Students preparing for their graduation ceremony at Canterbury Cathedral

Philosophy and Drama - BA (Hons)

UCAS code VW54

2018 See 2017 entry

Studying Philosophy and Drama enables you to engage with the world’s major philosophies and thinkers alongside learning the practical skills and cultural insights of the dramatic arts.

Overview

What is philosophy? Why is it important? Is it relevant? As a student of Philosophy at Kent, you do not so much learn about philosophy as learn to do it yourself. This includes not only studying major philosophies and philosophers, but also contributing your own ideas to an ongoing dialogue. You develop the ability to connect the most abstract ideas to the most concrete things in our experience.

There is active research culture in the Department of Philosophy at Kent, with internationally recognised experts whose interests range from philosophers such as Hegel, Kant and Wittgenstein to topics such as the philosophy of the mind, ethics, aesthetics, logic, political philosophy, metaphysics and artificial intelligence.

University of Kent Drama students are taught by leading performance practitioners and lecturers from all around the world. Our range of industry-standard facilities include studios, performance spaces and workshops. There is a diverse array of modules to choose from that incorporate a distinctive balance of practical and theoretical elements, allowing you to develop the skills and vision needed for employment in the creative industries and beyond. Consequently, our Drama and Theatre courses are among the most popular in the country with strong National Student Survey results every year.

This degree programme is an ideal combination for anyone wanting to understand the complexities within our ideas and cultures, while gaining practical and creative skills for a future career.

A Year Abroad

This programme includes the option to spend a year abroad at one of our partner universities, between Stages 2 and 3. For more information, see the course structure tab or Go Abroad.


Independent rankings

Philosophy at Kent was ranked 14th in The Guardian University Guide 2017. In the National Student Survey 2016, 90% of our Philosophy students were satisfied with the quality of teaching on their course.

Drama at Kent was ranked 16th in The Complete University Guide 2017. In the National Student Survey 2016, 92% of our Drama students were satisfied with the quality of teaching.

Philosophy students who graduated from Kent in 2015 were the most successful in the UK at finding work or further study opportunities (Destinations of Leavers from Higher Education survey). For graduate prospects, Drama at Kent was ranked 9th in The Complete University Guide 2017.

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

Possible modules may include Credits

This is a module about the implications of Peter Brook's idea that anything can be seen as 'an act of theatre’. Students will be invited to see beyond their own default assumptions about theatre, and introduced to a diverse range of methods of devising their own performances. In practical workshops, they will learn about professional practice, warming up, performance skills, and collaborative group work; and will explore the possibilities of creating performance from a range of starting points, including (for example), space, body, voice, text, or character. This practical exploration will sit alongside an introduction to related aspects of history and theory. In seminars, students will be introduced to such concepts as theatre spaces, traditional play texts, non-traditional theatre texts, historical approaches to characterisation (e.g. Stanislavski, Mike Leigh), physical approaches to acting (e.g. Grotowski, Lecoq), and the different models for engaging an audience (e.g. Brecht, Boal). The experience will be enhanced by 4 ‘Theatre Forums’ within which students experience a short piece of performance by Theatre Companies/Performers who have emerged from the department, followed by an ‘open discussion forum, situating the work within the world of performance, and the influence that their university learning had in relation to their current practice. Students will be assessed by a short in-class performance and an essay. This module (together with Making Performance 2) will offer a solid foundation for all modules in years two and three which involve creative performance work.

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Like Making Performance 1, this module is about the implications of Peter Brook's idea that anything can be seen as 'an act of theatre'. Students will be further encouraged to see beyond their own default assumptions about theatre, and introduced to an expanded range of methods of devising their own performances. In practical workshops, they will learn more about warming up, performance skills, and collaborative group work; and will explore the possibilities of creating performance from a further range of starting points, including (for example), improvisation, music, audience, personality, and aural and visual stimuli. Workshops will be longer than in Making Performance 1, to allow for a more developed engagement. Not only will this allow more time for discussion of the assigned reading, but it will also allow students to start engaging with technical aspects of theatre-making. Students will be encouraged to develop their own ideas about theatre and performance through a series of lectures in which different Drama lecturers talk to the students about their ideas of what theatre is and could be, and how these ideas have been shaped by their encounters with theatre as audience members, theatre makers, and academics. Students will be assessed by a public performance, in which they explore their own aesthetic tastes and approaches to theatre (to take place in Summer Term); and a piece of writing in which they create their own theatrical manifesto, reflecting on their experiences of creating and performing theatre in this module, the ideas they have encountered in the lectures and the reading and, crucially, articulating their own ideas about what theatre and performance should be. This module (together with Making Performance 1) will offer a solid foundation for all modules in years two and three which involve creative performance work.

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Can I know that I am not dreaming? Am I the same person I was when I was ten years old? Do I have an immaterial mind or immortal soul? Am I a mere machine or do I have a free will? What are the fundamental properties of the world? Does God exist? This module is meant to be an introduction to these and other fundamental problems of philosophy. The module begins with an examination of some themes in Descartes' Meditations on First Philosophy, and moves on to discuss the arguments of other classical philosophers, such as Locke, Berkeley, Hume, Kant, and also of contemporary thinkers. Among the themes addressed are: the nature of knowledge, scepticism, personal identity, the mind-body problem, free will and determinism, primary and secondary qualities, causation, induction, God.

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Students studying on this module will be introduced to a number of big questions in ethics. The questions may include the following: What makes a life good? Is it happiness? Or is it something else? Another big question is: What makes actions right or wrong? Is it God demanding or forbidding them? Or are actions perhaps right to the extent that they serve to make lives better off, and wrong to the extent that they make lives worse off? Some philosophers have thought so. Others wonder: What if I steal money from someone so rich that my act in no way makes her life go any worse. Might it still be the case that I have acted wrongly—even if I haven't made anyone worse off? A third bit question is this: What's the status of morality? Is it, for example, the case that what’s right for me might be wrong for you? Does it make any sense at all to talk about moral claims being true or false, even relative to moral communities? Might moral judgements be nothing but expressions of sentiments? Throughout the course, students will be examining these and similar questions from the point of view of a variety of philosophers, including Plato, Aristotle, John Stuart Mill, Immanuel Kant, and David Hume.

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Since Plato's Dialogues, it has been part of philosophical enquiry to consider philosophical questions using logic and common sense alone. This module aims to train students to continue in that tradition. In the first part students will be introduced to basic themes in introductory logic and critical thinking. In the second part students will be presented with a problem each week in the form of a short argument, question, or philosophical puzzle and will be asked to think about it without consulting the literature. The problem, and students’ responses to it, will then form the basis of a structured discussion.

