Students preparing for their graduation ceremony at Canterbury Cathedral

Religious Studies and Drama - BA (Hons)

UCAS code VW64

Overview

A Religious Studies and Drama joint honours degree offers you the opportunity to combine two complementary humanities subjects, as both drama and religion are mainstays of human cultural practice.

Studying Drama and Theatre enables you to study a range of practical and theoretical modules, ranging from Greek theatre to stand-up comedy. University of Kent Drama and Theatre students are taught by leading performance practitioners and lecturers from all around the world. Our range of industry-standard facilities includes 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.

Religious Studies at Kent allows you to study religion and modern culture in dynamic and original ways. You study in a vibrant department, which offers a range of modules, from biblical to Asian traditions, including Hinduism, Buddhism, Islam and Christianity, as well as cutting-edge methodology modules taught by scholars who are at the top of their field. These modules cover psychological, sociological, anthropological and philosophical methods.

The two subjects in combination enables you to see how the two subjects relate to all areas of society, how the themes of religion add pathos to drama, and how dramatic productions represent religion. Both subjects areas cross discipline boundaries, consider all time periods and influences from different countries, combining to give you insights into the modern world.

Independent rankings

Religious Studies and Theology at Kent was ranked 14th in The Guardian University Guide 2017 and 6th for research quality in The Times Good University Guide 2017. In the National Student Survey 2016, 89% of our students were satisfied with the overall quality of their course.

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

For graduate prospects, Drama at Kent was ranked 9th in The Complete University Guide 2017. Drama and Theatre students who graduated from Kent in 2015 were the most successful in the UK at finding work or further study opportunities (DLHE).

Teaching Excellence Framework

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

Stage 1

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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The purpose of this module is to introduce students to the Hindu and Buddhist traditions, through a consideration of their key concepts, ideas, texts and practices (such as bhakti, moksha, yoga, dharma). The first half of the module will examine some of the most interesting features of the Vedic and post-Vedic tradition: the Upanishads, the Bhagavad Gita and the polytheism of the Mahabharata. The second half will examine the contrasting philosophical positions of the Theravada and Mahayana Buddhist traditions using materials from the Pali canon and several Sanskrit Sutras. Particular attention will be given to the variety of interpretations of the Buddhist 'No-self' doctrine and concept of enlightenment as well as the meaning and function of the Buddha’s career.

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This course investigates the beliefs and practices of Jews and Muslims in the world today. Topics in Judaism include the life and work of the Patriarchs, the concept of the 'chosen people', the Promised Land, the Torah, synagogue, Jewish festivals and the Jewish home. In the case of Islam, topics include the life and work of Muhammad, the Five Pillars, the Qur'an and Hadith, Sunni and Shi'ite Muslims, Sufism, the Shariah and the Islamic contribution to the arts and sciences.

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This module will introduce students to discussions about the definition of religion and to some of the disciplines in which religion is studied, with special reference to the differences between Theology and Religious Studies. Particular consideration will be given in the initial weeks to the phenomenological approach and to the efficacy of Ninian Smart’s dimensions of religion. In the following weeks, the module will be focused on the comparative study of religion (with reference to Eliade), the sociology of religion (with reference to Durkheim, Weber and Marx) and the psychology of religion (with reference to Otto, James, Freud and Jung). The module will also host a study skills session to be run in conjunction with the Student Learning Advisory Service, the aim of which is to equip students with key study skills in the areas of writing essays, referencing and plagiarism-prevention.

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The Bible is not a single book, but ta biblia, the library. At the most modest estimate, the literatures of the Bible span a period of over eight hundred years. If we think of the metaphor of a library, the books in the Bible would not just be shelved in the Religion/Theology section, but also, say, Philosophy, Politics and Cultural History/Myth. The influence of these books on ‘Western’ culture has been immense. This is a course for those seeking basic biblical ‘literacy’, which is profoundly useful for studies in other disciplines (e.g. History, or Literature), as well as for students in Religious Studies. It is a course for those who think they already know the Bible (this course will help you read the Bible in different ways, with new questions) and those who have never read a Bible at all. The course gives a basic overview of the story and contexts of the books of the Bible (Old Testament/Hebrew Bible and New Testament) from Genesis to the Apocalypse of John, or from Eden to the End of the World.

This course provides a basic introduction to different sections of the biblical ‘library’, combining a general overview with in-depth study of selected passages and books.

NB: As with all Biblical Studies courses at the University of Kent, ‘Bible’ is defined in the broadest sense: the Christian and Jewish canons (73 or 66 books, though we won’t be studying all of them!) apocrypha and pseudepigrapha, and also all the ancient and modern intertexts, poems, films and novels, that inform and draw on biblical traditions.

