Students preparing for their graduation ceremony at Canterbury Cathedral

Comparative Literature and English and American Literature - BA (Hons)

UCAS code QQF3

This is an archived page and for reference purposes only

2019

Taking Comparative Literature alongside English and American Literature enables you to gain strong insight into literary cultures across the world, benefitting from expertise in both the School of European Culture and Languages and the School of English.

Overview

In Comparative Literature, you have the opportunity to study texts ranging from Classical Antiquity to the present day in English translation, including works by such famous authors as Homer, Ovid, Dante, Goethe, Dostoevsky, Balzac, Flaubert, Proust and Kafka, as well as British classics such as Joyce and Woolf. 

English at Kent is challenging, flexible, and wide-ranging. It covers both traditional areas (such as Shakespeare or Dickens) and newer fields such as American literature, creative writing, postcolonial literature and recent developments in literary theory. The combination with Comparative Literature allows you to compare themes and figures across various different cultural backgrounds and to compare the works of English and American authors to European ones.

We also offer programmes with the opportunity to spend a year studying abroad in either America or Europe, where you can experience different cultures as well as different approaches to the study of literature first hand.

This degree programme enables you to tackle literature from a global perspective, unrestricted by continent or era.

Independent rankings

In the National Student Survey 2018, over 95% of final-year Comparative Literature students who completed the survey, were satisfied with the overall quality of their course.

Of Comparative Literature students who graduated from Kent in 2017 and completed a national survey, 100% were in work or further study within six months (DLHE).

English at Kent scored 92.4 out of 100 in The Complete University Guide 2019 and was ranked 18th in The Guardian University Guide 2019.

Teaching Excellence Framework

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.

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

Stage 1

Compulsory modules currently include Credits

This literary-critical module deals with a wide range of selected international tales ranging from antiquity to the present day. The module addresses issues such as the development of oral folktales and fairy tales into

written forms, and discusses various short prose genres including Aesopian fables, myths, folktales and fairy tales, as well as tales of the fantastic, nineteenth-century literary fairy tales, and the modern short story.

The framework of discussion comprises a general survey of the issues that face the comparatist. In the course of the module students practise different methods of literary analysis, including close reading and comparative analysis by examining story-motifs and story-structures, and by considering symbolic meanings in the light of psychoanalytic concepts. Students also explore questions of transmission and transformation (e.g. how stories and motifs travel from one culture to another and alter in shape and emphasis) and questions of genre (for example the fantastic). A selection of critical texts on narrative devices and patterns, on psychoanalytical, structuralist and feminist approaches to the fairy tale and on genre theories are studied in conjunction with the primary texts.

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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.

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Optional modules may include Credits

Who and what is 'a child', and what is adolescence? This module examines the representation of childhood and adolescence in a cross-section of texts from modern literature within the context of World Literature studies. Students will pay close attention to the rhetoric and techniques of storytelling woven around these themes, as well as to relevant socio-political debates, while also examining how these specific texts function across cultures.

The module encourages students to find innovative approaches to the topic, and at the same time invites them to explore the relationship between literature and childhood and the joy of reading often associated with childhood and adolescence.

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This module will introduce students to a wide range of films produced in different European and Latin American countries between the late 1980s and the present day. The module will focus on prevailing trends and dominant themes in contemporary European and Hispanic cinemas. The aim is to make students aware of the place which cinema has played and continues to play in the cultural life of Europe and Latin America, its importance in establishing national and supra-national identity, and the ways in which international relations are expressed through film production.

The module will begin with an overview of European and Latin American cinema, and then will be divided into geographically determined sections (Germany, Denmark, France, Italy, Spain and Mexico) before being brought together again in the final conclusive lecture. The course is also designed to provide students with basic film terminology, as well as with basic tools for cultural analysis.

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This module offers students a wide-ranging grounding in classical literature as a basis for the further study of Western literature within a comparative framework. Major works of ancient Greek and Roman literature are studied in order to enable students to appreciate the literary engagement with the following in the classical world: myth (including the stories of the Trojan War, Oedipus, Jason and Medea, and the founding of Rome); the relationship between human beings and the gods, between the sexes, and between the human and the animal; and the journey motif. Themes explored included sexuality, violence, conceptions of justice, metamorphosis, and madness.

