Students preparing for their graduation ceremony at Canterbury Cathedral

Art History and Classical & Archaeological Studies - BA (Hons)

UCAS code QV83

2018

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

2018

Overview

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

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

The Classical & Archaeological Studies element of your degree offers a hugely interesting and varied range of subjects including: literature, mythology, drama, archaeology, architecture, art, languages and philosophy, and looks at the way they all connect in the study of ancient civilisations.

Think Kent video series

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

Independent rankings

Classics and Ancient History at Kent was ranked 14th overall in The Guardian University Guide 2018 and 12th for student satisfaction in The Complete University Guide 2018.

History of Art at Kent was ranked 11th for course satisfaction in The Guardian University Guide 2018. History of Art at Kent was ranked 8th for research quality in The Complete University Guide 2018.

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.

TEF Gold logo

Course structure

The following modules are indicative of those offered on this programme. This listing is based on the current curriculum and may change year to year in response to new curriculum developments and innovation.  

On most programmes, you study a combination of compulsory and optional modules. You may also be able to take ‘wild’ modules from other programmes so you can customise your programme and explore other subjects that interest you.

Stage 1

Modules may include Credits

The module will introduce archaeology as an academic discipline, providing grounding in basic concepts and methodology and techniques of analysis relating to archaeological evidence. It will provide background relevant to other archaeological and historical modules through examining aspects of the archaeological process in prehistoric, Roman and medieval contexts. It will enable students to make an informed choice of subsequent modules. Topics will include basic fieldwork methods and techniques, and an introduction to key topics in interpretation, such as society and culture, ritual and religion, technology, etc. through case studies e.g . of Pompeii, Sutton Hoo, and the Ice Man.

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The history will centre on Athens in the 5th century B.C. We begin with Solon's reforms, then after considering the period of the Persian invasions we study the developed democracy with its empire under Pericles and its destruction in the Peloponnesian War. After 5 weeks, we move to the literature of the period, more specifically, the development of tragedy and comedy in fifth-century Athens, examining staging and dramatic conventions such as the role of actor, chorus and religious function and plot, especially the handling of mythological themes. We will analyse a selection of major plays by Aeschylus, Sophocles, Euripides and Aristophanes. Within this framework the module explores the role of tragedy and comedy as vehicles for public debate in the democracy, and its treatment of justice, religion, rationalism and patriotic themes.

In the Roman part of the course we shall treat the last century of the republic. Our focus will be on how that republic fell and was replaced by the empire whose founder was Augustus. Among the themes examined will be political violence, the intrusion of the army into political life and the rise of the warlord. In the literature part of the Spring term the module is concerned with the patronage of the arts (poetry, history writing, art and architecture) under Augustus, with the role of the arts as propaganda, and the thesis that writers were recruited to act as spokesmen for the policies and ideals of the principate. The central theme is the creation of enduring images of Rome and Empire, using traditional historical and mythological materials; alongside this the module treats areas of public policy such as moral legislation, festivals, religious reform and the position of women. The module is also concerned with the responses of the writers, whether as supporters of public policy, or as commenting on and reacting against it. Thus, its content is much better understood as a result of the historical development outlined in the first part of term.

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

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

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

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

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

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You have the opportunity to select wild modules in this stage

Stage 2

Modules may include Credits

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

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

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

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

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

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

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

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

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

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

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This module examines in detail the history of the Roman Empire from the commencement of the principate of Trajan in AD97to the conversion of the Emperor Constantine I in AD 312, and provides both a survey of a major period of Roman imperial history and an opportunity to study in greater depth the administrative, social, economic and religious developments of this period. Students will read widely in the ancient sources, historical, literary and documentary, and will be introduced to the inscriptional evidence for imperial history. The module forms a key element in the sequence of survey courses on Roman history and has links with Christianity in the Roman World and Roman Britain. This module will concentrate on the main administrative, social, economic and religious developments throughout the period rather than on the details of political and military history.