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The aim of this module is to introduce students to the study of Christianity, through a consideration of key ideas, texts, symbols, stories, rituals, conflicts and continuities, across contemporary and historical contexts. The course will offer a broad overview of two thousand years of Christian history, and seek to address the question of how the cult surrounding an obscure spiritual teacher from first century Nazareth became the world's largest religion, currently estimated at over two billion adherents. It will address the early church, eastern and western traditions, the medieval church, the Reformation and the relations between Christianity and modernity, as well as focusing on contemporary forms of Christianity, and the rapid growth since the 1970s of churches in the global South. By examining key concepts and practices across a range of historical and contemporary settings, the course will explore how the meaning and significance of these have often been subject to violent contestation, both amongst Christians and in their encounters with other religions. It will therefore encourage students to appreciate how the ideas and convictions that are often used to defend or attack Christianity have themselves been shaped by this history.

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This module provides an historical introduction to the philosophical, religious and cultural traditions of East Asia. It will provide a foundation for understanding the historical development, key concepts and important practices of the major worldviews of East Asia with specific reference to traditions such as Buddhism, Confucianism, Daoism, Shinto and other animist traditions.

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You have the opportunity to select wild modules in this stage

Stage 2

Modules may include Credits

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

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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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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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This module will enable students to analyze and understand the development of Christian theology over the last two hundred years. We will be critically evaluating the significance and contribution of a number of leading twentieth century theologians from a variety of denominational backgrounds and endeavouring to understand to a sophisticated degree the changes in Christian thought and practice in a variety of situations in the twentieth century. The module will begin by surveying the main strands of post-Enlightenment Christian theology, including the contributions of Kant, Schleiermacher and Feuerbach. There will be a detailed focus of two of the 'Death of God' theologians from the twentieth century, Thomas Altizer and William Hamilton. We will then critically evaluate the significance of Dietrich Bonhoeffer and his influence (with particular reference to Harvey Cox and John A.T. Robinson); Liberal Protestantism and the rise of Neo-Orthodoxy, with particular reference to Paul Tillich and Karl Barth; Rudolf Bultmann and his programme of demythologization; and an interrogation of the Christian understanding of 'hope' with specific reference to Jürgen Moltmann. The module also involves a study of key theological movements, in particular Liberation Theology, Black Theology and Feminist Theology.

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The purpose of this module is to survey some of the most significant 20th century trends in the dialogue between psychology and religion through the writings of depth-psychologists, philosophers, theologians, anthropologists and phenomenologists of religion. The module begins by exploring the varieties of religious experience, especially through the work of William James and Rudolf Otto, after which it examines the contributions of psychoanalysis and analytical psychology to the study of religion, particularly in the work of Freud, Jung and Hillman. This material provides the basis for subsequent discussion of the interdisciplinary literature comparing religious altered states of consciousness (mystical, visionary and paranormal experiences) with other altered states of consciousness (madness, drug induced experiences etc.). The module concludes by discussing the principle issues addressed by transpersonal psychology (particularly in the work of Wilber and Grof): the relationship between western psychotherapies and eastern religious disciplines of spiritual emancipation; competing models of spiritual transformation.

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The aim of this module is to enable students to think sociologically about religious life. Whilst addressing key debates within the sociology of religion (e.g. secularization, subjectivization), it seeks to introduce students to core concepts and methods in sociology that will enable them to understand religious life in terms of broader social structures and processes. Examples of issues covered in the module include: the nature of sociology as a discipline, macro and micro levels of analysis, the agency/structure debate and the nature of social structure, individualization, and sociological perspectives on gender, class, emotion, materiality and belief. The significance of intersectionality between different social structures will also be discussed, and useful sources of secondary data (e.g. BRIN) will be explored. The central assessment task for the module – a case study presenting the sociological analysis of the nature and place of religion in a particular individual's life – brings these theoretical and methodological approaches together into a micro-level analysis of lived religion in a way that is informed by broader social and cultural structures. Examples of good writing in this style of sociological research are presented and explored through the module.

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The primary aims of this module are to give you a critical grounding in Islamic sources, thinkers and theories relevant to the development of Islamic liberal and fundamentalist perspectives, and it also explores the ways in which these perspectives bear upon contemporary debates and events. It will equip you with the ability to situate current views within their historical and theological context, critically assess them, and constructively apply them to current phenomena. The module will introduce you to key Islamic debates such as those which address textual interpretation, the relation between revelation and human reason, and the nature of political authority. It will familiarise you with key sources such as the Qur'an, Hadith and treatises of key Islamic theologians and jurists, and it will introduce you to classical and modern theorists from Ibn Taymiyyah to Tariq Ramadan. A range of case studies will allow you to apply these sources and theories to contemporary situations. The module draws lessons for critical thinking about the way in which social context and religious premises affect both religious and political theories. These sources and skills will provide a basis for the analytical work that you undertake in your assessed work.

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This module will be divided into two parts. First, it will familiarise students with how Continental philosophy has developed in response to methodological and historical questions. Second, it will then show how Continental philosophy applies to the philosophy of religion by discussing traditional religious problems—e.g., the existence of God, the problem of theodicy, the conception of the good life—and seeing how seminal Continental thinkers engage with these issues in diverse ways. The first part of the module will discuss critical, historical-based methodologies in: philosophical hermeneutics (Gadamer and Ricoeur), phenomenology (Dupré and Marion) and geneaology (Foucault). The second part of the module will utilise contemporary scholarship consisting in contemporary philosophers applying the aforementioned methodological approaches to religious problems.