The module introduces students to some of the major genres of Western literature (tragedy, comedy, the epic), and considers how these were theorised by Aristotle. It also encourages students to reflect on questions of cultural transmission, and on why the myths represented in classical literature should have proved to be such a rich source for the literature of the West.

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This module introduces students to some of the most influential theories of World Literature, which are studied alongside a selection of literary examples. The theories include Johann Wolfgang von Goethe's reflections formulated in the first decades of the nineteenth century. Goethe coined the term 'world literature' [Weltliteratur] to describe the international circulation and reception of literary works in Europe.

In the course of the module, we reflect on the relationship between national literatures and world literature, and on the ways in which the literary market facilitates and complicates transnational exchanges of ideas. In addition, students are given the opportunity to hone their close reading skills by studying a selection of ancient and modern world creation myths. These include texts from the Near East, Asia, Africa, the Americas and Europe. The module offers students the unique opportunity to analyse in detail different ways in which cultural backgrounds can shape literary productions, and how stories, motifs and themes travel across national boundaries. In the course of the module, we discuss key literary terms and concepts, including fictionality, literariness, translation, the canon, and the various modes of reception and circulation that shape our understanding of world literature.

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This module looks at European Romanticism as a cultural-revolutionary movement. Hoping to break free from established hierarchies, norms, and conventions, one cherished goal of the Romantics was to liberate the modern individual from 'society', understood as a self-inflicted state of alienation.

This module traces the manifold manifestations of Romantic thought within their specific cultural-historical contexts. Our discussion will focus on a selection of French, German, and British Romantic writers (for example: Rousseau, Chateaubriand, Goethe, the Brothers Schlegel, Kleist, Coleridge, Wordsworth, Keats, and Mary Shelley). We will critically analyse their works in close alignment with a selection of Romantic and more recent theoretical works (for example by: Freud, Todorov, and de Man) to gauge their significance within their own cultural-historical framework, and to consider their potential legacy in literature and society today.

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The twentieth-century imagination was marked by a spirit of doubt, especially of the Enlightenment faith in reason's capacity to advance humankind to happiness and freedom. In this module will be discussed some classic fictional explorations of freedom and social, political, religious and racial oppression which have had an international impact. These texts will be read as works of literature in their own right as well as contextualised with the ideas they question and propagate: universal happiness, human liberation, and morality without God, personal and political freedom, the self and its responsibility.

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The 'knowledge of good and evil' is unique to human beings. It informs the individual’s conscience and determines the moral systems on which societies are based. The violation of moral codes is expected to induce the experience of guilt, while the lack of any sense of guilt is considered psychopathic. As the manifestation of an internal, and sometimes also external, struggle of varying intensity, guilt is an almost universal concern of literary texts; as is the quest for redemption, the alleviation of guilt and despair – through atonement, forgiveness or denial. In this module, we will analyse and discuss literary texts, which explore the frequently fuzzy edges of the experiences of guilt and redemption as a human quandary and as perceived against changing conceptions of morality. Texts included in the reading list engage with questions of personal and collective guilt incurred with hubris, cruelty, the violation of animal rights, and genocide, etc.

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Stage 2

Optional modules may include Credits

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.

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This module will introduce students to a range of writing from the late-medieval period. It focuses on a number of central genres in English literature that emerged between the late-fourteenth and early-sixteenth-centuries (romance, tragedy and fabliaux, miracle plays and devotional prose), and will explore some key topics and themes in medieval literature. In previous years, we have explored, for example: authority and the idea of the 'author', politics and social change, gender, sexuality, piety, personal identity, chivalry, free will, legend, historicism, reading technologies and practices, iconography, and medievalism. The themes and theories covered by the course will vary from year to year in response to the lecture programme, and to the emphases made by individual teachers.

