas for prospective writing projects. Seminars will also consider the arts-related promotional work typically undertaken by press and marketing departments within auction houses, public art galleries and within government-funded organisations such as the British Council, and those local and regional authorities with heritage related responsibilities and sections (Canterbury City Council, Medway Unitary Authority etc).

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This module aims to introduce second and third year students to the key aesthetic concepts of the sublime, disgust and humour, and to their application in the analysis of art and visual culture. Through a sustained focus on these key theories and a range of case studies, the module will also facilitate the development of students' subject-specific and key skills.

The module will be divided into three parts which focus separately on the sublime, disgust and humour; although general issues confronting the study of experience in art history and theory will be discussed throughout. The first part of the module will focus on the historical origins of the concept of the sublime in the works of Edmund Burke and Immanuel Kant. Their theories will be discussed in relation to eighteenth and nineteenth century visual culture, and in relation to instances of the sublime in modern and contemporary culture, including representations of nature and the cosmos, religious experiences and ascetic practices. The use of the sublime in promoting political and ideological ends, as in the Nazi propaganda films of Leni Riefenstahl, will also receive attention. The second part of the module will examine theories of disgust, including Charles Darwin’s evolutionary approach and Julia Kristeva’s account of 'the abject’. The vogue for the disgusting in contemporary art, beginning during the 1990s in the work of artists such as Cindy Sherman, Paul McCarthy, Gilbert & George, Tracey Emin, David Falconer and Jake & Dinos Chapman, will be critically discussed, and the relation of disgust to shock and horror will also be considered. The third part of the module will examine theories of humour, including the ‘incongruity’ and ‘release’ theories, and Sigmund Freud’s theory of jokes. Various uses artists have found for humour, from Marcel Duchamp to postmodern irony, will be discussed. ‘Gross-out’ humour and ‘black’ humour will also be a topic of attention, and examples from contemporary popular culture, including The League of Gentlemen and the films of the Farrelly brothers, will be considered. While focusing on the visual arts, the module will also consider case studies from literature and popular visual culture, including film and television, and so should also prove an attractive option to students within the Humanities Faculty as a whole.

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This module will pursue three interrelated aims through the use and study of drawing:

Firstly, it will introduce students to the range of drawing techniques used by the Old Masters, the different types of drawings they produced and their function in the process of designing and executing works of art. It will equip students with the tools for analysing and identifying drawings, providing the foundations for effective connoisseurship. Working with collections of Old Master drawings such as those at the British Museum, the Courtauld Institute, the Strang Print Room and the Victoria & Albert Museum it will familiarise students with a representative range of graphic art from the European tradition by such artists as Leonardo da Vinci, Raphael, Michelangelo, Dürer, Annibale Carracci, Rubens and Van Dyck.

Secondly, it will equip students with a practice-based understanding of the role of drawing in artistic training and of its importance as a tool for creative work. Students will participate in drawing seminars where they will carry out exercises modelled on artistic practice during the period 1400-1700 and illustrated with examples of Old Master drawings to provide guidance. These will begin with rudimentary conventions for drawing eyes and ears, through copy drawings to mechanical drawing methods like perspective and shadow projection, tracing and the use of the grid. The exercises will then build on these simple beginnings and develop towards portrait drawing informed by anatomical analysis of the skull, drawing from sculptural casts, from the draped and nude figure, sketching the landscape, and finally working towards the compositional drawing and methods for enlarging it. Drawing exercises will clarify for students the processes of artistic visualization and design, and make available to them an important tool of visual and art historical analysis.

Thirdly, the module will provide students with historical insights into the importance of drawing for art in the Western tradition, and of the theoretical expression of this importance in the concept of 'disegno'. It will explore theories defining drawing as an intellectual process of design (as well as a graphic technique), and related debates concerning the relative importance of drawing and colour, and painting and sculpture.