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The aim of the course is to provide students with an understanding of the history and practice of the anthropology of religion through the past 150 years. Students will explore the ‘anthropology of religion’ to provide an historical and contemporary understanding of how anthropological studies of religion enrich knowledge of what it means to be religious. The course will examine and students will practise the anthropological method of rich participant observation and comparative analysis. Course content focuses on foundational and contemporary issues of religious definition, ritual, belief, embodiment, rationality and relationships in both Western and non-western contexts.

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This module will explore the theme of ‘Biblical Codes’ from two angles:

1) How has the Bible been read as code?

2) How can we read/ ‘decode’ biblical mysteries (prophecy, apocalyptic, or ‘wisdom’)

Under heading 1) we will be exploring how different writers and groups (some of them inside the Bible, some of them outside it) have read the Bible as temporal or political code. For example, the biblical book of Daniel attempts to decode the book of Jeremiah, which had already become deeply mysterious to ancient readers. Similarly, the New Testament ‘deciphers’ biblical prophecy and motifs by applying them to Jesus or the Roman Empire. At the other end of the time spectrum, we find bestsellers like Michael Drosnin’s The Bible Code (1997), Hal Lindsey and Tim LaHaye’s attempts to decrypt biblical visions of the end of time by way of contemporary global politics, or recent readings of the book of Ezekiel as prophecies about UFO’s. Techniques of decryption are also built into central developments within Jewish and Christian traditions. In fact, what is often called the history of ‘hermeneutics’ could also be described as the history of ‘How not to read literally’. We will be looking at a range of examples of such developments by focusing on readers like Philo of Alexandria, Augustine of Hippo, or Jewish Kabbalah.

Under heading 2, we will undertake some in-depth readings of prophecy, apocalyptic, or wisdom texts—the ones that readers of the Bible find most difficult to ‘decode’. Texts to be studied will be taken from the Old Testament/Hebrew Bible, the New Testament, and the Pseudepigrapha. We will be exploring the contexts that produced these literatures and thinking about how to read (decipher?) them across the abyss of time.

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Recent cultural and political theories have been haunted by the question of religion, its definitions and functions, its emancipatory capacities, its relation to violence, and its relationship to the history and future of the concept of the secular. The centrality of religion as a topic for these recent interdisciplinary discussions has emerged in relationship to a growing unease about earlier, modern modes of distinguishing public and private life; a ‘return’ of religion as an internationally significant political force in recent decades; and surprising appropriations of religion as a figure for secular Western democracy. Theorists (particularly in the area of postcolonial theory) are questioning naturalized or ahistorical distinctions between religion and the secular (e.g., Talal Asad, Tomoko Masuzawa, Saba Mahmood). Many contemporary thinkers attempt to short-circuit the distinction between ‘religion’ and ‘politics’, making possible surprising paradoxes of a “materialist theology” (Slavoj Žižek), an “emptied” religiosity (Gianni Vattimo), or what Hent de Vries calls simply a “political theology”. Once we get down beneath the easily-rehearsed stereotypes, we find that the old religious archives (like the Bible) model competing forms of politics: from messianic anarchism to theocracy. In our political histories—and presents—these have been used (and now are being re-used) in surprising ways.

This course considers important moments in the Western history of political theology in order to understand modern and contemporary discussions of secular politics. These moments will be considered in relation to comparable instances of politically imagined theology (or theologically imagined politics) from other religious traditions as well. Students will:

- examine key topics in the modern formation of these discussions (e.g., distinctions between public and private; secular spheres; religion as extra-political ideal; fanaticism; politicized evaluations of Western religion as exceptional in relation to the ‘others’; religion and political revolution)

- map important similarities and differences between Western and non-Western modelling of the relationship between religion and politics

- critically evaluate recent presentations of the inherent violence of religions, the inevitability of the clash of civilizations, and the usefulness of religion in ‘making globalization work’

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This course explores the central teachings, practices and sacred texts of Mahåyåna Buddhism and will focus upon the first 500 years of its history in India. It will examine the rise and development of Mahåyåna Buddhism in India through analysis of its key sacred literature and philosophical schools as well as its subsequent spread to East and North Asia.

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This module will examine the theme 'Global Christianities' through the lenses of the anthropology of Christianity and the sociology of religion. We will explore the ways in which we can see Christianity as a cultural product, and how Christianity has shaped different cultures and societies globally, as well as how the religion has been shaped by and through encounters in different local settings. We will look at the history of the globalization of Christianity, and consider the historical, political and economic effects of local missionary encounters. The course will examine the processes of conversion to Christianity in different contexts, both at the level of individual and broader social group, and how these have been understood in relation to concepts of ‘modernity’.