Geoffrey Chaucer's Canterbury Tales will offer an accessible introduction to many of these core genres and themes, and initiate students in issues that are pertinent to less familiar writers and texts from the period, such as Sir Gawain and the Green Knight, Malory's Le Morte Darthur, and The Book of Margery Kempe. During the course of the module you will also learn about the historical and cultural contexts of the fourteenth and fifteenth centuries, how such contexts influenced the literature of the period, and how modern medievalisms (the versions of ‘the medieval’ presented in, for instance, film, TV , art and historical novels) have shaped twenty-first-century ideas about medieval life and literature.

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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.

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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.

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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.

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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”.

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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.

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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 .

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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.

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This module encourages students to establish connections between the critical analysis of literary texts and creative writing practice. Adopting a 'learning by doing'-driven analytical approach, students will engage both theoretically and practically with a selection of literary features and techniques. By reading closely a wide-ranging selection of short literary sample texts that encompass older and contemporary texts originally written in English as well as translations of texts written in languages other than English, we will analyse topics including character, point of view, setting, voice, style, structure, openings, and endings. We will also pay close attention to questions of translation and cultural specificity, and to the challenges of working with translations in a creative writing context.

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How is literature playful, and how does literary playfulness relate to the experience of play that is embedded in everyday life and across different cultures? By considering comparatively a broad selection of literary texts ranging from antiquity to contemporary times, we examine diverse themes and strategies relating to play. These include the humorous and ironic eroticism in Ovid's ars amatoria, masquerade and transvestism in Chinese poetry, language games and 'nonsense' writing in Lewis Carroll, Dada collages and Surrealist automatic writing, postwar Oulipo writers' formal experimentation, the integration of games such as chess and riddles in literary creation, and contemporary digital texts and conceptual artworks that provide a gaming experience to their audience. We will read these texts with specific questions about ludic writing techniques and the reader's experience of ludic literature in mind.

Throughout the module we will consider different notions and forms of play: as the negation of work, free and spontaneous action, technical games with rules, ritualistic spectacle, theatrical role-playing, or a mode of aesthetic experience. Drawing upon key theories about play and games offered by thinkers such as Huizinga, Caillois, and Bateson to articulate the different aspects of playful literature, we will also explore how the question of play provides a conceptual framework for comparison across different cultures and historical periods. Students will also gain insight into contemporary debates about playful participatory modes of literary production, gaming culture, and the exercise of one's creativity and imagination when navigating through a plethora of information and resources in daily life.

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This module is designed to give a theoretically-grounded understanding of Comparative Literature and its methods. Students will have an overview of the brief history, fundamental debates, theories and different areas of focus of the discipline of Comparative Literature, as well as learning about the important schools of literary theory that are relevant to Comparative Literature.

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This module looks at a group of politically inspired literary texts, comics and films, some of which were produced under the totalitarian regimes which held sway in Europe between 1917 and 1989. Others deal with the Middle East conflict, and the Islamic revolution in Iran and Mao's Cultural Revolution in China, or power relations in other contexts. Most explore ways of challenging and subverting authoritarian power structures and of articulating a critique in what Bertolt Brecht called 'dark times’. But we also focus on less obvious negotiations of fiction and power, especially with respect to the various forms of power to which these texts are subject, in which they participate, and on which they reflect metafictionally. The approach is comparative in various ways as the texts range historically and culturally, as well as across genres and language barriers (Arab, Czech, English, French, German, Italian, Greek, Polish, Russian and Chinese).

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This course introduces students to the fiction (novels, novellas, and short stories) of some of the most influential twentieth- and twenty-first- century Latin American writers. The module ranges from Borges to the extraordinary literary phenomenon or explosion of the 'Boom generation', the post-Boom novel, and the recently acclaimed Chilean writer Roberto Bolaño (all studied in English translation). The course offers students the unique opportunity to study a fascinating corpus of literature celebrated for its creative innovation, fictional games, puzzles, labyrinths, fabulous and supernatural events, multiple storytellers, and magical realist writing. The course also addresses questions of gender, class, and social, cultural, and technological changes, as well as representations of identity, subjectivity, time, space, and landscape.