By the end of the module, students (a) will have acquired a basic logical vocabulary and techniques for the evaluation of arguments; (b) will have practised applying these techniques to selected philosophical topics; and (c) will have acquired the ability to look at new claims or problems and to apply their newly acquired argumentative and critical skills in order to generate philosophical discussions of them.It will be taught through a combination of lectures and seminars in the first half of the term, and seminars only in the second half of the term.

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What do philosophers do? How do they think? What do they typically think about? How do philosophers write? What sorts of writing are acceptable in philosophy? How should you write? How should philosophy best be read in order to be understood and assessed?'

In this module we will introduce you to some of the most interesting questions in philosophy, both from its history and from current debates. As we do this we will show you how to think, read and write as a philosopher.

Some of the questions we will discuss this year include: 'Why is Hume's fork so important in the history of philosophy?’, 'What is the difference between evaluative and descriptive judgements in aesthetics?’ and ‘What is the difference between ‘is’ and ‘ought’?’ We will also think about questions of more general philosophical import, such as: ‘What it is to presuppose something?’, ‘What is it to argue in a vicious circle?’, and ‘What does a philosophical definition look like?’

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Stage 2

Possible modules may include Credits

The course will introduce basic skills related to the craft of acting, predominantly within naturalist and realist idioms. This acting course will provide a core practical introduction to mainstream acting techniques descended from the teachings of Stanislavski and his heirs, as well as providing an introduction to contrasting practice and theories from other significant practitioners.

The course will introduce students through practical means, to basic terms and concepts in mainstream rehearsal-room practice. The students will develop a practical and usable understanding of a contemporary approach to the Stanislavskian system. Students will explore approaches concerning the use of detailed textual analysis when preparing a naturalistic role for performance and concepts to be introduced will include text analysis and uniting, actions and activities, objectives, obstacles, stakes, and given circumstances. On some level, this course will allow the student to explore varied and contradicting ideas from the world of actor training.

All of these concepts will be explored in practice through a combination of physical and text exercises, improvisation and close textual analysis. Students will be encouraged to adopt a critical overview of the work and to evaluate for themselves, both via class discussion and through reflective analysis on paper, the strengths and weaknesses of the techniques to which they are introduced.

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This module offers an opportunity to explore an exciting and important period of British Theatre: a period which laid the foundations for the organisation, values and forms of British Theatre throughout much of the twentieth and twenty-first centuries. Encompassing the Victorian and Edwardian years, as well as WW1, this was a time of radical change in British society and the module examines the theatre's relationship with this changing historical, social and cultural context.

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Students' learning will be organised around research-based performance projects. These will be

based on detailed examinations of particular popular performance genres (for example, variety theatre, slapstick, cabaret, pantomime, radio comedy). Initially, students develop relevant performance skills, which might include, for example, addressing an audience, developing a stage persona, dance, singing, and/or simple acrobatics. In addition to this, they will be set weekly research tasks relevant to the particular genre they are studying. These tasks will lead towards a research essay, which will typically relate to the piece they go on to perform in the final assessed show. They will work independently on devising and rehearsing material related to both the research and the skills acquired in workshops, testing this material in front of an audience made up of other students on the module in their weekly all student practical session. Subsequently, they will develop their material to create a show in the style of the assigned popular performance genre, which will be performed to a public audience.

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This module engages with the plays of Shakespeare and his contemporaries as texts for performance; approached through a variety of critical, theoretical and practical methods. It considers the theatrical, cultural and historical conditions that produced and shaped them; examines the role played by the drama in a violent, volatile and rapidly-changing society; investigates and applies the principles of early modern playing spaces and performance practices, and considers the variety of ways in which these works have been encountered and reinvented in the modern period.

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This module will introduce students to the emergence and development of 'site specific' performance through the 20th Century and into the 21st Century, interrogating what has progressively become a generic label applied to a range of theatre/performance forms which embrace ‘site’ however tenuous this relationship might be. The module explores the context in which ‘site’ becomes the determining feature in the creation of artistic and theatrical works in the mid-20th Century, specifically considering the development of site/land art, installation art, celebratory community theatre and the subsequent influence of this work on the emergence of ‘site specific’ performance and current practice. The module will introduce students to a range of practitioners who explore the ‘site’ of performance from a number of perspectives, and the theoretical contexts in which these approaches might be considered.

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This module will investigate key texts and practitioners of post-World War II European theatre. The course will provide an introduction to some key European playwrights (e.g. Genet, Beckett) and practitioners (e.g. P. Brook, A. Mnouchkine, D. Fo) through looking at significant play texts, landmark productions and theatre practices in their social context and conditions of performance.

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This module offers a creative exploration of puppetry and object theatre. It includes scenic elements and staging. Elements used typically include puppets, objects, visible/invisible puppeteers and set, light, projection, motion and sound. Lectures provide theoretical perspectives while practical workshops explore making performance. Students will explore and discover the uses and dynamics of the different elements, developing the skills as makers, performers, puppeteers, manipulators, musicians and/or technicians.

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The primary aim of the module is to introduce students to the principles and practices of theatre history, and therefore in order to make best use of the staff team’s research specialisms, the historical focus of the curriculum will vary. The module offers not only a study of the major canonical texts of the period but also a detailed exploration of the societal conditions and theatrical realities of its time, allowing for an understanding of theatre as an artistic product of a particular culture. Modern revivals of classical texts will also be considered, taking account of issues regarding historical and cultural transposition.

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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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This module studies different approaches to physical training for performance. It covers examples from around the world, though developments in Europe during the twentieth century provide a focus for the module. The module is oriented towards training for 'physical theatre' – a term which emerged at the end of the twentieth century and refers to a shift away from script, playwright and linear narrative. As such naturalism and the work of Stanislavski do not fall within the remit of this module, and are covered by ‘Acting’ in Stage II.

Students will gain valuable practical experience of physical training in weekly workshops where they will explore the fundamental principles of training the body. These include:

Posture, centre, balance, energy, space, tension, relaxation, sound within the body.

Precision and clarity in movement

Presence, spontaneity and improvisation

The module makes elementary investigations into the relationship between training and performance composition, an aspect which will be further explored in Physical Theatre 2(DR664).

Practice will be contextualised by historical and theoretical reading that explores the landscape from which the term ‘Physical Theatre’ emerged in the twentieth century. Key historical figures include: Jacques Copeau, Antonin Artaud, Edward Gordon Craig, Jerzy Grotowski, Eugenio Barba, Rudolph von Laban and Jacques Lecoq, among others. Grotowski’s term ‘Poor Theatre’ is a crucial starting point for the module, and we explore how a performer might be prepared for a performance style that focuses so fully on the performer’s body in space, and the demands that come with that style. Eugenio Barba’s ideas about ‘pre-expressivity’ and the study of performer training across different cultures and disciplines are also important.