The course will draw attention to the relatively recent emergence of the anthropology of Christianity in relation to the broader disciplines of anthropology as a discrete area of study and how this relates to the study of Christianity as a global phenomenon within sociology. We will consider the ways in which these disciplines have constructed and objectified ‘religion’ as an object of study in ways that has historically occluded the social scientific study of Christianity in different global contexts.

The course will address some of the main debates in the anthropology of Christianity, deepening understanding of global Christianities through exploring studies of Christian cultures in diverse ethnographic contexts. The topics addressed will include: culture and conversion; globalization and localisation; interrelations between Christianity, subjectivity and language; embodied and emotional forms of different Christianities; concepts and experiences of God; mediation, immanence and transcendence; coherence and fragmentation; gender, sexuality and the family. Through engaging with readings on these areas, we will explore the socio-religious power-dynamics of Christianity in relation to both culturally dominant and marginal traditions.

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This module explores the cultural specificity and diversity of Asian cultures, traditions, social and political systems and literature from a variety of disciplinary perspectives. The topic of Asia will be approached on a thematic basis but with particular emphasis on an understanding of the historical and interpretive challenges to inter-cultural understanding between Asia and Europe/ the West.

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This module will evaluate and critique a range of historical, philosophical, theological and secular perspectives on death and the afterlife, beginning with the way the Hebrew Bible, New Testament, the Qu’ran, the Tibetan Book of the Dead and the Upanishads conceptualize the nature and destiny of humankind, including such concepts as sheol, moksha, purgatory, eternal life, heaven and hell. This will be followed by a discussion of the interplay in western theological and philosophical traditions between competing notions of the resurrection of the flesh and the immortality of the body as well as an evaluation of what various Christian thinkers, including Augustine and Origen, believed that an eternity in heaven or hell might be like. The module will then investigate the range of eschatological teachings that different traditions have offered, including in Christian thought the diversity of realized and future forms of eschatology, as well as the tenability of purported testimony surrounding the possibility of out-of-body experiences, near-death experiences and mind-dependent worlds, and the way in which such endeavours have been sustained or critiqued in the light of scientific and historical advances. The module will conclude with a detailed study of the way in which filmmakers and novelists have approached eschatological and apocalyptic teachings and reconceptualised them, with specific reference to Conrad Ostwalt’s work on the desacralization of the apocalypse in Jewish and Christian thought in a range of 1990s Hollywood science fiction movies, and the impact that such attempts have had on the way questions of life after death have conventionally been approached.

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This module will examine the main doctrines and practices of early Indian Buddhism as seen through the Theravada Buddhist literature of the Pali canon (in translation). The module will examine what we might know about the figure of the historical Buddha and the central concepts and doctrinal themes in his teachings as represented in these materials, with particular attention paid to their historical and social context and the philosophical, soteriological, ethical and socio-political ideas expressed within early Buddhist literature in the period 500 BCE to 500 CE. The module will also consider the rise of "Theravada" and modern developments within this tradition of Buddhism.

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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.

All students within the Faculty of Humanities can apply to spend a term or year abroad as part of their degree at one of our partner universities in North America, Asia or Europe. You are expected to adhere to any progression requirements in Stage 1 and Stage 2 to proceed to the term or year abroad.

The term or year abroad is assessed on a pass/fail basis and will not count towards your final degree classification. Places and destination are subject to availability, language and degree programme. To find out more, please see Go Abroad.

Stage 3

Modules may include Credits

Students will explore the historical and cultural contexts of mainstream 20th century musical theatre/jazz dance by engaging with the aesthetic, technical and stylistic specifics of seminal choreographers such as Jack Cole and Bob Fosse. Learning will be organised around and oriented toward demonstrated understanding of the influences on influential figures and on jazz and musical theatre dance at large of different dance cultures and styles (Indian, African and Latin dance) and the genres of ballet, modern dance, social dance, cabaret, and burlesque theatre. This understanding will be demonstrated through students' creation of dance choreographies in the style of choreographers covered within the module, contingent on skill level.

The module differs from Introduction to Musical Theatre Dance (DR684) in its focus on the development of enhanced dance technique and style and in its creative element of composition.

Weekly workshop sessions will include a comprehensive isolation-based musical theatre/jazz warm-up, followed by movement studies focused in depth on the technique and style of the choreographer(s) covered. In addition, students will view filmed musical theatre dance numbers and present critical analyses of these, as well as of assigned readings, in small groups during seminar classes. Viewing or attendance of two full-length musical performances (at least one live) will also be required; provision for zero-cost options will be offered. These tasks will lead towards the composition and performance of student choreographies in small groups and a reflective research essay detailing the process through which the choreography was developed.

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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 will look at arts funding policy and public funding structures for the arts, including the formation of the Department of Culture, Media and Sport (DCMS), and the Arts Council and its various models of operation since 1947 through to the current changes being introduced. This will serve to place productions from across the arts within the context of who makes policy and how it is formed, while acting as an introduction to arts funding and the application and measurement process. Students will gain an understanding of the structure of central, regional and local government in as much as they affect the arts. Trust and Foundations that support and nurture the arts are also explored in the context of how these can supplement and develop productions. Sponsorship and commercial involvement is looked at in the ways that this can be integrated into the package. They actively examine and engage with current arts funding issues, aiming to give them the skills to talk with authority to leaders in the arts and funding environment.

