Students preparing for their graduation ceremony at Canterbury Cathedral

Art History and English and American Literature - BA (Hons)

UCAS code QV33

2020

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

Overview

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

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

Study of the visual arts is complemented by study of literary arts in this joint honours programme. The English and American Literature element of your degree covers both traditional areas (such as Shakespeare or Dickens) and newer fields such as American literature, creative writing, postcolonial literature and recent developments in literary theory. 

Independent rankings

History of Art at Kent scored 91.4 out of 100 in The Complete University Guide 2019. In The Guardian University Guide 2019, 91% of final-year History of Art students were satisfied with the overall quality of their course.

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

Teaching Excellence Framework

Based on the evidence available, the TEF Panel judged that the University of Kent delivers consistently outstanding teaching, learning and outcomes for its students. It is of the highest quality found in the UK.

Please see the University of Kent's Statement of Findings for more information.

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Course structure

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

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

Stage 1

Compulsory modules currently include Credits

Literary Forms aims to introduce students to the major forms of literature: poetry, prose and drama, with a core emphasis on innovation. Students will examine the formal structures and generic features of these major forms and, through studying specific examples, observe how these forms change over time and in response to changes in authorship, literary production, and audience/readership. Embedded in this module will also be the development of writing and research skills that will equip students to manage successfully the transition from A-level to university study in the field of English and American Literature.

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30

Critical theory and theoretical approaches to the interpretation of literary texts have become increasingly fundamental to English Studies, while also offering a number of rich and complex ways of reading and understanding society and culture more generally. In this course, we will introduce you to some key theoretical readings in five broad areas: feminism, psychoanalysis, Marxism, Post-Colonialism and Race, and Sexualities. Through these readings, we will invite you to make connections between theoretical approaches and to think about how they might inform your reading practices on this and other courses. The aim of this work is to help you to understand the significance and usefulness of theory on its own terms, as well as giving you a coherent grounding in the ways theoretical concepts help us to approach and understand literary and other texts. Through this, you will develop a sophisticated understanding of the dynamic relationship between theory and culture, literature and politics.

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Optional modules may include Credits

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

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15

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

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30

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

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15

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

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30

Stage 2

Optional 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 will look at disability in the arts, covering theatre, film and visual art. 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. The students will also 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 informs the aesthetic qualities of their work.

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This is a practice-based module exploring the photographic medium and the contexts of its use through the production of photographs in response to a project brief and group-based critical discussion of the work produced. Students investigate how the context in which photographs are made affect how the world is represented, and how in turn these images shape perception. Students choose three practical project briefs that are designed to enable them to explore the medium creatively and through informed and reflective practice. The emphasis of the module is upon this creative practice rather than the acquisition of specific technical skills, and as such students are at liberty to use any photographic production and post-production technologies they wish to experiment with or find appropriate. A camera phone and access to a computer and printer are all that is needed for this module, though students who wish to make use of digital image processing or analogue processes, including use of a darkroom, are encouraged to do so. Each of the practical project briefs will be supported through a series of lectures closely examining various genres, styles and other contexts of photographic production through the work of those who have shaped them. In addition students will present the work they have produced in response to their project briefs, and engage in a broad critical discussion or their own and other's work.

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This is a module built around a current academically rigorous exhibition (i.e. an exhibition running at the same time as the module). Through studying and assessing an exhibition, students will learn about a varied range of issues involved in curating art history from the logistical to the conceptual. Some of these issues are generic to the challenge of curating, others are specific to the piece of curation which is being studied (and which will from vary year to year). In addition, the course will examine the exhibitions as a multi-platform media event with its own digital dimension, which may generate press or media coverage, and involve other forms of interaction with its audience.

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30

The development of Abstract Art is one of the distinctive features of the 20th Century. This module examines the roots of the aspiration to allow 'the object to evaporate like smoke' in European and American. The spiritual and philosophical and social ideas of key artists (such as Georgiana Houghton, Hilma af Klimt, Wassily Kandinsky and Piet Mondrian 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 Mark Rothko, Jackson Pollock, Helen Frankenthaler and Agnes Martin. Finally, we will explore how contemporary artists make use of this ‘radical tradition’. Throughout the module we will raise the question of how to make, think about and respond to an ‘art without objects’.