Students will read widely in the major ancient sources, including Pliny, Suetonius and the

Scriptores Historiae Augustae, and will be introduced to the inscriptional and documentary

evidence for imperial history

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This module is designed to give students a thorough introduction to a well-studied aspect of Greek archaeology, that of its Art and Architecture. The class will begin with examinations into the Greek Bronze Age by looking at Minoan and Mycenaean archaeology, followed by the art and architecture of the Iron Age. It will then focus on the archaeology of the Archaic, Classical (early to late) and culminate with the Hellenistic periods. The main areas of Greek occupation will be studied: mainland Greece, the Greek Islands, Asia Minor, Southern Italy and Sicily, with concentration on major sites such as the Athenian Acropolis and Agora, Corinth, Ephesus and Syracuse. Religion is important for an understanding of the Greek world, so sanctuaries such as the sites of Delphi and Olympia will be explored and juxtaposed with smaller ones like Brauron and Sounion. Throughout the class, the styles, development and changes to the art and architecture will be studied, but also questions will be raised about the cultural view of the remains. This is important for understanding the role the sites and artistic work played in Greek societies. Moreover, the historical events of specific periods will be explored to see what significance and influence they played on artistic and architectural styles, as well as patronage. The class will, therefore, supply students with a thorough grounding in the multiple issues raised by the study of Greek art and architecture.

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The course provides an introduction to the study of Roman art and architecture, including the close interpretation of works of art and buildings, and an investigation of the role of art and architecture within the wider Roman world. The geographical area covered will include both Rome and Italy, and provincial Roman sites and material. Aspects to be examined include context, dating, technique, styles and subject matter, and ideology including the role played by art in Roman society. Arranged broadly in chronological order, from the Republican to the late Roman period, the course gives an overview of the varied media and techniques used in Roman art and architecture and the changes in art style that occurred throughout the Roman period.

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This module is an introduction to ancient Greek religion and Mystery cults. The module will offer an introduction to the major gods and goddesses of ancient Greece, spheres of influence, character, relationships, exploits, and worship. It is concerned with the analysis of religious festivals, cults, beliefs, and the development of religious architecture. The module will additionally briefly contrast Greek religion to Christianity, as an example of investigating how Greek religion differs from, and resembles, modern religions. The materials of the course are drawn from the ancient Greeks themselves from archaeology, Greek poets, artists, playwrights, mythographers, and philosophers from the 10th–2nd centuries BC.

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How did the Western Roman Empire undergo its transformation into the early medieval world? This course provides an overview of the period between 400 and 600 A.D., in particular, examining the collision between barbarian and Roman in late Antiquity and the development of the post-Roman and early medieval West, focusing on changes in culture and society through a critical evaluation of evidence from history, art, architecture and archaeology. There will be a focus on Italy, France and Britain which is intended to 1) provide a manageable and structured course at an appropriate level of detail, with the potential for some depth of analysis, and 2) concentrate on those geographical areas which mesh closely with the subject matter of other courses in Roman archaeology and late Antique and medieval history offered by colleagues in the Classical and Archaeological Studies and History departments.

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This course will survey the evolution of the Mediterranean city from AD 300 to 650, the urban crisis which followed, and the direction which urban life took thereafter. City life in this period was until recently poorly understood, hindered by the prejudices of classical archaeologists, who removed late levels without record, and the selective interests of Christian archaeologists who concentrated on churches. Now new archaeological fieldwork has revealed much greater complexity, from urban collapse in the West to the flourishing cities of the 6th c. East, which provided a foundation for much of Early Islamic urbanism. Although north-west Europe is included, the main focus is the Mediterranean, where urban life was strongest, throughout the period. Lectures will explore both thematic and regional syntheses, with a major distinction drawn, not between a Greek East and a Latin West, but between a Mediterranean core and a northern periphery. An attempt will be made to link changes in the physical appearance of cities to wider events and processes: whether military, political, religious or economic in character. Seminars will explore aspects of the rich source material available, whether drawn from architectural remains, stratigraphic archaeology, epigraphy, or selected written sources of the period.

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This module will provide a credit framework for fieldwork training undertaken on University of Kent training excavations, or approved partners, normally supported by a SECL archaeological fieldwork bursary, to assist with the costs involved in a participation of 15 working days. The module will permit three alternative pathways, in excavation, survey or museum studies. Assessment will be in the form of an illustrated portfolio featuring a description of the project and an account of each type of work undertaken by the student. Project directors will be provided with a checklist of fieldwork tasks to be completed, of which a minimum number will be mandatory. Students who have no prior experience of fieldwork will likely be accommodated on a project in the UK, whilst those who are experienced may be offered a place on an excavation abroad. Skills assessed will range from efficient manual digging and artefact washing to site / find drawing or photography and the completing of pro-forma record sheets.