In groups and then individually, students will develop their own creative idea, and argue why it should be considered by the Arts Council for funding. The module assesses their creativity and their ability to deliver an idea, including how they will develop audiences and finance and manage their project, meeting the Arts Council's mission of Great art and culture for everyone.

Overall, this module provides students with skills for future career in the arts, either as practitioners or in the administration and delivery, by providing them with useful preparation to realise creative projects in real life in their future. Students who have completed this module have gone on to work in a variety of roles in the arts, including managing and preparing funding applications for the arts.

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This module engages with Shakespeare by considering its unique resilience as a body of plays, focus of cultural mythology, and source of inspiration within modern theatrical culture. As well as surveying the Shakespeare work of major practitioners (The RSC, National Theatre, Shakespeare's Globe), the module will involve at least two theatre visits, as well as hands-on engagement with performance-making, performance reconstruction, and historical research.

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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 aim of this 12 week course is to introduce students to the specific acting challenges presented by the classical texts and his contemporaries and to facilitate, through practice, an in depth examination of proven analytical and practical approaches to these challenges. Instruction in the analysis of language structure and verse forms, verse structure, style, metre, imagery and language texture forms a key component to this course.

Through a classical repertoire, the student will be taught a systematic analysis of verse structure which, they will learn, is an integral part of an actor’s development. This work on unambiguous structural matters will enable the student actor to articulate experience in time, avoiding the risk of leaving performance at the level of the pursuit of feeling and expression. Focus will also be placed on how this analysis can direct the performer, facilitating discovery in both action and character.

The course will also create an awareness of the vocal, physical and emotional demands placed on the performer when working with these plays and through practice, promote knowledge of how the actor’s instrument can meet these demands.

The module will run in two parts with weeks one to four focusing on the demands of the verse monologue and its performing challenges, culminating in a solo performance assessment. The remaining weeks (6 – 11), will explore performance text analysis when working with group scenes and how this analysis can direct the performer. The course will close in week 12 with assessed practical scene performances taken from classical texts accompanied by a written scene analysis for later submission.

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

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This module will look at disability in the arts, covering theatre, film and visual art. There will be three sections to the course relating to the three assessment points. First, the students will engage with the historical representation of disability within the arts and the way in which disability scholars have critically engaged with it. This will culminate in an essay that will focus on the history of disability representation in theatre, film or visual art. Second, the students will look at arts institutions (i.e. theatres, cinemas and galleries) and the disabling barriers within those institutions that prevent the full participation of people with impairments in the arts. This will culminate in an 'accessibility review', whereby the students analyse the adjustments made by arts institutions for people with impairments and the extent to which they are effective. Finally, the students will engage with examples of contemporary disabled artists whose impairments inform the aesthetic qualities of their work. This will culminate in an essay that will focus on a case study of a contemporary disabled artist.

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This module engages with a diversity of approaches to theatre directing through a series of workshops, lectures, seminars, videos, and practical experiments. The module opens with a programme of lectures and exercises that explore the relations between directing and performance, design, writing and composition. This culminates in an assessed group project to be performed in which students will engage with and interrogate directing as practice. The module continues with a series of theme-based workshops on such topics as 'interrogating the classics', ‘directing vs devising’ and ‘directing with new technologies’. Practitioners studied will vary each year but an indicative list might include Robert Lepage, Katie Mitchell, Simon McBurney, Ariane Mnouchkine, Frank Castorf, Thomas Ostermeier, Romeo Castelluci and Robert Wilson. The module will consider directing in relations to live art and new performance and will explore issues of gender, race, culture and sexuality within the practice of directing. In terms of its content, delivery and assessment, this module is designed to be innovative, collaborative and student-centred.

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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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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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Students will engage in a work-based situation of their choice. The student will be responsible for finding the work-based situation, though support from the School and CES will be available. The internship should bear relevance to their subject of study or a career they expect to pursue upon graduation. The total of 300 hours will be divided as required for purposes of preparation, attendance of work placement and reflection/completion of required assessment. For further information please talk to the module convenor at the School of Arts Module Fair.

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This module will examine the main doctrines and practices of early Indian Buddhism as seen through the Theravada Buddhist literature of the Pali canon (in translation). The module will examine what we might know about the figure of the historical Buddha and the central concepts and doctrinal themes in his teachings as represented in these materials, with particular attention paid to their historical and social context and the philosophical, soteriological, ethical and socio-political ideas expressed within early Buddhist literature in the period 500 BCE to 500 CE. The module will also consider the rise of "Theravada" and modern developments within this tradition of Buddhism.