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30

This module 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 artists, the different types of drawings they produce 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, and provide foundations for effective connoisseurship..

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. To give some indicative examples, these may 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 may 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.

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30

Before 1660 there was no English novel, and by the end of the eighteenth century there was Jane Austen. This module asks how such a literary revolution was possible. It investigates the rise of professional authorship in an increasingly open marketplace for books. With commercial expansion came experiment and novelty. Genres unheard of in the Renaissance emerged for the first time: they include the periodical essay, autobiography, the oriental tale, amatory fiction, slave narratives and, most remarkably, the modern novel. Ancient modes such as satire, pastoral and romance underwent surprising transformations. Many eighteenth-century men and women felt that they lived in an age of reason and emancipation – although others warned of enlightenment's darker aspect. Seminar reading reflects the fact that an increasing number of women, members of the labouring classes, and African slaves wrote for publication; that readers themselves became more socially varied; and that Britain was growing to understand itself as an imperial nation within a shifting global context. It asks students to reflect, as eighteenth-century writers did, upon the literary, cultural and political implications of these developments.

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This curriculum offers a survey of medieval and early modern literature from 1400 to 1700. Looking at a wide range of forms including poetry, prose and drama, students will consider the relationship between medieval and early modern life experience and the literary works it produced. We will consider how important debates surrounding political, social, gender and religious identity inflect and are reflected in the literature of the period, including works by writers such as Hoccleve, Donne, Lanyer and their contemporaries. Students will explore the boundaries of the literary canon, encountering pamphlets, petitions, sermons and conduct books, for example and consider the ways in which literary and non-literary texts both mirror and influence culture and society.

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30

The drama of early modern England broke new literary and dramatic ground. This module will focus on key plays across the period. It will explore the development of dramatic writing, the status of playing companies within the London theatres, drama's links to court entertainment and its relationship to the provinces. Dramatic and literary form will be a central preoccupation alongside issues of characterisation, culture, politics, and gender. Shakespeare’s work will be put into context in relation to the plays of his contemporary dramatists as well as the various cultural, historical and material circumstances that influenced the composition, performance and publication of drama in early modern England.

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

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

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This course will introduce students to the field of postcolonial literature, focusing on the period from the late nineteenth century to the present day. The module will be divided into three consecutive areas: empire and colonisation (three weeks); liberation movements and the processes of decolonisation (either three or four weeks); and migration and diaspora (either three or four weeks). Centred primarily on canonical British colonial texts, the first part of the course may also involve comparison with other less familiar texts and contexts, such as those of Zionist nationalism and settler colonialism, or more popular twentieth-century imperial fantasy and adventure genres. The texts in the second part of the module will be drawn primarily from Africa, the Carribean, the Middle East, and South Asia. The intention is to allow students to bring these disparate regions and texts into a productive dialogue with each other by reflecting on their shared history of decolonisation and their common engagement with colonial and liberation discourses. The course further aims to sketch a narrative of empire and decolonisation that is in part relevant to contemporary postcolonial Britain, to which the final section on migration and diaspora then returns. Some brief extracts from theoretical material on colonial discourse analysis, decolonisation, postcoloniality and migration will be considered alongside a single primary text each week. Students will be introduced to key ideas from the work of (among others) Edward Said, Frantz Fanon, Homi Bhabha, Stuart Hall and Gayatri Spivak. Together with a broad primary textual arc stretching from the British empire to postcolonial Britain, the course will thus give students a cohesive intellectual narrative with which to explore changing conceptions of culture, history, and postcolonial identity across the modern world.