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The module is intended to give students an introduction to the literature of early Christianity.

A variety of texts will be read – the gospels, apocryphal gospels, early martyrdom texts, edifying tales and hagiography - to show the variety of genres that existed and the intertextual fluidity of these genres. The texts will be contextualised against the historical developments of the Roman Empire. Social and cultural issues will also be raised, such as the new roles of women and men in an emerging Christian world and the concepts of pain, sacrifice, authority, virginity and asceticism will be examined.

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The module will allow the student to acquire knowledge and critical understanding of the fundamental principles related to collecting and interpreting objects within museums and managing these institutions. .Students will be required to become familiar and engage critically, during the seminars, with the key references on these topics. Students will then be required to apply concepts and principles learnt in class in the context of their internship.. As part of their internship, each student will devise a special project in consultation with the mentor and the module convenor. Precise objectives and skills to be learnt will be recorded and tracked regularly. Students will keep a weekly log of their activities. The placement may take place either as a block during the Easter vacation of Stage 2 or 3, or at regular intervals over the Autumn and Spring terms.

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This module examines, in detail, Greek history from the end of the Persian invasions to the fall of Athens in 404 BC. The main themes of the module are the rise and fall of the power of Athens, the Peloponnesian War and the role of the Persian Empire in Greek history in the 5th century BC. Particular attention will be paid to the causes of the conflict between Athens and Sparta and to the political and military history of the last three decades of the 5th century BC.

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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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This module explores 5th-century Athenian history through the plays which were put on stage during this period of war and political upheaval. Greek tragedies and comedies produced during this tumultuous period (472-405 BC) offer us some of the most enticing, yet challenging, evidence for the state of Athenian politics and attitudes to contemporary events (especially war and empire). In this module, the evidence of key plays will be set against other forms of historical evidence to illuminate the complex relationship between the types of evidence which survive and the nature of 'making history'.

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Students will participate in the close reading and interpretation of Greek prose texts. Translation of the text(s) from the original will enhance understanding of its construction by the author(s) and invite reflection on the use of stylistic and linguistic features (and their effect). This understanding may be further developed through the study of the literary and cultural context within which the text was produced.

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Students will participate in the close reading and interpretation of Greek verse texts. Translation of the text(s) from the original will enhance understanding of its construction by the author(s) and invite reflection on the use of stylistic and linguistic features (and their effect). This understanding may be further developed through the study of the literary and cultural context within which the text was produced.

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This module examines in detail the history of the Roman Republic from 350 BC through to 100 BC, and provides both a survey of a major period of Roman history and an opportunity to study in greater depth the political, social, and economic consequences of the development of Rome's imperial ambitions in the Mediterranean. Students will read widely in the ancient sources, historical, literary and documentary.

Students will read widely from a range of works including: Polybius, Plutarch, Livy, Appian, Cicero, and Sallust.

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Students will participate in the close reading and interpretation of Latin prose texts. Translation of the text(s) from the original will enhance understanding of its construction by the author(s) and invite reflection on the use of stylistic and linguistic features (and their effect). This understanding may be further developed through the study of the literary and cultural context within which the text was produced.

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Students will participate in the close reading and interpretation of Latin verse texts. Translation of the text(s) from the original will enhance understanding of its construction by the author(s) and invite reflection on the use of stylistic and linguistic features (and their effect). This understanding may be further developed through the study of the literary and cultural context within which the text was produced.

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Virgil composed the Aeneid in order to provide Rome with an epic equal to any that Homer produced. Commonly regarded as one the greatest epics of the ancient world, the Aeneid is the story of the foundation of Rome; a tale of exile, war, passionate love and the deepest humanity. We will analyse, comment on and explore the epic, book by book. This will be intertwined with a thematic approach, investigating issues concerning the gods, fate, morality, art and gender.

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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, including achieving a merit at Stage 1 and Stage 2 to proceed to the Term or Year Abroad. 