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This module will evaluate and critique a range of historical, philosophical, theological and secular perspectives on death and the afterlife, beginning with the way the Hebrew Bible, New Testament, the Qu’ran, the Tibetan Book of the Dead and the Upanishads conceptualize the nature and destiny of humankind, including such concepts as sheol, moksha, purgatory, eternal life, heaven and hell. This will be followed by a discussion of the interplay in western theological and philosophical traditions between competing notions of the resurrection of the flesh and the immortality of the body as well as an evaluation of what various Christian thinkers, including Augustine and Origen, believed that an eternity in heaven or hell might be like. The module will then investigate the range of eschatological teachings that different traditions have offered, including in Christian thought the diversity of realized and future forms of eschatology, as well as the tenability of purported testimony surrounding the possibility of out-of-body experiences, near-death experiences and mind-dependent worlds, and the way in which such endeavours have been sustained or critiqued in the light of scientific and historical advances. The module will conclude with a detailed study of the way in which filmmakers and novelists have approached eschatological and apocalyptic teachings and reconceptualised them, with specific reference to Conrad Ostwalt’s work on the desacralization of the apocalypse in Jewish and Christian thought in a range of 1990s Hollywood science fiction movies, and the impact that such attempts have had on the way questions of life after death have conventionally been approached.

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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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This module will examine the theme 'Global Christianities' through the lenses of the anthropology of Christianity and the sociology of religion. We will explore the ways in which we can see Christianity as a cultural product, and how Christianity has shaped different cultures and societies globally, as well as how the religion has been shaped by and through encounters in different local settings. We will look at the history of the globalization of Christianity, and consider the historical, political and economic effects of local missionary encounters. The course will examine the processes of conversion to Christianity in different contexts, both at the level of individual and broader social group, and how these have been understood in relation to concepts of ‘modernity’.

The course will draw attention to the relatively recent emergence of the anthropology of Christianity in relation to the broader disciplines of anthropology as a discrete area of study and how this relates to the study of Christianity as a global phenomenon within sociology. We will consider the ways in which these disciplines have constructed and objectified ‘religion’ as an object of study in ways that has historically occluded the social scientific study of Christianity in different global contexts.

The course will address some of the main debates in the anthropology of Christianity, deepening understanding of global Christianities through exploring studies of Christian cultures in diverse ethnographic contexts. The topics addressed will include: culture and conversion; globalization and localisation; interrelations between Christianity, subjectivity and language; embodied and emotional forms of different Christianities; concepts and experiences of God; mediation, immanence and transcendence; coherence and fragmentation; gender, sexuality and the family. Through engaging with readings on these areas, we will explore the socio-religious power-dynamics of Christianity in relation to both culturally dominant and marginal traditions.

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This course explores the central teachings, practices and sacred texts of Mahåyåna Buddhism and will focus upon the first 500 years of its history in India. It will examine the rise and development of Mahåyåna Buddhism in India through analysis of its key sacred literature and philosophical schools as well as its subsequent spread to East and North Asia.

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Recent cultural and political theories have been haunted by the question of religion, its definitions and functions, its emancipatory capacities, its relation to violence, and its relationship to the history and future of the concept of the secular. The centrality of religion as a topic for these recent interdisciplinary discussions has emerged in relationship to a growing unease about earlier, modern modes of distinguishing public and private life; a ‘return’ of religion as an internationally significant political force in recent decades; and surprising appropriations of religion as a figure for secular Western democracy. Theorists (particularly in the area of postcolonial theory) are questioning naturalized or ahistorical distinctions between religion and the secular (e.g., Talal Asad, Tomoko Masuzawa, Saba Mahmood). Many contemporary thinkers attempt to short-circuit the distinction between ‘religion’ and ‘politics’, making possible surprising paradoxes of a “materialist theology” (Slavoj Žižek), an “emptied” religiosity (Gianni Vattimo), or what Hent de Vries calls simply a “political theology”. Once we get down beneath the easily-rehearsed stereotypes, we find that the old religious archives (like the Bible) model competing forms of politics: from messianic anarchism to theocracy. In our political histories—and presents—these have been used (and now are being re-used) in surprising ways.

This course considers important moments in the Western history of political theology in order to understand modern and contemporary discussions of secular politics. These moments will be considered in relation to comparable instances of politically imagined theology (or theologically imagined politics) from other religious traditions as well. Students will:

- examine key topics in the modern formation of these discussions (e.g., distinctions between public and private; secular spheres; religion as extra-political ideal; fanaticism; politicized evaluations of Western religion as exceptional in relation to the ‘others’; religion and political revolution)

- map important similarities and differences between Western and non-Western modelling of the relationship between religion and politics

- critically evaluate recent presentations of the inherent violence of religions, the inevitability of the clash of civilizations, and the usefulness of religion in ‘making globalization work’

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This module will explore the theme of ‘Biblical Codes’ from two angles:

1) How has the Bible been read as code?