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Films in certain genres, such as the Western, action film and martial arts film, are often gendered masculine, their powerful, active and typically violent male protagonists seen as representing masculinity. There is, however, also a long tradition of transgressive female protagonists in "male" genres, and this module investigates such characters. In addition to giving an overview of various types of transgressive female protagonists, the module explores in depth one or a few type(s) of transgressive female protagonist depending on the convenor's research interests. Case studies may include American action film, martial arts film, Blaxploitation/exploitation film, rape-revenge film, Western, crime film/television, film noir and horror in film and television. For example, in the action film the female protagonist’s display of power and strength may be seen as masculine, but she is often also portrayed with stereotypically feminine traits such as beauty and a sexy appearance. The female protagonist is thus often perceived as standing between the masculine and the feminine. Among the many questions triggered by transgressive female protagonists, this module might explore whether this character can and should be perceived as feminist or merely as exploitative, and how and why such protagonists may appeal to a female audience in particular.

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On application, students may take this 30 Credit Year Long module. Admission is subject to approval of a project proposal. Proposals must be submitted to the Module Convenor by 07/04/2017. Within your proposal you must state a preferred supervisor with whom you should have consulted. The proposal form can be downloaded from the School of Arts website, see www.kent.ac.uk/arts/current-students/undergraduates.html and click on module availability. Alternatively you can request a copy at Jarman Reception. The Module Convenor will contact you in the summer term to confirm whether your proposal has been accepted. Students wanting to change into ART500 at a later stage maybe permitted to do so (subject to the suitability of the application and the availability of the supervisor) but should contact the Module Convenor and submit a proposal at the earliest opportunity. Proposals will not be accepted after 12/06/2017 unless there are exceptional circumstances, for which there is a separate procedure and timetable in September. If students wish to make an exceptional application for consideration in September, prior to the start of term, this needs to be submitted through the potential supervisor who will write an accompanying supporting statement. This would need to verify the proposal, confirm supervisory responsibility and endorse the student's ability to complete the project on time. Students should expect to undertake preliminary research over the summer and to see their supervisor before the summer vacation begins. Hence, late applications will only be accepted if supervisors are convinced that students are sufficiently prepared for the independent study and have already undertaken prior research. Applications for consideration as exceptional circumstances in September need to be submitted between 04/09/17 and 18/09/17. Students cannot transfer onto ART 500 after the start of term. For more information please speak to the Module Convenor at the School Fair."

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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. For further information please talk to the module convenor at the School of Arts Module Fair.

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This course examines the portrayal of Japan in French and Belgian writing and culture from the 19th, 20th and 21st centuries. Since Japan was opened to the West in the mid-19th century, there has been a tradition of French literary japanophilia. The course will permit a critical evaluation of the evolution of French 'japonisme', from its exoticist beginnings in the work of Pierre Loti, through early 20th century theories of exoticism. We will examine the portrayal of contemporary Japan in Amélie Nothomb's and Jacques Roubaud's work. 'Japoniste' images by French Impressionist painters will also be studied, as will Resnais's post-war film Hiroshima mon amour and a cinematic adaptation of Nothomb's work. The study of these texts and images will involve the exploration of themes such as: intercultural understanding (or the lack thereof); the idealisation or demonisation of the other; the nature of 'Orientalism'; and the way in which French writers and artists turn to the foreign culture in order to critique their own culture.

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The eighteenth-century 'philosophe' Denis Diderot was the first major French author to write at length about painting, and he bequeathed to later writers such as Baudelaire a new literary genre, the 'salon'. The mutual influence of literature and the visual arts is a major theme of nineteenth-century French culture, and an important area of current research. The module will begin with a study of selection of passages from Diderot's 'Salon de1767'. We will then examine Balzac's 'Le Chef d'oeuvre inconnu', Baudelaire's 'Le Peintre de la vie moderne', Zola's 'L'Oeuvre', and a selection from Proust's 'A la recherche du temps perdu'.