The Term or Year abroad is assessed on a pass/fail basis and 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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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This module gives students the opportunity to apply the knowledge they have obtained in their Classical and Archaeological Degree to a work-place situation. It will enhance the student experience and allow them to take responsibility for their learning and development. In addition, it will give the students work experience which enhances their employability and improves their CV.

The students will spend two hours per week in seminar learning about pedagogic processes, including: learning from experience as a student, developing good teaching practice, theories of learning and teaching; the use of different teaching materials including technology; lesson planning and development of personal style; assessment criteria and feedback techniques; communication and motivational skills; self and peer evaluation.

They will also spend one half-day per week for ten weeks in a primary or secondary school. They will observe sessions taught by their designated teacher and possibly other teachers. Later they will act somewhat in the role of a teaching assistant, working with small groups, and delivering material relevant to the programme. They will keep a weekly online journal reflecting on their activities at their designated school. The university sessions and weekly school work will complement each other. Therefore, attendance to university sessions is crucial as it will also give the students the opportunity to discuss aspects related to their weekly placement and to receive guidance.

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This module examines in detail the history of the Roman Republic from 350 BC through to 100 BC, and provides both a survey of a major period of Roman history and an opportunity to study in greater depth the political, social, and economic consequences of the development of Rome's imperial ambitions in the Mediterranean. Students will read widely in the ancient sources, historical, literary and documentary.

Students will read widely from a range of works including: Polybius, Plutarch, Livy, Appian, Cicero, and Sallust.

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Students will participate in the close reading and interpretation of Greek verse texts. Translation of the text(s) from the original will enhance understanding of its construction by the author(s) and invite reflection on the use of stylistic and linguistic features (and their effect). This understanding may be further developed through the study of the literary and cultural context within which the text was produced.

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Students will participate in the close reading and interpretation of Greek prose texts. Translation of the text(s) from the original will enhance understanding of its construction by the author(s) and invite reflection on the use of stylistic and linguistic features (and their effect). This understanding may be further developed through the study of the literary and cultural context within which the text was produced.

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This module explores 5th-century Athenian history through the plays which were put on stage during this period of war and political upheaval. Greek tragedies and comedies produced during this tumultuous period (472-405 BC) offer us some of the most enticing, yet challenging, evidence for the state of Athenian politics and attitudes to contemporary events (especially war and empire). In this module, the evidence of key plays will be set against other forms of historical evidence to illuminate the complex relationship between the types of evidence which survive and the nature of 'making history'.

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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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This module examines, in detail, Greek history from the end of the Persian invasions to the fall of Athens in 404 BC. The main themes of the module are the rise and fall of the power of Athens, the Peloponnesian War and the role of the Persian Empire in Greek history in the 5th century BC. Particular attention will be paid to the causes of the conflict between Athens and Sparta and to the political and military history of the last three decades of the 5th century BC.

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The module will allow the student to acquire knowledge and critical understanding of the fundamental principles related to collecting and interpreting objects within museums and managing these institutions. .Students will be required to become familiar and engage critically, during the seminars, with the key references on these topics. Students will then be required to apply concepts and principles learnt in class in the context of their internship.. As part of their internship, each student will devise a special project in consultation with the mentor and the module convenor. Precise objectives and skills to be learnt will be recorded and tracked regularly. Students will keep a weekly log of their activities. The placement may take place either as a block during the Easter vacation of Stage 2 or 3, or at regular intervals over the Autumn and Spring terms.

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The module is intended to give students an introduction to the literature of early Christianity.

A variety of texts will be read – the gospels, apocryphal gospels, early martyrdom texts, edifying tales and hagiography - to show the variety of genres that existed and the intertextual fluidity of these genres. The texts will be contextualised against the historical developments of the Roman Empire. Social and cultural issues will also be raised, such as the new roles of women and men in an emerging Christian world and the concepts of pain, sacrifice, authority, virginity and asceticism will be examined.