2) How can we read/ ‘decode’ biblical mysteries (prophecy, apocalyptic, or ‘wisdom’)

Under heading 1) we will be exploring how different writers and groups (some of them inside the Bible, some of them outside it) have read the Bible as temporal or political code. For example, the biblical book of Daniel attempts to decode the book of Jeremiah, which had already become deeply mysterious to ancient readers. Similarly, the New Testament ‘deciphers’ biblical prophecy and motifs by applying them to Jesus or the Roman Empire. At the other end of the time spectrum, we find bestsellers like Michael Drosnin’s The Bible Code (1997), Hal Lindsey and Tim LaHaye’s attempts to decrypt biblical visions of the end of time by way of contemporary global politics, or recent readings of the book of Ezekiel as prophecies about UFO’s. Techniques of decryption are also built into central developments within Jewish and Christian traditions. In fact, what is often called the history of ‘hermeneutics’ could also be described as the history of ‘How not to read literally’. We will be looking at a range of examples of such developments by focusing on readers like Philo of Alexandria, Augustine of Hippo, or Jewish Kabbalah.

Under heading 2, we will undertake some in-depth readings of prophecy, apocalyptic, or wisdom texts—the ones that readers of the Bible find most difficult to ‘decode’. Texts to be studied will be taken from the Old Testament/Hebrew Bible, the New Testament, and the Pseudepigrapha. We will be exploring the contexts that produced these literatures and thinking about how to read (decipher?) them across the abyss of time.

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The aim of the course is to provide students with an understanding of the history and practice of the anthropology of religion through the past 150 years. Students will explore the ‘anthropology of religion’ to provide an historical and contemporary understanding of how anthropological studies of religion enrich knowledge of what it means to be religious. The course will examine and students will practise the anthropological method of rich participant observation and comparative analysis. Course content focuses on foundational and contemporary issues of religious definition, ritual, belief, embodiment, rationality and relationships in both Western and non-western contexts.

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The primary aims of this module are to give you a critical grounding in Islamic sources, thinkers and theories relevant to the development of Islamic liberal and fundamentalist perspectives, and it also explores the ways in which these perspectives bear upon contemporary debates and events. It will equip you with the ability to situate current views within their historical and theological context, critically assess them, and constructively apply them to current phenomena. The module will introduce you to key Islamic debates such as those which address textual interpretation, the relation between revelation and human reason, and the nature of political authority. It will familiarise you with key sources such as the Qur'an, Hadith and treatises of key Islamic theologians and jurists, and it will introduce you to classical and modern theorists from Ibn Taymiyyah to Tariq Ramadan. A range of case studies will allow you to apply these sources and theories to contemporary situations. The module draws lessons for critical thinking about the way in which social context and religious premises affect both religious and political theories. These sources and skills will provide a basis for the analytical work that you undertake in your assessed work.

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This module will be divided into two parts. First, it will familiarise students with how Continental philosophy has developed in response to methodological and historical questions. Second, it will then show how Continental philosophy applies to the philosophy of religion by discussing traditional religious problems—e.g., the existence of God, the problem of theodicy, the conception of the good life—and seeing how seminal Continental thinkers engage with these issues in diverse ways. The first part of the module will discuss critical, historical-based methodologies in: philosophical hermeneutics (Gadamer and Ricoeur), phenomenology (Dupré and Marion) and geneaology (Foucault). The second part of the module will utilise contemporary scholarship consisting in contemporary philosophers applying the aforementioned methodological approaches to religious problems.

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This module will enable students to analyze and understand the development of Christian theology over the last two hundred years. We will be critically evaluating the significance and contribution of a number of leading twentieth century theologians from a variety of denominational backgrounds and endeavouring to understand to a sophisticated degree the changes in Christian thought and practice in a variety of situations in the twentieth century. The module will begin by surveying the main strands of post-Enlightenment Christian theology, including the contributions of Kant, Schleiermacher and Feuerbach. There will be a detailed focus of two of the 'Death of God' theologians from the twentieth century, Thomas Altizer and William Hamilton. We will then critically evaluate the significance of Dietrich Bonhoeffer and his influence (with particular reference to Harvey Cox and John A.T. Robinson); Liberal Protestantism and the rise of Neo-Orthodoxy, with particular reference to Paul Tillich and Karl Barth; Rudolf Bultmann and his programme of demythologization; and an interrogation of the Christian understanding of ‘hope’ with specific reference to Jürgen Moltmann. The module also involves a study of key theological movements, in particular Liberation Theology, Black Theology and Feminist Theology.

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The purpose of this module is to survey some of the most significant 20th century trends in the dialogue between psychology and religion through the writings of depth-psychologists, philosophers, theologians, anthropologists and phenomenologists of religion. The module begins by exploring the varieties of religious experience, especially through the work of William James and Rudolf Otto, after which it examines the contributions of psychoanalysis and analytical psychology to the study of religion, particularly in the work of Freud, Jung and Hillman. This material provides the basis for subsequent discussion of the interdisciplinary literature comparing religious altered states of consciousness (mystical, visionary and paranormal experiences) with other altered states of consciousness (madness, drug induced experiences etc.). The module concludes by discussing the principle issues addressed by transpersonal psychology (particularly in the work of Wilber and Grof): the relationship between western psychotherapies and eastern religious disciplines of spiritual emancipation; competing models of spiritual transformation.