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This module investigates representations of gender and identity in a selection of texts by women writers from different temporal, cultural, and linguistic backgrounds. In particular, it seeks to explore the way in which representations of "self" and "other", love and desire, madness and motherhood reflect the respective socio-cultural contexts and the situation of women therein. Corporeal aesthetics, patterns of behaviour labelled as feminine or masculine, representations of transgressive conduct, and relations of power will be investigated, drawing on classic feminist theory and historiography (Wollstonecraft, Beauvoir, Irigaray, Butler, Moi, Badinter), psychoanalytical thought (Freud), narratology (Genette), genre-theory (Bakhtin) subject-theory (Sartre, Levinas, Derrida) and studies in visual culture (Barthes, Sontag, Mulvey).

Students will be asked to engage with the significance of images and representations of women and men proliferated through literature. These representations provide or question role models and perpetuate or problematise stereotypical versions of female/male goals and aspirations. Furthermore, emphasis will be placed on close readings of the selected literary works, on cultural differences and variations, and on how conceptions of sex and gender are changing in the course of time.

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This module introduces students to a range of nineteenth, twentieth, and twenty-first century literary and cinematic representations of vampires from different cultural backgrounds. It explores the reasons for the abiding allure of the figure of the vampire both in popular culture and in literary fiction.

The module will examine the ways in which vampires function as polyvalent symbols of specifically modern preoccupations, for the emergence and popularity of vampire tales is intricately bound up with the advent and wider cultural ramifications of modernity. What do vampires represent in each of the works discussed? What hidden desires and anxieties do they allow authors and filmmakers to express? The vampire is an allegorically highly potent figure that is suspended between life and death and between animal and human existence. Vampires frequently serve as foils to discuss more contentious matters, in particular questions relating to sexuality, gender roles, class, immortality and the desire for everlasting youth, being an outsider, and addiction.

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The award of literary prizes is a highly potent tool of cultural policy that frequently determines the wider national and international impact of a literary work. As such it is of crucial relevance to the study of comparative literature in a number of ways: the award of literary prizes reflects the beginnings of the successful or, as the case may be, the (ultimately) abortive formation of literary canons; moreover, it affords insights into processes of cultural production and marketing and reveals in which ways political and economic agendas are tied up with these processes; it also offers a perspective on transnational and transcultural aspects of the production and reception of literature and indicates shifting notions of the social function of literature and the writer; literature is thus understood as a cultural product in ever changing contexts which is frequently subject to external forces of which literary prizes become indicators or even 'enforcers'.

This module will investigate with the methods of literary and cultural studies the development of a number of major literary awards which have achieved global significance, among them the Nobel Prize for Literature, the Man Booker Prize, the Pulitzer Prize (for Fiction), the Prix Goncourt, and the Friedenspreis des Deutschen Buchhandels. (This list may be modified according to precedent to accommodate the topical relevance of individual award winners in the future.) Seminars will develop a historical perspective by scrutinising and analysing award winners of the past and their most recent counterparts in their different production and marketing contexts as well as in changing reception contexts: seminars will include the close reading of individual works as well as their critical reception, and the analysis of marketing strategies in various media (e.g. reports in culture magazines, reviews, displays in book shops, translations, etc.); final winners will be interpreted in the context of the respective long and short lists from which they emerged; historical developments will be taken into account, for instance by investigating 'forgotten' prize winners in comparison with those who, largely through the agency of academic intervention, ‘made it’ into the canon; the module thus also offers an insight into the history of the discipline of literary studies.

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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.

You can apply to add a Year Abroad to your degree programme from your arrival at Kent until the autumn term of your second year.  The Year Abroad takes place between Stages 2 and 3 at one of our partner universities.  Places and destination are subject to availability, language and degree programme.  For a full list, please see Go Abroad.

You are expected to adhere to any academic progression requirements in Stages 1 and 2 to proceed to the Year Abroad.  The Year Abroad is assessed on a pass/fail basis and will not count towards your final degree classification.