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This course will survey the evolution of the Mediterranean city from AD 300 to 650, the urban crisis which followed, and the direction which urban life took thereafter. City life in this period was until recently poorly understood, hindered by the prejudices of classical archaeologists, who removed late levels without record, and the selective interests of Christian archaeologists who concentrated on churches. Now new archaeological fieldwork has revealed much greater complexity, from urban collapse in the West to the flourishing cities of the 6th c. East, which provided a foundation for much of Early Islamic urbanism. Although north-west Europe is included, the main focus is the Mediterranean, where urban life was strongest, throughout the period. Lectures will explore both thematic and regional syntheses, with a major distinction drawn, not between a Greek East and a Latin West, but between a Mediterranean core and a northern periphery. An attempt will be made to link changes in the physical appearance of cities to wider events and processes: whether military, political, religious or economic in character. Seminars will explore aspects of the rich source material available, whether drawn from architectural remains, stratigraphic archaeology, epigraphy, or selected written sources of the period.

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Virgil composed the Aeneid in order to provide Rome with an epic equal to any that Homer produced. Commonly regarded as one the greatest epics of the ancient world, the Aeneid is the story of the foundation of Rome; a tale of exile, war, passionate love and the deepest humanity. We will analyse, comment on and explore the epic, book by book. This will be intertwined with a thematic approach, investigating issues concerning the gods, fate, morality, art and gender.

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Across much of Britain by the Late Bronze Age (from c. 1000 BC) economic and social organisation was beginning to assume forms which provided the foundations for subsequent fundamental transformations seen through the First Millennium BC: in population, in agriculture, in technology, in land holding and power and cultural forms. The period saw the emergence of technologies, manufacturing and craft skills, social structures and belief systems, husbandry and movement of enduring influence. The unfolding of this formative period, with its efficiently managed landscape dotted with farmsteads and hillforts, lavish metalwork and occasionally exotic burials, and its fluctuating and enigmatic relationships with mainland Europe, is accessible mostly through archaeological study alone: and what a rich resource that has proved to be, especially through recent studies and techniques. Only at the very end does limited historical information become available when we are told of the presence of chariot borne warriors, kings, queens and Druids. The module spans the late Bronze and Iron Ages, presenting the often dramatic and striking archaeological and historical data within current interpretative frameworks. All parts of the British Isles come into focus. Settlements, burials, material culture, environmental remains and monuments are explored revealing a richly nuaned matrix of cultural evidence which inspires interrogation and interpretation.

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How did the Western Roman Empire undergo its transformation into the early medieval world? This course provides an overview of the period between 400 and 600 A.D., in particular, examining the collision between barbarian and Roman in late Antiquity and the development of the post-Roman and early medieval West, focusing on changes in culture and society through a critical evaluation of evidence from history, art, architecture and archaeology. There will be a focus on Italy, France and Britain which is intended to 1) provide a manageable and structured course at an appropriate level of detail, with the potential for some depth of analysis, and 2) concentrate on those geographical areas which mesh closely with the subject matter of other courses in Roman archaeology and late Antique and medieval history offered by colleagues in the Classical and Archaeological Studies and History departments.

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You have the opportunity to select wild modules in this stage

Teaching and assessment

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

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

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

Programme aims

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

Careers

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

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

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

Possible careers from your Classical and Archaeological Studies area include archaeology, the heritage industry, museums, business, journalism, Civil Service, computing, media, librarianship, teaching, further academic study, general ‘arts degree’ employment requiring literacy and versatility.

Independent rankings

For graduate prospects, History of Art at Kent was ranked 9th in The Complete University Guide 2018.

Of Classics students who graduated from Kent in 2016, over 95% were in work or further study within six months (DLHE).

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

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 annual tuition fees for this programme are:

UK/EU Overseas
Full-time £9250 £15200
Part-time £4625 £7600

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 2018/19 entrants, the standard year in industry fee for home, EU and international students is £1,385

Fees for Year Abroad

UK, EU and international students on an approved year abroad for the full 2018/19 academic year pay £1,385 for that year. 

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

Additional costs

There may be some additional costs related to the subjects studied in this programme. Please see the Additional costs section for each subject below. Please note that these may vary depending on your specific module selection:

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.

Full-time

Part-time

The Key Information Set (KIS) data is compiled by UNISTATS and draws from a variety of sources which includes the National Student Survey and the Higher Education Statistical Agency. The data for assessment and contact hours is compiled from the most populous modules (to the total of 120 credits for an academic session) for this particular degree programme. 

Depending on module selection, there may be some variation between the KIS data and an individual's experience. For further information on how the KIS data is compiled please see the UNISTATS website.

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