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The module is designed to acquaint students with samples of the main trends within the work of Twentieth Century Women writers by paying close attention to the relations between mothers and their daughters who become writers. Each novel chosen is one of personal analysis of the often-violent relationship between the mothers and their daughters who turn to writing in a search for identity and liberation from the mother or maternal figure of their youth. Students analyse the texts in order to evaluate how the picture of the mother has evolved. We will pay close attention to the underlying theme of the progression of the role of women in French society. Each text will also provide us with a variety of specific themes to discuss which will enable us to better understand the changes which French women have faced during this century.

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This module aims to examine literature from an unusual angle by concentrating on the importance of the figure of the reader for the interpretation of novels. Often novels address the reader directly; some novels are written in the second person, as if the reader were a central character. Sometimes novels involve ‘self-reflexive’ or ‘self-referential’ elements that force the reader to reflect on his/her own expectations of literature. When novels invoke the reader in these various ways, they invite us to reflect on the text – how it comes to exist, who it is for, what is its message or purpose – in new and challenging ways. The module also concentrates on the 'nouveau roman', which involves sustained reflection on these and related questions.

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This module is designed to make students aware of varieties of modern French other than the standard language. It will focus on issues associated with linguistic inequality and encourage students to investigate variation in contemporary French for themselves. There can be few countries where linguistic prescriptivism is as deep-rooted as it is in France. The Académie française pronounces on le bon usage, while the education system is hostile to regional varieties. To focus exclusively on standard French, however, is to ignore a rich diversity of language at a number of levels. This module will attempt to redress the balance by considering such issues as regional and socio-situational variation within modern French, as well as variation according to sex, class, or age. Other issues to be considered will be the relationship between français régional and dialect, the role of franglais, language policy and attitudes, and the position of French outside France. A background in Linguistics will not be assumed.

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Students will be introduced to the francophone business environment, and will learn to be operational in such a context. As well as learning about essential aspects of companies and specific features of the French language encountered in such an environment, students will broaden their knowledge of current events and economic issues through the use of a dossier of contemporary texts/articles, which will be exploited in a variety of ways: résumé (précis-writing), analyse de document (questions about the text), or free composition. In terms of key skills, business skills and language skills, this module encourages the practice of meticulous accuracy.

Students will develop their confidence in the use of specialised terminology and appropriate register in a professional context.

As an option, students may register for the Diplôme de français professionnel Affaires B2 (DFP Affaires B2) of the Chambre de Commerce et d'Industrie de Paris Ile-de-France (CCIP). The syllabus of FR592 closely follows some of the pedagogical requirements of the business French programme of the CCIP.

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This module provides the opportunity to write a Dissertation (7,000 – 10,000 words) on an author or theme normally relating to one of the other French 'non-language' or 'content' modules being followed in the final year.

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This module examines some of the key works of French cinema since 1990. The films in this module will be studied within their cultural background and within the context of French cinema history. While all the films are studied in close detail, students will be invited to develop important themes such as race and national identity, changing perceptions of Paris and the banlieue, and symptoms of social crisis. The aim of the module is to show how French filmmakers have had to invent new forms and styles of film in order to be able to address the specific issues raised by life in contemporary France.

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This module presents a broadly chronological survey of canonical works of French literature of the nineteenth century centred on the theme of desire. More specifically, these works explore contemporary codes of love and marriage, shifting gender identities, capitalism, consumerism, moral, social and sexual transgression, alienation, lethargy, and death. The module takes fiction of the Romantic era as its starting point, exploring the frustration of desire associated with the ‘mal du siècle’ (the disillusionment and melancholy experienced by (primarily) young adults in the early nineteenth century). It concludes with naturalist and ‘decadent’ works of the fin de siècle, which are concerned with a discrepancy between desire and a generalised depletion of the energy required to fulfil it. The module identifies desire (whether satisfied, unfulfilled or conspicuously absent) as a central preoccupation in French cultural production of the nineteenth century. It also examines the extent to which desire is a strategy for expressing contemporary concerns and anxieties around specific aspects of modern life with which the human subject was coming rapidly and problematically to terms.