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Students will explore the historical and cultural contexts through which the genre of musical theatre dance developed. Learning will be organised around detailed examinations of particular periods of musical theatre dance including its interface with popular dance forms in the 1920s and the emergence of variety and Vaudeville theatre; the integration of Latin, Indian and African influences through the 1940s, 1950s and 1960s; the standardization of jazz in the 1970s; and the influences of ballet, cabaret, and burlesque theatre across the century's period styles. Weekly workshop sessions will include a comprehensive isolation-based musical theatre/jazz warm-up, followed by movement studies focused in specific periods and the learning of a section of musical theatre dance repertory. In addition, students will view filmed musicals and other performances from specific periods and present critical analyses of these in small groups during seminar classes. Attendance at three live musical performances will also be required. These tasks will lead towards a research essay focused on a period, artist, or musical of the students’ choice.

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Recent theatrical productions as diverse in form as experimental performance, new writing, West End drama, musicals and live art have shown a recurring fascination with adapting existing works by other artists, writers, filmmakers and stage practitioners. The transition of an existing source or stimulus to the stage – be it film, book, play, artwork, or other performance – is not a smooth one. It implies negotiations of numerous kinds, such as interlingual and intercultural, but also ideological, ethical, aesthetic and political. Drawing on the work of contemporary theatre-makers, this module will explore specific approaches to stage adaptation, study adaptation methodologies and develop an understanding of the implications of adaptation. Through seminar discussions, practical and creative work, the module will prompt a reflection on performance's near-obsessive desire to return, repeat, rewrite and revisit, establishing a dialogue across languages and cultural identities.

During seminars, students will study several adaptation projects and strategies, which will form the basis for an essay. During practice-based workshops, students will experiment with a source of their choice and produce a research and development portfolio for a performance project based on this source. The portfolio may include an essay on the chosen source and its afterlife, a treatment on their proposed adaptation approach, and a brief director’s statement for marketing purposes, aimed at communicating their ideas to the general public. If the student wishes so, the portfolio may be supported by a brief practical demonstration, promotional video or other creative material, but the students are expected to keep their performance time and tech to a minimum, and will not be provided with technical support or extra rehearsal space for this module.

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We typically value justified belief more than simple belief, for very good reasons: a justified belief is more likely to be true than a randomly selected one. Indeed, we value knowledge even more than justified belief, since, arguably, a belief that qualifies as knowledge is true. But when is a belief justified? And what is knowledge? Is any of our beliefs justified? Do we know anything at all? Do we know that it's 8 o’ clock if at 8 o’ clock we see a broken watch indicating 8 o’ clock? Do we know that our cat is sleeping on the sofa, if we don’t know that we’re not brains in a vat? This module investigates these and other epistemological questions, mostly by looking at some deeply puzzling sceptical arguments, some of which areas old as Philosophy is, and all of which have sprung very lively debates in the recent philosophical literature.

This module is designed to introduce students to some key philosophical notions – such as belief, justification and knowledge – and to some of the most exciting and interesting literature on the subject. The module begins with a brief overview of the literature on the analysis of knowledge – this will introduce students to the main philosophical approaches to justification and knowledge: internalism and externalism. The module will then move on to consider two influential forms of Skepticism: Pyrronian skepticism and Cartesian skepticism. Students will be introduced to the main views on the structure of justification – foundationalism, coherentism and entitlement approaches – as well as to the main semantic accounts of 'know’ – contextualism, dogmatism and relevant alternatives/tracking theories. Some epistemic principles, such as the so-called KK principle, will be introduced via the presentation of epistemic paradoxes, such as the Surprise Examination Paradox.

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What makes it the case that certain actions, such as stealing and sharing, have ethical value? Are ethical values such as goodness and badness, compassion and cruelty, mind-independent ethical properties, properties that exist no matter what anyone thinks, desires, aims at and the like? Or are there no such ethical properties at all and when we call something good we are just expressing our emotions and feelings about a nonethical world? Are there any other positions available?

This course is designed to introduce you to some of the most exciting and interesting philosophical literature in recent years, which brings together ethics and metaphysics with a little epistemology and philosophy of language. The first half of this course will examine (what are often called) "metaethical" questions such as those above. We will then move on to discuss debates concerning moral psychology and motivation. When one says 'charity-giving is good' is it a matter of necessity that one will be motivated to some extent to give to charity? Or is it possible for one to make such a judgement and have no motivation at all (and for such a judgement to count as a legitimate moral judgement)? At the end we will see how these questions concerning psychology are integral to the earlier debates of metaphysics. Throughout, we will be examining these questions and issues by looking at work by authors from the start of the twentieth century (e.g. G. E. Moore) and by more recent writers (e.g. Simon Blackburn, Allan Gibbard, J. L. Mackie, John McDowell and Michael Smith).

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This course is designed to introduce students to a number of philosophical issues arising from medical research and medical practice. Students will consider attempts to define the following terms – health, illness, and disease – and discuss what rests on their definition. Much medical practice proceeds as though medicine were a natural science. This module will probe the limitations of this conception. The placebo effect demonstrates the powerful influence of suggestion on the body and students will consider its relevance to philosophical ideas of the mind-body relation. Finally, students will consider ethical issues arising in medical practice, such as 'medically assisted death'.

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This module studies some central questions in philosophy of religion, drawing on topics in metaphysics, ethics, epistemology, philosophy of language and philosophy of mind. It begins by studying and critically assessing three of the 'classical' arguments for the existence of God—the ontological argument, the cosmological argument and the argument from design —which consider respectively whether reason, science or experience can show us that God exists. It goes on to consider the relationship between religion and morality, examining Kant’s moral argument, which appears to support a case for the existence of God, and Plato’s Euthyphro Dilemma, which appears to tell against it. Finally, it considers some central topics in religious epistemology, language and philosophy of mind, including: miracles, the nature of religious experience, religious language and personal identity. One underlying question the module considers is whether the above arguments and topics could be used to support or tell against an argument for the overall rationality of religious belief.

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Language is a wonderful thing. Groups of marks or bursts of sound are just physical entities but, when produced by a writer or a speaker, they are used to point beyond themselves. This is the property of aboutness or intentionality. Other physical entities generally don't have this property. When you hear a sentence, you hear a burst of sound, but typically you also understand a meaning conveyed by the speaker. What is the meaning of a word – some weird entity that floats alongside the word, a set of rules associating the word with objects, an intention in the mind of the speaker….? What is the difference between what your words imply and what you convey in saying them? How are words used non-literally, how do hearers catch on to the meaning of a newly minted metaphor? How can we mean and convey so much when uttering a concise sentence? How is it that learning a second language can be so frustrating and time consuming, whereas we learn our first language with no trouble at all? The questions keep coming. In this module we shall try to find some answers.