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Students are required to identify a viable research focus or question for their project which they will then pursue, with supervisory support, in order to submit their final dissertation. In the summer before joining the module, students will be given advice on how to identify their research focus, and by the start of the autumn term in which the module begins they will be expected to have produced a single side of A4 summarising key literature or other sources relevant to their specific project. Individual supervision will begin from the autumn term onwards. Initially this is likely to focus on clarifying the research focus or question, and situating it more deeply in existing literature and debates. Following this a clearer outline plan for conducting the research will be developed, with students then undertaking work necessary to meet each phase of this plan. If the project involves original fieldwork, the student will be expected to submit a research ethics application form for Faculty approval. As the project develops, chapter drafts will be submitted for review and discussion with the supervisor. Supervision contact time is likely to vary according to the project and student need, but will not exceed a total of 6 hours per student (including face to face supervision or time spent writing written feedback to electronically-submitted drafts). Supervisors will provide feedback on chapter drafts, which will need to be submitted to supervisors in good time before supervision meetings, but will not provide feedback on whole draft manuscripts once chapters are completed.

Supervisors will only provide supervisory support during term-time. Once the project has been agreed and a supervisor allocated in the autumn term, students will not normally be allowed to change their fundamental focus of their project (although their specific questions are likely to change as the project develops) or change their supervisor unless in highly exceptional circumstances.

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The aim of this module is to enable students to think sociologically about religious life. Whilst addressing key debates within the sociology of religion (e.g. secularization, subjectivization), it seeks to introduce students to core concepts and methods in sociology that will enable them to understand religious life in terms of broader social structures and processes. Examples of issues covered in the module include: the nature of sociology as a discipline, macro and micro levels of analysis, the agency/structure debate and the nature of social structure, individualization, and sociological perspectives on gender, class, emotion, materiality and belief. The significance of intersectionality between different social structures will also be discussed, and useful sources of secondary data (e.g. BRIN) will be explored. The central assessment task for the module – a case study presenting the sociological analysis of the nature and place of religion in a particular individual’s life – brings these theoretical and methodological approaches together into a micro-level analysis of lived religion in a way that is informed by broader social and cultural structures. Examples of good writing in this style of sociological research are presented and explored through the module.

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Teaching and assessment

Religious Studies

You are usually taught in small groups, with most modules involving either two or three hours per week in class, plus individual consultations with teachers as well as sessions on computing and library skills.

Stage 1 modules are normally assessed by 100% coursework. At Stages 2 and 3, some modules are assessed by 100% coursework (such as essays), others by a combination of formal examination and coursework.

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.

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

Religious Studies

Like all good humanities degrees, Religious Studies provides you with the opportunity to develop key skills that employers are looking for. These include the ability to manage your time effectively and work to clear deadlines, to communicate clearly in writing and orally (including experience of doing public presentations), and to absorb ideas from a wide range of different sources, organise these into some meaningful pattern, and develop your own critical discussion of them.

Recent graduates have gone into areas such as teaching, publishing, travel, advertising, personnel, diplomacy, social work, journalism, media, marketing and the legal profession, or further academic or vocational qualifications.

Drama and Theatre

The Department of Drama and Theatre has developed partnerships with some of the major players in theatre in the UK including: Battersea Arts Centre, the RSC and The Gate. Selected programmes offer you the opportunity to go on work placements which can lead to future full-time employment, while the range of modules we offer ensures you develop key skills such as planning and organisation, teamworking, adaptability and leadership.

Past graduates have become theatre producers, actors, literary managers, journalists, authors, directors, performers, scriptwriters for television, stand-up comedians, casting agents, event managers, arts administrators, community theatre officers for local councils, drama teachers, 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.

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

Access to HE Diploma

The University will not necessarily make conditional offers to all Access candidates but will continue to assess them on an individual basis. 

If we make you an offer, you will need to obtain/pass the overall Access to Higher Education Diploma and may also be required to obtain a proportion of the total level 3 credits and/or credits in particular subjects at merit grade or above.

BTEC Level 3 Extended Diploma (formerly BTEC National Diploma)

The University will consider applicants holding BTEC National Diploma and Extended National Diploma Qualifications (QCF; NQF; OCR) on a case-by-case basis. Please contact us for further advice on your individual circumstances.

International Baccalaureate

34 points overall or 15 points at HL including Theatre 5 at HL or 6 at SL (where taken)

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 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 2018/19 regulated UK/EU tuition fees have not yet been set. The University intends to set fees at the maximum permitted level for new and returning UK/EU students. Please see further information below.

As a guide only the 2017/18 full-time UK/EU tuition fees for this programme are £9,250 unless otherwise stated: 

UK/EU Overseas
Full-time TBC £15200

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 2017/18 entrants, the standard year in industry fee for home, EU and international students is £1,350. Fees for 2018/19 entry have not yet been set.

Fees for Year Abroad

UK, EU and international students on an approved year abroad for the full 2017/18 academic year pay £1,350 for that year. Fees for 2018/19 entry have not yet been set.

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. 

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.