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This module will explore the evolution of the notion of travel in modern French thought and literature by looking at a wide range of French travel writing in prose as well as poetry, essays, and travel diaries from the late 19th century to the late 20th century.

The objective is to show how travel writing questions the relevance of myths about travel itself (often seen as a means to discover new worlds and to allow different cultures to blend together) or about the other and otherworldliness.

The module takes Arthur de Gobineau’s and Victor Hugo's fictional travels to the East as a starting point to explore how 19th-century orientalism fed an imaginary, idealised or demonised conception of the other. From there we will move on to different (post)modern texts by Victor Segalen, Henri Michaux and Nicolas Bouvier, demonstrating how travel and writing can work together to cross borders of a cultural but also linguistic and stylistic nature.

More specifically, these different works explore themes such as exoticism, (post)modern conceptions of intercultural relationships, opacity, loneliness, fragmentation, and chaotic trajectories.

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The student will spend one half-day per week for ten weeks in a school. Students will work in a school, with a nominated teacher, for ten half days during the Spring Term and will have the opportunity to promote their subject in a variety of ways. The Course Convenor will place students in appropriate schools, either primary or secondary. They will observe sessions taught by their designated teacher and possibly other teachers. They will act to some extent in the role of a teaching assistant, by helping individual pupils who are having difficulties or by working with small groups. They may take 'hotspots': brief sessions with the whole class where they explain a language topic or talk about aspects of University life. They must keep a weekly journal reflecting on their activities at their designated school. The university sessions and weekly school work will complement each other. Therefore, attendance to university sessions is crucial as it will also give the students the opportunity to discuss aspects related to their weekly placement and receive guidance.

Some travel may be required by students taking this module. In this instance, it should be noted that the University is unable to cover the cost of any such journey.

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You have the opportunity to select wild modules in this stage

Teaching and assessment


Our programmes emphasise a close working relationship with students. The academic adviser system ensures that all of our students have access to a designated tutor for pastoral support and academic guidance throughout their time at Kent.

All art history modules include weekly lectures and small group seminars, but a distinctive feature is that many of your art history modules involve visits to London galleries, overseas visits to museums and other out-of-classroom activities. Helping students to acquire independence of thought and the skills of autonomous study are central to our teaching ethos.

Assessment for art history modules at all stages varies from 100% coursework to a combination of examination and coursework. This approach to assessment helps you to
develop an in-depth knowledge of topics within modules that are most interesting and relevant to your study, and to acquire a wide range of generic and transferable skills.

Compulsory French language modules typically involve three to four hours of
classes per week, including one hour of small group work with a native
speaker. We also make extensive use of computer-assisted language
learning packages and audio and video materials. Culture and literature
modules typically involve a weekly two-hour seminar plus essay
supervision. We employ French language lectors to help students
improve their fluency.

For your French modules at all stages, assessment is based 100% on coursework (essays, oral presentations) in the first half of the year, and a combination of coursework and examination in the second half of the year. Credits from your year abroad count towards your final degree.


Programme aims

For programme aims and learning outcomes, please see the programmes specification for each subject below. Please note that outcomes will depend on your specific module selection:

Careers

At Kent, we take the commitment to supporting and preparing our students for life after university very seriously. A degree in Art History enables you to explore the history, meaning and nature of the visual arts, while also providing the skills for a career in the arts industries and elsewhere.

Career options include museum curation, options in heritage and tourism, working as an archivist and art historian; art librarianship; arts shipping and insurance; arts therapy; auctioneering; craft studio workshop management; community arts/project development work; art dealing and brokerage; gallery work; heritage management; independent curation/art consulting; journalism; picture/provenance researching and photography.