Stage 3

Optional modules may include Credits

If the Bildungsroman has been criticised for being outmoded and conservative, how do contemporary writers interrogate and expand its scope and importance? Are coming-of-age narratives merely private stories or can they be read in ways which highlight their social functions, and what kind of theoretical, aesthetic and cultural perspectives can we apply to scrutinise these functions? This module will bring together a range of texts and films from the twentieth and twenty-first centuries that can be read within and against the literary tradition of the Bildungsroman or the coming-of-age narrative. Drawing on material from the US, the Caribbean, Asia and Europe, we will spend time analysing the representation of the coming-of-age experience in terms of content and form and assess the ideological functions of the Bildungsroman in a cross-cultural context. Particular attention will be given to questions of racial and ethnic identity, migration, colonialism, memory, trauma, belonging and sexuality. We will also explore the connection of the Bildungsroman with genres such as autobiography, family memoir, young adult fiction, graphic novel, and film. Writers studied in this module include Richard Wright, Jamaica Kincaid, Sandra Cisneros, Sherman Alexie, Jhumpa Lahiri, Marjane Satrapi, and we will watch films including My Beautiful Laundrette and Bend it Like Beckham.

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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.

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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.

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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.

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The Unknown asks you to think creatively and analytically and to learn by a combination of careful reading and experimental writing. You will be able to read a variety of important literary and critical texts published over the last 200 years – mostly in the last 50 years. You will be asked to use the skills of critical analysis and close reading developed elsewhere in your degree in new ways and to take a fresh look at the study of literature. The course draws on the ideas writers have about writing, as well as on psychoanalysis, literary theory, fiction, poetry, drama and film. It asks you to think deeply about how, and why, you read and write.

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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.

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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.

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This module explores the history and practice of crime fiction in the United States from Edgar Allan Poe in the 1840s through to the present day. Crime fiction will be understood broadly to encompass a range of generic categories such as detective, hardboiled and police procedural novels and stories. Attention will also be paid to developments in cinema and television which parallel those in fiction, such as film noir and the contemporary cop series. Strong emphasis will be placed on historically informed reading and students will be encouraged to relate the close analysis of texts to shifts in narrative form as well as the establishment and transgression of generic conventions.

The study of American crime fiction reaches directly into the heart of many of the key concerns of undergraduate English. Questions about the distinctions between high and low culture, the seductiveness of particular narrative forms, and dialectic relations between literary and social history will all be addressed. Students will have the opportunity to read crime fiction alongside elements of Marxist, narrative and genre theory. Eventually they will be able to consider how crime fiction has evolved in its engagement with questions of race, gender and sexuality in the United States, from the construction of white masculinity in the hardboiled genre to the policing of black communities in the neoliberal city.

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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.

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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.

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This module introduces students to the drama of Shakespeare's time, thinking in particular about the new theatrical buildings and the discoveries they made possible. The module encourages independent study and is consequently built around student interests as they develop their own research questions and essay topic.

This period saw the emergence of the first permanent purpose built playhouses, and the development of the theatre industry. We will consider how the conditions of performance and production – such as playhouse architecture, the reportorial system, printing, censorship and London's changing urban environment – affected playwrights, actors and audiences. Reading a range of playwrights, students will get a sense of the main trends which shaped the drama of the time, contextualising their understanding of canonical writers such as Shakespeare. Students will also engage with the current developments in early modern theatre history and the ways in which thinking about authorship, staging, printing and other key concepts from the period has altered over the last fifty years. As part of this work, we will examine the phenomenon of the modern reconstructed playhouse such as Shakespeare’s Globe, the Sam Wanamaker Playhouse and the American Shakespeare Centre’s Blackfriars, asking what - if anything - modern performance in these spaces can tell us about early modern practices.