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The aim of this course is to engage in the study of specific topics in the philosophy of mind, language, or action and to engage with the criticism of contemporary approaches as it is found in the works of Wittgenstein, Ryle, Anscombe, and/or Austin.

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Logic is the study of the methods and principles used to distinguish correct reasoning from incorrect reasoning and, as such, it is a crucial component of any philosophy course. Moreover, logic has applications other than the testing of arguments for cogency: it is also a widely used and useful tool for clarifying the problematic concepts that have traditionally troubled philosophers, e.g., deductive consequence, rational degree of belief, knowledge, necessary truth, identity, etc. Indeed, much contemporary philosophy cannot be understood without a working knowledge of logic. Given this, logic is an important subject for philosophy students to master.

The module will primarily cover propositional and predicate logic. Regarding propositional and predicate logic, the focus will be on methods for testing the validity of an argument. These methods will allow students to distinguish correct from incorrect reasoning. The module will also cover inductive and modal logics. Regarding inductive and modal logics, the focus will be on clarifying epistemological concepts through the use of these logics.

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The module will study some of the major works in the history of modern philosophy of cognitive science and artificial intelligence. An indicative list of topics is: The Turing test; the Chinese Room argument; the frame problem; connectionism; extended and embodied cognition; artificial consciousness. The approach will be philosophical and critical, and will involve the close reading of texts. Students will be expected to engage critically with the works being studied and to formulate and argue for their own views on the issues covered.

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How does truth relate to existence? This module looks at the connection between truths and the things that make them true. We consider questions relating to the connection between truth and ontology (or existence) concerning time, persistence, possibility, generality, composition, and causation. We will look at how these issues are discussed in contemporary analytic metaphysics. We will explore both what solutions looking at the connections between truth and ontology might offer, whether this approach to the problems is useful, and how best to communicate the problems we discuss.

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Under what circumstances might it be permissible to use violence to further political goals? What distinguishes different sorts of political violence? Ought the state to have a monopoly on political violence? Are there some methods that should never be used to further political goals? In this course, we will look at the various forms of political violence, and consider how political and legal theorists have tried to regulate violent interaction between states and within states. We will examine the conceptual difficulties that arise when postulating international laws, and consider the role of the United Nations as international mediator and law enforcer. We will also look at the rights of self-determination amongst sub-national groups, and at the obligations of the international community to intervene to prevent humanitarian abuses.

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The module will cover some of the major topics of the theory of reasoning, with a focus on presenting students with new and exciting research. The syllabus will vary from year to year. The approach will be philosophical and critical, and may involve the close reading of texts. Students will be expected to engage critically with the works being studied and to formulate and argue for their own views on the issues covered.

As an indication of the kind of topics covered, the following are three potential syllabi, one of which might operate in any particular year:

1. Probability and probabilistic reasoning. This syllabus will present the major interpretations of probability and their connection with the various kinds of probabilistic reasoning. Topics covered might include: the classical interpretation; the logical interpretation; the subjective interpretation; the frequency interpretation; the propensity interpretation; the objective Bayesian interpretation. The key text will be D.A.Gillies (2000): Philosophical theories of probability, Routledge.

2. Causality and causal reasoning. This syllabus will present the major theories of causality, including difference-making theories (probabilistic theories, counterfactual theories, agency theories), mechanistic theories (process theories, complex systems theories) and pluralist theories. It will go on to consider methods of causal reasoning in the sciences and the implications of such methods for the metaphysics of causality. In the absence of a comprehensive text, this syllabus will appeal to papers, especially those in the Oxford Handbook of Causation (OUP 2009), and Causality in the Sciences (OUP 2011).

3. Invalid arguments. This syllabus will look in detail at methods of assessing the cogency of deductively invalid arguments. In particular it will present the methods of inductive logic for assessing the plausibility of arguments. It will provide an introduction to probabilistic logics and their semantics, as well as to methods of inference in probabilistic logics, with a focus on elementary methods that can be readily acquired by students with little prior training in logic and no prior knowledge of probability theory. In the absence of a text at a suitable level, this syllabus will be accompanied by a set of detailed lecture notes.

Convenor: Jon Williamson

Jon Williamson works on various topics connected with reasoning, inference and scientific method, including causal reasoning in the sciences, inductive reasoning, and the nature of probability. The aim of this module is to introduce students to cutting-edge research on topics such as these. Jon is editor of the gazette The Reasoner, co-director of the Centre for Reasoning, and author of books on reasoning such as Bayesian nets and causality (OUP 2005), In defence of objective Bayesianism (OUP 2010) and Probabilistic logics and probabilistic networks (Springer 2011).

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Immanuel Kant's Critique of Pure Reason.

Kant's Critique of Pure Reason (1781/1787) is the greatest work of modern philosophy, and one of the most important and influential books written in our subject. It sets the scope and limits of human knowledge, rejects the over-confident illusions of rationalists like Leibniz and the all too modest ideas of empiricists like Locke and Hume, and sketches a programme for metaphysics with a human face, devoid of shadows or obscurity. Or so it seems. This module will investigate the official arguments Kant offers in favour of his metaphysical humility, and speculate about its more hidden motives. Close attention will be given to key parts of the text. Students who have an interest in the history of modern philosophy, the Enlightenment, metaphysics, epistemology and rational theology, and who enjoy reading and engaging in a serious and thorough manner with a classical text of philosophy are encouraged to take this course. Knowledge of the tradition Descartes-Hume is an advantage, but not a pre-requisite for it.

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The curriculum will typically be focused on an important classic or recent philosophical work. In addition, students will typically be expected to read critical responses and commentaries. (Alternatively, a convenor may choose a small number of texts on a unified and important theme)

Exactly what the curriculum will be will different from year to year. The point of introducing this module, and the sister module Philosophical Text 1, is to offer students the chance to study a single text (or small number of texts) in a very focussed manner, and to introduce more variety into the curriculum. Things are left open so that the text can be altered each year as appropriate and different lecturers are given the chance to teach a different text.

Although not set in stone, typically this module will focus on a recently published philosophical work, and Phil Text 1 will focus on a classic text. (See section 15.)

The outline given to students will, obviously, change from year to year depending on the text studied.

For 2016-17:

Martin Heidegger was a German philosopher of the 20th century. He believed that good philosophy requires awareness of the radical limitations of human existence, especially of our constant background anxiety and our mortality. He was not a nice analytic philosopher writing abstract texts on relatively innocent technical topics, but a clever and nasty man, who struggled with his inner demons and succumbed to the temptations of his dark age (which is also our age). In these lectures I will discuss the views that Heidegger developed on art and poetry in the 1930s, for example in his essay on the Origin of the Work of Art and his essay "Why Poets?". His views on art and poetry were not simply contributions to 'aesthetics', 'art history' or 'literature theory', but attempts to show the immense importance of art and poetry to philosophy itself. Unlike most people, he did not consider art and poetry to be 'cultural products', but defining features of the human predicament in the world. He claimed that poetry is the essence of language, language is the house of Being, and Being is the happening of truth. Do you want to know what all this means? Come to the dark side.