You have the opportunity to undertake an internship and we offer all our students support with their CVs and personal statements. In this way, the degree offers both a strong grounding in the foundations of art historical study and an expansive approach to developing career skills.

The ability to speak a European language other than English is a key asset in the global employment market, and many employers view a graduate with overseas experience as more employable. Through your studies, you also acquire many of the transferable skills considered essential by graduate employers. These include the ability to work independently and as part of a team, the confidence to offer creative solutions when faced with challenges and the ability to express your ideas with clarity and passion.

Language students go into areas such as international banking, diplomacy, publishing, journalism, international product management, interpreting and translating, European media, law or accountancy, and language teaching. Some go on to postgraduate study in fields as varied as international journalism, visual studies and translation.

Entry requirements

Home/EU students

The University will consider applications from students offering a wide range of qualifications. Students offering alternative qualifications should contact us for further advice. 

It is not possible to offer places to all students who meet this typical offer/minimum requirement.

New GCSE grades

If you’ve taken exams under the new GCSE grading system, please see our conversion table to convert your GCSE grades.

Qualification Typical offer/minimum requirement
A level

BBB

GCSE

C in a modern European language other than English

Access to HE Diploma

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

BTEC Level 3 Extended Diploma (formerly BTEC National Diploma)

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.

International Baccalaureate

34 points overall or 15 points at HL

International students

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.

If you need to increase your level of qualification ready for undergraduate study, we offer a number of International Foundation Programmes.

Meet our staff in your country

For more advise about applying to Kent, you can meet our staff at a range of international events. 

English Language Requirements

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. 

General entry requirements

Please also see our general entry requirements.

Fees

The 2017/18 tuition fees for this programme are:

UK/EU Overseas
Full-time £9250 £13810

UK/EU fee paying students

The Government has announced changes to allow undergraduate tuition fees to rise in line with inflation from 2017/18.

In accordance with changes announced by the UK Government, we are increasing our 2017/18 regulated full-time tuition fees for new and returning UK/EU fee paying undergraduates from £9,000 to £9,250. The equivalent part-time fees for these courses will also rise from £4,500 to £4,625. This was subject to us satisfying the Government's Teaching Excellence Framework and the access regulator's requirements. This fee will ensure the continued provision of high-quality education.

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.* 

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 Year Abroad/Industry

As a guide only, UK/EU/International students on an approved year abroad for the full 2017/18 academic year pay an annual fee of £1,350 to Kent for that year. Students studying abroad for less than one academic year will pay full fees according to their fee status. 

Please note that for 2017/18 entrants the University will increase the standard year in industry fee for home/EU/international students to £1,350.

Additional costs

The following course-related costs are included in your tuition fees:

  • You can apply for the National Arts Pass which is funded by the University

The following course-related costs are not included in your tuition fees:

  • Any books you wish to purchase (there are no mandatory textbooks)
  • gallery trips (optional) 

General additional costs

Find out more about accommodation and living costs, plus general additional costs that you may pay when studying at Kent.

Funding

University funding

Kent offers generous financial support schemes to assist eligible undergraduate students during their studies. See our funding page for more details. 

Government funding

You may be eligible for government finance to help pay for the costs of studying. See the Government's student finance website.

The Government has confirmed that EU students applying for university places in the 2017 to 2018 academic year will still have access to student funding support for the duration of their course.

Scholarships

General scholarships

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.

The Kent Scholarship for Academic Excellence

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.

The Key Information Set (KIS) data is compiled by UNISTATS and draws from a variety of sources which includes the National Student Survey and the Higher Education Statistical Agency. The data for assessment and contact hours is compiled from the most populous modules (to the total of 120 credits for an academic session) for this particular degree programme. Depending on module selection, there may be some variation between the KIS data and an individual's experience. For further information on how the KIS data is compiled please see the UNISTATS website.

If you have any queries about a particular programme, please contact information@kent.ac.uk.