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This module focuses on the theory and practice of marriage and divorce in early modern England and its treatment in the literature of the period. Examining a wide range of texts (drama, poetry, prose works and domestic handbooks alongside documentary sources such as wills, legal records and letters), it will explore the ways in which representations of marriage and its breakdown both reflected and informed the roles of men and women in early modern society. The relationships between discourses about gender, politics and the historical evidence about men and women's married lives in the period will be explored both through reading in the extensive secondary literature of gender, women's history and masculinity as well as through the study of primary sources such as wills, court records, advice books, popular literature (ballads and pamphlets, for example), literary texts (poems, plays and tracts), diaries and personal memoirs and material objects such as wedding rings and scold’s bridles, for example. From Shakespeare and Fletcher's dramas of happy and unhappy marriage and Spenser's poetry of marital bliss, to argument surrounding men and women's roles in marriage in the poetry and pamphlets of Milton and his contemporaries, we will also go in search of the personal accounts of women and men's experiences of marriage and its breakdown and the material artefacts which are testament to them.

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This module examines the relationship between global capitalism and the novel since the 1980s. By arguing for the centrality of capital and class in the understanding of contemporary post-colonial literature, it reveals how a vibrant global realism has emerged that speaks to the new urban realities of massive rural migration to the city, exploding slum life, and more polarized class inequalities in the global South. It will explore how neoliberal globalization both makes possible and is critiqued by new realist narratives of abjection and resistance from across the global South, especially from India, Nigeria, South Africa, Martinique, Chile, and Egypt.

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"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.

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This module will explore arguably the most popular of secular literary forms from late medieval and early modern Europe. The course will explore a range of chivalric romances alongside a variety of other literary, textual and material productions that testify to a cultural fascination with the ideals of knighthood and with courtly values more generally. The module will pay particular attention to the rise of romance literature in the late medieval period, with narratives that were repeatedly translated into English for socially diverse audiences. The module will explore particular tropes within romance literature and courtly lyric poetry, particularly in respect of the portrayal of women. It has long been recognised that romance literature was often read by mixed gender audiences and the module will explore how the genre functioned to guide female behaviour against patriarchal and social norms.

The module will also study how supposedly courtly literatures consistently appealed to 'middling' socially aspirant consumers and not only to society’s elite who were so often the protagonists portrayed in such texts. Actual readers, manuscript case studies and England’s first generations of printers will be examined to explore the contexts for the middling classes’ fascination with chivalric literature.

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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.

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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.

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The Love Poem will tell a history of English poetry through the lens of its most important and singular genre. Students will interrogate the characteristics of modern poetry itself through an investigation of love, desire, gender and intimacy as they have been articulated through the changing lyrical tradition of the language. The module will examine key canonical writers from the beginnings of the English lyric, including Thomas Wyatt and William Shakespeare, through complications in metaphysical poetry, the ballad and Romanticism, up to present day representations of homosexual love, popular song and avant-garde expression. Poets will be studied alongside theorists such as Alain Badiou, Roland Barthes and Judith Butler, exploring the possible ways in which poetry can be said to challenge dominant modes of love, interact with their social environment through love poetry, and investigate, express and explain the experiences of attraction, attachment and loss.

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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.

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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.

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This module is an intensive study of the Aesthetic and Decadent movements in late Victorian Britain. The module will proceed thematically rather than chronologically, and will acquaint students with some of the key artistic achievements and critical works associated with both movements, such as Algernon Charles Swinburne's Poems and Ballads (1866), Walter Pater’s Studies in the History of the Renaissance (1873), and Oscar Wilde's The Picture of Dorian Gray (1890). We will also examine some of the manifestos, scandals, satires, and controversies that gave aestheticism and decadence shape in the public imagination, such as James McNeill Whistler’s 1877 libel suit against Ruskin, the notorious periodical The Yellow Book, and the three trials of Oscar Wilde. Students will pay particular attention to the relationship between the literary and visual arts, and develop a sophisticated understanding of the theoretical and imaginative stakes of Victorian aestheticism and decadence, as well as of the social and material contexts from which these movements arose.

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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).