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The curriculum is intended to introduce students to some of the key arguments and debates in contemporary continental political philosophy through the focussed reading and discussion of the works of a number of central thinkers (Charles Taylor, Iris Marion Young, Foucualt, Derrida, Butler) in this field. It is also the aim of this module to consider the works and ideas of philosophers that are often overlooked on undergraduate political philosophy courses e.g. feminist thinkers and Queer theorists.

The curriculum should not be regarded as written in stone but responsive to new publications and developments in this field of research and to events in the wider world.

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This course is designed to introduce students to a number of approaches in what is often referred to as “normative ethics”. We face and hear about moral problems every day. These problems range from life and death matters concerning abortion, euthanasia and the like to other types of case such as whether to tell a lie to prevent hurting someone’s feelings. At some point we might wonder whether there is a set of rules or principles (such as ‘Do not lie’) which will help us through these tricky problems; we might wonder whether there is something more simple underlying all of this ‘ethical mess’ that we can discern. Normative ethics contains a number of theories that attempt to give us such principles and to sort out the mess. In particular, different normative ethical theories are attempts to articulate reasons why a certain course of action is ethically best; they are attempts to say what types of feature we should concentrate on when thinking about ethical problems and why it is that such features are features which have ‘intrinsic moral significance’. Of course, ethical theories do not exist in a vacuum. As we shall see, our everyday intuitions about what is morally best are both the origin of normative ethical theories and the origin of thoughts raised against them. In all of this, the course will be examining these theories by starting with their historical roots, particularly focussing on the work of J. S. Mill, Immanuel Kant and Aristotle.

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Many people today are reluctant to identify themselves as 'feminist': either because they see feminism as a useful political movement that has essentially served its purposes; or because they view feminism as a ‘single-issue’, militant ideology that they cannot identify with. This module is intended to give students an opportunity to reflect philosophically on what claims like this could mean: if we live in a post-feminist era, why do women earn, on average, two thirds of what their male counterparts earn? If we live in post-feminist era, why are women still under-represented in many fields (including politics, science and academic philosophy?). If feminism is a ‘single-issue’ ideology, why is it that feminists have proposed such a variety of solutions to the above problems, and from such a wide range of political standpoints?

The module begins by drawing attention to the diversity of feminist thought, highlighting three theoretical strands: liberal feminism, radical feminism and Marxist feminism. We go on to apply these strands of feminist thought to the following topics: First, we look at some topics in legal and political philosophy, including justice and the family; discrimination law and freedom of speech. Second, we look at some topics in applied ethics, including reproductive ethics and sexual ethics. Third, we look at some feminist perspectives in epistemology and metaphysics. We also discuss the underlying question of whether feminism discriminates against men, and whether the notion of ‘gender-inclusive’ feminism is a plausible one.

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The module uses Hannah Arendt's The Human Condition as its core text and will also make use of a wide variety of short philosophical texts from different historical periods to provide critical contrasts and elucidate important problems and questions about the nature of work. Key questions will include but not be limited to: Is there an inherent meaning to work? Is there a difference between labour and work? Where does work stand in relation to leisure or contemplation?

Generally, the reading assignments will alternate, with one week dedicated to a chapter from the core text, with the next week followed by philosophical essays by major figures that relate to the chapter content. Lectures will elucidate the significant questions and answers proposed by the texts. Seminars will be centred on group discussion.

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Topics to be covered in the curriculum are divided into three parts: (i) The historical mutual influence of mathematics and philosophy from Ancient Greece to the 19th century, (ii) The foundational crisis 1880-1930; and, (iii) current issues in philosophy of mathematics. An indicative list of thinkers and topics is as follows:

History: Pythagoras, Plato, Aristotle, Islamic world, Renaissance, Descartes, Pascal, Hobbes, Leibniz, Berkeley, Kant, Hegel,

Foundational Crisis: Dedekind, Frege, Russell, Hilbert, Brouwer, Gödel

Current issues: Wittgenstein's philosophy of mathematics, Lakatos’ Proofs and Refutations, revolutions in mathematics, mathematical explanation, geometric intuition, mathematical structuralism, the applicability of mathematics.

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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.

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

Possible modules may include Credits

The module explores ‘physical theatre’ as a complex and rich term which describes works focusing on the primacy of the body in performance rather than text or character. It will focus on how Physical Theatre practitioners have deployed compositional techniques, and the principals that underlie such work. It differs from Physical Theatre 1 in focussing less on training for performance and much more on composition and different possibilities of structuring Physical Performance, using space, sound, movement, rhythm and the body.

Students will conduct in-depth investigations into the relationship between training and performance and devising techniques and compositional approaches through weekly practical workshops.

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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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This module will introduce students to practical and theoretical aspects of stand-up comedy. Initially, they will analyse the work of individual comedians, exploring such issues as comic theory, traditions of stand-up, and historical context. Later, they will work on creating their own short stand-up acts, generating original material and developing key performance skills such as developing persona, working an audience, improvisation, and characterisation.

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The module will offer students the chance to work on an independent creative project of their own devising, which will be a culmination of practical elements of their degree programme. Performance, workshop, design, stagecraft, producing or other creative skills encountered in earlier modules will be developed, extended and explored in autonomous work, which will be supported by regular group supervision sessions. Projects will also involve research which will contextualise the practical elements.

Three is the minimum number of students that may be involved in a project, and no project involving fewer than three will be accepted.

Supervision will take place in timetabled teaching slots, in which students involved in several projects will be supervised together. Typically, the number of students involved in a timetabled supervision session will be 15-18 (like a seminar group). Practical outcomes might take the form of performances, workshops or public interventions; some projects might culminate in one big practical outcome, whereas others will involve a series of smaller events.

The practical elements will be supplemented by a portfolio which will document the creative process. Typically, this will collect contextual research, include analytical reflection and may include audio and/or video material, photographs, drawings, etc.

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This module will ask students to critically engage with fundamental questions about theatre, such as 'what is performance?', 'who decides what a performance means?', 'why do we care about the fates of fictional characters?', 'why do we enjoy watching tragic events on stage?', 'what ethical questions does performance raise?', 'can performance be a kind of philosophy?'.

After writing an essay focussing on one of these questions, the class will then turn its attention to a specific performance text and the various conceptual and philosophical questions that arise from it. Once they have engaged with a range of theoretical perspectives on the text the course will culminate in an assessed presentation where the students propose a production which engages with these issues.

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Students will explore the historical and cultural contexts through which the genre of musical theatre dance developed. Learning will be organised around detailed examinations of particular periods of musical theatre dance including its interface with popular dance forms in the 1920s and the emergence of variety and Vaudeville theatre; the integration of Latin, Indian and African influences through the 1940s, 1950s and 1960s; the standardization of jazz in the 1970s; and the influences of ballet, cabaret, and burlesque theatre across the century's period styles. Weekly workshop sessions will include a comprehensive isolation-based musical theatre/jazz warm-up, followed by movement studies focused in specific periods and the learning of a section of musical theatre dance repertory. In addition, students will view filmed musicals and other performances from specific periods and present critical analyses of these in small groups during seminar classes. Attendance at three live musical performances will also be required. These tasks will lead towards a research essay focused on a period, artist, or musical of the students’ choice.

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Through weekly lectures, seminars and practical workshop sessions, the course will allow students to write scenes and experience the results and effects of their playwriting as performed by others, in the context of on-going discussions about the practice and characteristics of playwriting and with a strong emphasis on the importance of revision and development of evolving work as mediated by the constructive criticism of group and convenor response.

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This module offers students the opportunity to understand and apply workshop techniques, planning and management in an Applied Theatre context. Practical work will be based on a theoretical understanding and grounding in the historical and social contexts of Applied Theatre. The module will be structured in 2 distinctive parts:

Part 1:

The first six weeks of the module will introduce and consider the historical development of applied theatre, current debate, methodologies and case studies within the field. This stage of the module will include a range of lectures, seminar discussions, and exploratory/task based workshops

Part 2:

The second stage of the module will focus on developing the practical skills to include project planning, management, workshop and facilitation skills. During this stage students will work in groups within a community context and culminating in a workshop that they will lead with a designated client group in the final weeks of term. Each group will present plans and be expected to evidence these in the form of a company profile. Students will be required to reflect and evaluate the process through a written piece of work focussing on a particular area of research related to the workshop (3,500-4,000 words).

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The curriculum is intended to introduce students to some of the key arguments and debates in contemporary continental political philosophy through the focussed reading and discussion of the works of a number of central thinkers (Charles Taylor, Iris Marion Young, Foucualt, Derrida, Butler) in this field. It is also the aim of this module to consider the works and ideas of philosophers that are often overlooked on undergraduate political philosophy courses e.g. feminist thinkers and Queer theorists.

The curriculum should not be regarded as written in stone but responsive to new publications and developments in this field of research and to events in the wider world.

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The module will cover some of the major topics of the theory of reasoning, with a focus on presenting students with new and exciting research. The syllabus will vary from year to year. The approach will be philosophical and critical, and may involve the close reading of texts. Students will be expected to engage critically with the works being studied and to formulate and argue for their own views on the issues covered.

As an indication of the kind of topics covered, the following are three potential syllabi, one of which might operate in any particular year:

1. Probability and probabilistic reasoning. This syllabus will present the major interpretations of probability and their connection with the various kinds of probabilistic reasoning. Topics covered might include: the classical interpretation; the logical interpretation; the subjective interpretation; the frequency interpretation; the propensity interpretation; the objective Bayesian interpretation. The key text will be D.A.Gillies (2000): Philosophical theories of probability, Routledge.

2. Causality and causal reasoning. This syllabus will present the major theories of causality, including difference-making theories (probabilistic theories, counterfactual theories, agency theories), mechanistic theories (process theories, complex systems theories) and pluralist theories. It will go on to consider methods of causal reasoning in the sciences and the implications of such methods for the metaphysics of causality. In the absence of a comprehensive text, this syllabus will appeal to papers, especially those in the Oxford Handbook of Causation (OUP 2009), and Causality in the Sciences (OUP 2011).

3. Invalid arguments. This syllabus will look in detail at methods of assessing the cogency of deductively invalid arguments. In particular it will present the methods of inductive logic for assessing the plausibility of arguments. It will provide an introduction to probabilistic logics and their semantics, as well as to methods of inference in probabilistic logics, with a focus on elementary methods that can be readily acquired by students with little prior training in logic and no prior knowledge of probability theory. In the absence of a text at a suitable level, this syllabus will be accompanied by a set of detailed lecture notes.

Convenor: Jon Williamson

Jon Williamson works on various topics connected with reasoning, inference and scientific method, including causal reasoning in the sciences, inductive reasoning, and the nature of probability. The aim of this module is to introduce students to cutting-edge research on topics such as these. Jon is editor of the gazette The Reasoner, co-director of the Centre for Reasoning, and author of books on reasoning such as Bayesian nets and causality (OUP 2005), In defence of objective Bayesianism (OUP 2010) and Probabilistic logics and probabilistic networks (Springer 2011).

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Under what circumstances might it be permissible to use violence to further political goals? What distinguishes different sorts of political violence? Ought the state to have a monopoly on political violence? Are there some methods that should never be used to further political goals? In this course, we will look at the various forms of political violence, and consider how political and legal theorists have tried to regulate violent interaction between states and within states. We will examine the conceptual difficulties that arise when postulating international laws, and consider the role of the United Nations as international mediator and law enforcer. We will also look at the rights of self-determination amongst sub-national groups, and at the obligations of the international community to intervene to prevent humanitarian abuses.

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How does truth relate to existence? This module looks at the connection between truths and the things that make them true. We consider questions relating to the connection between truth and ontology (or existence) concerning time, persistence, possibility, generality, composition, and causation. We will look at how these issues are discussed in contemporary analytic metaphysics. We will explore both what solutions looking at the connections between truth and ontology might offer, whether this approach to the problems is useful, and how best to communicate the problems we discuss.

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This module provides an opportunity for independent work within an area of philosophy chosen by the student. THOSE WHO WISH TO TAKE THIS MODULE MUST (1) ENSURE THAT THERE IS A MEMBER OF THE PHILOSOPHY BOARD OF STUDIES WILLING TO SUPERVISE THEIR WORK; (2) SUBMIT AN OUTLINE AND PROVISIONAL TITLE OF THE PROPOSED DISSERTATION, ENDORSED BY THE PROSPECTIVE SUPERVISOR, TO THE MODULE CONVENOR FOR APPROVAL BEFORE BEING ADMITTED ONTO THE MODULE. STUDENTS ARE STRONGLY ADVISED TO JOIN ONE OF THE READING GROUPS (TO BE ANNOUNCED) AND WORK ON THEIR ESSAY AND DISSERTATION WITHIN THAT CONTEXT.The Dissertation should normally be about 9000 (maximum 10000) words long; it may consist either of an essay on a single theme, or of two or three Essays on complementary themes in Philosophy. Please note that the Dissertation is one of the most difficult modules. You should not apply to register for it unless you have a definite project to which you are seriously committed with the support of a member of staff who is willing to supervise you.