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The current refugee crisis has brought widespread attention to the precarious situation of the refugee. While representations of refugees and migrants in literary texts can be traced back to antiquity, the current era of globalisation and international conflict has created a sense of urgency, resulting in an abundance of new literary works that are devoted to the figure of the refugee. Focusing on themes including forced displacement, home and hospitality, this module examines literature by and about refugees from as far afield as Lebanon, Iraq, Korea, Palestine and Vietnam.

This module explores the complexities associated with forced migration and refugee populations. It analyses tensions between the global and the local in the age of globalisation and considers whether we might view the current crisis as an articulation of the religious, cultural and racial tensions between East and West. Perhaps most importantly, the module will consider how literature might be an appropriate vehicle for articulating the humanity of those affected. Finally, students will consider the role of the refugee-as-author and question whether and how personal experiences of the authors might affect both narrative form and reader response.

The current crisis has led to the formation of new fields of study. Over the course of the module, students will engage with key theoretical concepts from mobility studies and border studies; they will also be introduced to the emerging field of refugee and forced migration studies, which examines the phenomenon of the refugee from a range of disciplinary perspectives, including anthropology, law, human rights, politics, literature and film.

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The award of literary prizes is a highly potent tool of cultural policy that frequently determines the wider national and international impact of a literary work. As such it is of crucial relevance to the study of comparative literature in a number of ways: the award of literary prizes reflects the beginnings of the successful or, as the case may be, the (ultimately) abortive formation of literary canons; moreover, it affords insights into processes of cultural production and marketing and reveals in which ways political and economic agendas are tied up with these processes; it also offers a perspective on transnational and transcultural aspects of the production and reception of literature and indicates shifting notions of the social function of literature and the writer; literature is thus understood as a cultural product in ever changing contexts which is frequently subject to external forces of which literary prizes become indicators or even 'enforcers'.

This module will investigate with the methods of literary and cultural studies the development of a number of major literary awards which have achieved global significance, among them the Nobel Prize for Literature and the Man Booker Prize the Prix Goncourt (This list may be modified according to precedent to accommodate the topical relevance of individual award winners in the future.) Seminars will develop a historical perspective by scrutinising and analysing award winners of the past and their most recent counterparts in their different production and marketing contexts as well as in changing reception contexts: seminars will include the close reading of individual works as well as their critical reception, and the analysis of marketing strategies in various media (e.g. reports in culture magazines, reviews, displays in book shops, translations, etc.); final winners will be interpreted in the context of the respective long and short lists from which they emerged; historical developments will be taken into account, for instance by investigating 'forgotten' prize winners in comparison with those who, largely through the agency of academic intervention, 'made it' into the canon; the module thus also offers an insight into the history of the discipline of literary studies.

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This is a module about the intersection of colonial power relations, anti-colonialism, postcolonialism, feminism, and identity politics in literature that interrogates the influence of imperialism on a sense of self. It considers the writing of a number of authors from Algeria, Morocco, Nigeria, Cuba and India. In light of the complex relationship between coloniser and colonised, we consider the ideology of many of these writers, as well as the ways in which their politics are articulated in their writing, whether fiction or non-fiction. We also examine to what extent this literature is representative of other postcolonial concerns such as nationhood and national consciousness, hybridity and assimilation, and exile and alienation within the larger context of cultural theory. Particularly significant is our interrogation of the violence inscribed in both the colonial system and the colonised's fight for independence as seen from the perspective of Frantz Fanon in Black Skin, White Masks (1952), A Dying Colonialism (1959), and The Wretched of the Earth (1961).

Studying the primary and secondary texts in English, we bring awareness to the reading scene of the translation process as an important development in the transnational study of comparative literature in a globalised world. In so doing, we acknowledge the significance of indigenous languages and dialects as signifiers of subject-hood in conflict with the coloniser's language. By exploring a variety of anti-colonial resistance and liberation discourses in relation to the development of current postcolonial thinking, the module also offers an insight into the history of the discipline of Postcolonial studies.