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This module provides an opportunity for students to produce a substantial piece of independent philosophical work, and at the same time to improve their skills in essay writing by getting one-to-one supervision and feedback on a specific piece of work. It is available to Single Honours and Joint Honours Philosophy students. It cannot be taken by other students as a 'wild module'. THOSE WISHING TO TAKE THE MODULE MUST ENSURE THAT THERE IS A MEMBER OF THE PHILOSOPHY BOARD OF STUDIES WILLING TO SUPERVISE THEIR WORK. THEY MUST SUBMIT AN OUTLINE OF THE PROPOSED AREA OF STUDY, ENDORSED BY THE PROSPECTIVE SUPERVISOR, TO THE MODULE CONVENOR FOR APPROVAL BEFORE BEING ADMITTED ONTO THE MODULE.

The Extended Essay should not be more than 5000 words long and must be submitted by the first day of the following term. Please note that the extended essay is considered a difficult module. You should not apply to register for it unless you have a definite project to which you are seriously committed with the support of a member of staff who is willing to supervise you.

Note: you can not take PL520 in conjunction with PL507 Philosophy Dissertation

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We typically value justified belief more than simple belief, for very good reasons: a justified belief is more likely to be true than a randomly selected one. Indeed, we value knowledge even more than justified belief, since, arguably, a belief that qualifies as knowledge is true. But when is a belief justified? And what is knowledge? Is any of our beliefs justified? Do we know anything at all? Do we know that it's 8 o’ clock if at 8 o’ clock we see a broken watch indicating 8 o’ clock? Do we know that our cat is sleeping on the sofa, if we don’t know that we’re not brains in a vat? This module investigates these and other epistemological questions, mostly by looking at some deeply puzzling sceptical arguments, some of which areas old as Philosophy is, and all of which have sprung very lively debates in the recent philosophical literature.

This module is designed to introduce students to some key philosophical notions – such as belief, justification and knowledge – and to some of the most exciting and interesting literature on the subject. The module begins with a brief overview of the literature on the analysis of knowledge – this will introduce students to the main philosophical approaches to justification and knowledge: internalism and externalism. The module will then move on to consider two influential forms of Skepticism: Pyrronian skepticism and Cartesian skepticism. Students will be introduced to the main views on the structure of justification – foundationalism, coherentism and entitlement approaches – as well as to the main semantic accounts of 'know’ – contextualism, dogmatism and relevant alternatives/tracking theories. Some epistemic principles, such as the so-called KK principle, will be introduced via the presentation of epistemic paradoxes, such as the Surprise Examination Paradox.

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What makes it the case that certain actions, such as stealing and sharing, have ethical value? Are ethical values such as goodness and badness, compassion and cruelty, mind-independent ethical properties, properties that exist no matter what anyone thinks, desires, aims at and the like? Or are there no such ethical properties at all and when we call something good we are just expressing our emotions and feelings about a nonethical world? Are there any other positions available?

This course is designed to introduce you to some of the most exciting and interesting philosophical literature in recent years, which brings together ethics and metaphysics with a little epistemology and philosophy of language. The first half of this course will examine (what are often called) "metaethical" questions such as those above. We will then move on to discuss debates concerning moral psychology and motivation. When one says 'charity-giving is good' is it a matter of necessity that one will be motivated to some extent to give to charity? Or is it possible for one to make such a judgement and have no motivation at all (and for such a judgement to count as a legitimate moral judgement)? At the end we will see how these questions concerning psychology are integral to the earlier debates of metaphysics. Throughout, we will be examining these questions and issues by looking at work by authors from the start of the twentieth century (e.g. G. E. Moore) and by more recent writers (e.g. Simon Blackburn, Allan Gibbard, J. L. Mackie, John McDowell and Michael Smith).

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This course is designed to introduce students to a number of philosophical issues arising from medical research and medical practice. Students will consider attempts to define the following terms – health, illness, and disease – and discuss what rests on their definition. Much medical practice proceeds as though medicine were a natural science. This module will probe the limitations of this conception. The placebo effect demonstrates the powerful influence of suggestion on the body and students will consider its relevance to philosophical ideas of the mind-body relation. Finally, students will consider ethical issues arising in medical practice, such as 'medically assisted death'.

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This module studies some central questions in philosophy of religion, drawing on topics in metaphysics, ethics, epistemology, philosophy of language and philosophy of mind. It begins by studying and critically assessing three of the 'classical' arguments for the existence of God—the ontological argument, the cosmological argument and the argument from design —which consider respectively whether reason, science or experience can show us that God exists. It goes on to consider the relationship between religion and morality, examining Kant’s moral argument, which appears to support a case for the existence of God, and Plato’s Euthyphro Dilemma, which appears to tell against it. Finally, it considers some central topics in religious epistemology, language and philosophy of mind, including: miracles, the nature of religious experience, religious language and personal identity. One underlying question the module considers is whether the above arguments and topics could be used to support or tell against an argument for the overall rationality of religious belief.

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Language is a wonderful thing. Groups of marks or bursts of sound are just physical entities but, when produced by a writer or a speaker, they are used to point beyond themselves. This is the property of aboutness or intentionality. Other physical entities generally don't have this property. When you hear a sentence, you hear a burst of sound, but typically you also understand a meaning conveyed by the speaker. What is the meaning of a word – some weird entity that floats alongside the word, a set of rules associating the word with objects, an intention in the mind of the speaker….? What is the difference between what your words imply and what you convey in saying them? How are words used non-literally, how do hearers catch on to the meaning of a newly minted metaphor? How can we mean and convey so much when uttering a concise sentence? How is it that learning a second language can be so frustrating and time consuming, whereas we learn our first language with no trouble at all? The questions keep coming. In this module we shall try to find some answers.

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The aim of this course is to engage in the study of specific topics in the philosophy of mind, language, or action and to engage with the criticism of contemporary approaches as it is found in the works of Wittgenstein, Ryle, Anscombe, and/or Austin.

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Logic is the study of the methods and principles used to distinguish correct reasoning from incorrect reasoning and, as such, it is a crucial component of any philosophy course. Moreover, logic has applications other than the testing of arguments for cogency: it is also a widely used and useful tool for clarifying the problematic concepts that have traditionally troubled philosophers, e.g., deductive consequence, rational degree of belief, knowledge, necessary truth, identity, etc. Indeed, much contemporary philosophy cannot be understood without a working knowledge of logic. Given this, logic is an important subject for philosophy students to master.