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The module is predicated on independent research activity. It builds on the skills and experiences acquired through stages 1 and 2. Students write a dissertation on a topic of their own choice. The topic must be on a literary or related subject and must have a comparative element. The final-year dissertation gives students the opportunity to satisfy their intellectual curiosity by individually and independently researching a large-scale project of their own choice. Throughout autumn and spring terms students will be given guidance by a chosen supervisor, but the rhythm of research, the writing and frequency of meetings between supervisor and student is left to the individual student to determine. The SWIPE undergraduate conference will give students a chance to discuss their and their fellow students' work and to test some of their ideas in a larger context.

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The module seeks to explore how novels and plays are adapted and interpreted for the screen. We will analyse how certain texts lend themselves to multiple reshaping, such as Laclos' Dangerous Liaisons. We will also analyse lesser-known works that have gone on to become feature films, such as Arthur Schnitzler’s Dream Story, filmed as Eyes Wide Shut. Adaptations directed by internationally recognized filmmakers such as Roman Polanski, Vittorio De Sica, Francis Ford Coppola, Stanley Kubrick, and Pier Paolo Pasolini will be examined with a view to eliciting and understanding their particular approach to, and filmic vision of, written texts.

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This module looks at a group of politically inspired literary texts, comics and films, some of which were produced under the totalitarian regimes which held sway in Europe between 1917 and 1989. Others deal with the Middle East conflict, and the Islamic revolution in Iran and Mao's Cultural Revolution in China, or power relations in other contexts. Most explore ways of challenging and subverting authoritarian power structures and of articulating a critique in what Bertolt Brecht called 'dark times’. But we also focus on less obvious negotiations of fiction and power, especially with respect to the various forms of power to which these texts are subject, in which they participate, and on which they reflect metafictionally. The approach is comparative in various ways as the texts range historically and culturally, as well as across genres and language barriers (Arab, Czech, English, French, German, Italian, Greek, Polish, Russian and Chinese).

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Teaching and assessment

Comparative Literature

For most modules, you have one two-hour seminar per week. The Final-Year Dissertation is based entirely on your private research but is supervised by a tutor and includes workshops and the chance to participate in an undergraduate conference. Assessment varies from 100% coursework to a combination of examination and coursework, usually in the ratio 50:50 or 40:60.

Comparative Literature students can also choose to take a module that is linked to our SWIPE (Student Work in Progress Exposition) conference. SWIPE is an annual one-day conference organised by Comparative Literature students: it is a platform for our third-year students who give 15-minute presentations on their final-year dissertation projects. SWIPE is a fantastic experience for students, as they learn everything about planning, organising and running a conference, as well as about the art of preparing and giving professional conference presentations.

We also offer a module designed specifically for students who are planning to embark on a career in teaching: Comparative Literature and English & Linguistics in the Classroom.

English and American Literature

Modules are taught by weekly seminars. Core 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.

Contact Hours

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.

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

Comparative Literature

Studying Comparative Literature and English and American Literature, you learn to think critically, develop the skills of close reading and effective communication, and gain confidence and experience in expressing your ideas. These key transferable skills are essential for graduates as they move into the job market.

English and American Literature

Our graduates have found jobs in diverse areas including journalism, broadcasting and media, publishing, writing and teaching, as well as in banking, marketing analysis and project management. A significant percentage of our students pursue further study for postgraduate qualifications.

Entry requirements

Home/EU students

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. 

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 at A Level including English Literature or English Language and Literature at grade B

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 at HL including HL English A1/A2/B at 5/6/6 OR English Literature A/English Language and Literature A (or Literature A/Language and Literature A of another country) at HL 5 or SL 6.

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. 

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.

Meet our staff in your country

For more advice 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 2019/20 annual tuition fees for this programme are:

UK/EU Overseas
Full-time
Part-time

For details of when and how to pay fees and charges, please see our Student Finance Guide.

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.* 

Your fee status

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 in Industry

For 2019/20 entrants, the standard year in industry fee for home, EU and international students is £1,385

Fees for Year Abroad

UK, EU and international students on an approved year abroad for the full 2019/20 academic year pay £1,385 for that year. 

Students studying abroad for less than one academic year will pay full fees according to their fee status. 

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.

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.

Full-time

Part-time

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.