The module will primarily cover propositional and predicate logic. Regarding propositional and predicate logic, the focus will be on methods for testing the validity of an argument. These methods will allow students to distinguish correct from incorrect reasoning. The module will also cover inductive and modal logics. Regarding inductive and modal logics, the focus will be on clarifying epistemological concepts through the use of these logics.

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The module will study some of the major works in the history of modern philosophy of cognitive science and artificial intelligence. An indicative list of topics is: The Turing test; the Chinese Room argument; the frame problem; connectionism; extended and embodied cognition; artificial consciousness. The approach will be philosophical and critical, and will involve the close reading of texts. Students will be expected to engage critically with the works being studied and to formulate and argue for their own views on the issues covered.

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This module is aimed at those students who would like to follow a career as Primary or Secondary School teachers, but is also suitable to those who would like to combine an academic course with work experience. Placements in a school environment will enhance the students' employment opportunities as they will acquire a range of skills. It will also provide the students with the opportunity to develop their knowledge and understanding of Religious Education and Philosophy in the primary or secondary school context. 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. The student will spend one half-day per week for ten weeks in a school where each student will have a designated teacher-mentor who will guide their work in school. They will observe sessions taught by their designated teacher and possibly other teachers. Initially, for these sessions the students will concentrate on specific aspects of the teachers’ tasks, and their approach to teaching a whole class. As they progress, their role will be as teaching assistants, by helping individual pupils who are having difficulties or by working with small groups. They may teach brief or whole sessions with the whole class or with a small group of students where they explain a topic related to the school syllabus. They may also talk about aspects of University life. They must keep a weekly journal reflecting on their activities at their designated school.

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Many people today are reluctant to identify themselves as 'feminist': either because they see feminism as a useful political movement that has essentially served its purposes; or because they view feminism as a 'single-issue', militant ideology that they cannot identify with. This module is intended to give students an opportunity to reflect philosophically on what claims like this could mean: if we live in a post-feminist era, why do women earn, on average, two thirds of what their male counterparts earn? If we live in post-feminist era, why are women still under-represented in many fields (including politics, science and academic philosophy?). If feminism is a ‘single-issue’ ideology, why is it that feminists have proposed such a variety of solutions to the above problems, and from such a wide range of political standpoints?

The module begins by drawing attention to the diversity of feminist thought, highlighting three theoretical strands: liberal feminism, radical feminism and Marxist feminism. We go on to apply these strands of feminist thought to the following topics: First, we look at some topics in legal and political philosophy, including justice and the family; discrimination law and freedom of speech. Second, we look at some topics in applied ethics, including reproductive ethics and sexual ethics. Third, we look at some feminist perspectives in epistemology and metaphysics. We also discuss the underlying question of whether feminism discriminates against men, and whether the notion of ‘gender-inclusive’ feminism is a plausible one.

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This course is designed to introduce students to a number of approaches in what is often referred to as “normative ethics”. We face and hear about moral problems every day. These problems range from life and death matters concerning abortion, euthanasia and the like to other types of case such as whether to tell a lie to prevent hurting someone’s feelings. At some point we might wonder whether there is a set of rules or principles (such as ‘Do not lie’) which will help us through these tricky problems; we might wonder whether there is something more simple underlying all of this ‘ethical mess’ that we can discern. Normative ethics contains a number of theories that attempt to give us such principles and to sort out the mess. In particular, different normative ethical theories are attempts to articulate reasons why a certain course of action is ethically best; they are attempts to say what types of feature we should concentrate on when thinking about ethical problems and why it is that such features are features which have ‘intrinsic moral significance’. Of course, ethical theories do not exist in a vacuum. As we shall see, our everyday intuitions about what is morally best are both the origin of normative ethical theories and the origin of thoughts raised against them. In all of this, the course will be examining these theories by starting with their historical roots, particularly focussing on the work of J. S. Mill, Immanuel Kant and Aristotle.

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This module provides an introduction to some of the major works in ancient Greek philosophy in relation to ethics, aesthetics, political theory, ontology and metaphysics. Students will study substantial portions of primary texts by the Pre-Socratics, Plato and Aristotle. The emphasis throughout will be on the philosophical significance of the ideas studied. The module will concentrate on understanding key philosophical arguments and concepts within the context of the ancient Greek intellectual tradition. This means that students will gain a critical distance from normative and modern definitions of philosophical terms in order to understand how Greek philosophy generally approached questions and problems with different suppositions and conceptions of reality, reason and the purpose of human existence.

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Topics to be covered in the curriculum are divided into three parts: (i) The historical mutual influence of mathematics and philosophy from Ancient Greece to the 19th century, (ii) The foundational crisis 1880-1930; and, (iii) current issues in philosophy of mathematics. An indicative list of thinkers and topics is as follows:

History: Pythagoras, Plato, Aristotle, Islamic world, Renaissance, Descartes, Pascal, Hobbes, Leibniz, Berkeley, Kant, Hegel,

Foundational Crisis: Dedekind, Frege, Russell, Hilbert, Brouwer, Gödel

Current issues: Wittgenstein's philosophy of mathematics, Lakatos’ Proofs and Refutations, revolutions in mathematics, mathematical explanation, geometric intuition, mathematical structuralism, the applicability of mathematics.

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Teaching and assessment

Drama and Theatre

Teaching is through workshops, seminars, lectures and practical projects. Drama and Theatre modules are continuously assessed based on coursework, projects and presentations, performances, essays and dissertations.

Philosophy

Teaching is by lectures, seminars, class discussions, and individual and group research, which is discussed in class.

All modules are assessed by 100% coursework (essays, in-class assignments, seminar participation) throughout the year.

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

Philosophy students who graduated from Kent in 2015 were the most successful in the UK at finding work or further study opportunities (Destinations of Leavers from Higher Education survey). For graduate prospects, Drama at Kent was ranked 9th in The Complete University Guide 2017.

Past drama graduates have become theatre producers, actors, literary managers, journalists, authors, directors, performers, scriptwriters for television, stand-up comedians, casting agents, event managers, arts administrators, community theatre officers for local councils, drama teachers, and many have gone on to postgraduate study. We also support past students to set up companies and remain in Kent with the Graduate Theatre Scheme.

Recent philosophy graduates have gone into areas such as teaching, publishing, journalism, media, marketing, the civil service and the legal profession. 

On this programme, you develop key transferable skills which are highly valued by employers.

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.

Qualification Typical offer/minimum requirement
A level

ABB

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 16 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 2018/19 entry tuition fees have not yet been set. As a guide only, 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.* If you are uncertain about your fee status please contact information@kent.ac.uk

Fees for Year Abroad/Industry

The 2018/19 tuition fees have not yet been set. 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.

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. 

For 2018/19 entry, 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.

Related to this course

Philosophy BA (Hons)

Full-time or part-time

Canterbury