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This module features key modernist texts, for example the work of Ezra Pound, H.D., T.S. Eliot, Gertrude Stein, Wallace Stevens, James Joyce, Virginia Woolf and Jean Rhys. It also makes substantial reference to key philosophical theories of modernity and textuality. The literary works are taken mostly from a restricted period 1910-1930. One focus in the module will be the notion of the artist as applied to the writer as an art-practitioner. Other texts which might form part of the curriculum may include a limited selection of works by Mina Loy, Wyndham Lewis,, Elizabeth Bowen, F.T. Marinetti, Samuel Beckett, Georg Lukács, Edmund Husserl, Martin Heidegger, Maurice Merleau-Ponty, Walter Benjamin, Theodor W. Adorno, Jacques Derrida and Paul De Man. Other topics include modes of representation, language and experience, colonialism and modernism, textuality and identity, war and democracy, class and politics, cosmopolitanism and bohemianism, sex, morality and city life. This material requires both theoretical and historical orientation, as well as skill in distilling significance from complex literary artefacts with regard to the network of mediations which both bind such works to their apparent context and appear to dislocate them.

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30

This module is a study of twentieth-century American literature and culture organized conceptually around the idea of modernity. Students will explore the interconnections between modernity in the United States and the literary and philosophical ideas that shaped it (and were shaped by it) from the start of the century to its close. At the core of the module will be a necessary focus on two versions of American modernity, broadly represented by New York and Los Angeles respectively. Novels, works of art and critical texts will be read alongside one another to explore how these major regional hubs of aesthetic and cultural output developed competing conceptions of "modernity", “American culture” and the place of “the urban” in twentieth-century life, with important effects on contemporary perceptions of the USA. Moving beyond a sense of “modernism” as simply an aesthetic challenge to nineteenth-century modes of romanticism and realism, to consider the embeddedness of “modernist” literature within the particularities of its cultural and historical moment, students will be asked to develop a more nuanced approach to critical reading that pays close attention to the role of differing conceptions of modernity in the USA. The rise of mass culture, the L.A. film industry, the importance of Harlem to the history of race, the role of the intellectual, the urban challenges of the automobile, the birth of the modern American magazine, and questions of conservation and “creative destruction” in cities will all be considered through readings of key novels and critical texts from what Time Magazine editor Henry Luce famously called “The American Century”.

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30

This module aims to introduce students to a wide range of Victorian literature. It will equip students with critical ideas that will help them become more skilful and confident readers of texts in and beyond this period. Students will be encouraged to read texts in a number of contexts: environmental (for example, considering the effects of urbanisation and the Industrial Revolution); imaginative (examining a variety of genres: for example fable, dream-vision, novel); political (class conflicts, changing gender roles, ideas of nation and empire); and psychological (representations of growing up, courtship, sibling and parent-child relationships, dreams and madness). Students will be made aware of such critical concepts as realism and allegory and will be encouraged to think about various developments of literary form in the period .

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30

When the Long Island-born poet Walt Whitman proclaimed in 1855 that the "United States" were history's "greatest poem" he made an important connection between national political culture and literary expression. In some ways this was no exaggeration. As a new experiment in politics and culture, the United States had to be literally written into existence. Beginning with Thomas Jefferson's dramatic Declaration of Independence in 1776, followed by the drafting of the Constitution after the Revolutionary War with Britain, the project of shaping the new United States in the eighteenth and nineteenth centuries was essentially a literary one.

In this module we will explore how American writers in this period tried in numerous, diverse ways to locate an original literary voice through which to express their newfound independence. At the same time, the module includes the work of writers who had legitimate grievances against the developing character of a new nation that still saw fit to cling to such "Old World" traditions as racialised slavery, class conflict and gender inequality.

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30

This module aims to introduce students to a wide range of contemporary literature written in English, where 'contemporary' is taken to refer to twenty-first century work. It will equip students with critical ideas and theoretical concepts that will help them to understand the literature of their own time. Students will consider examples of a range of genres: poetry, fiction, creative non-fiction and the essay. They will also be selectively introduced to key ideas in contemporary theory and philosophy. Over the course of the module, students will be encouraged to read texts in a number of contexts. They will consider writers’ responses to, for instance, questions of migration, environmental change, and financial crisis. They will also consider a range of aesthetic developments and departures, for example: new conceptualism and the claim to unoriginality; archival poetics; the turn to creative non-fiction; the re-emergence of the political essay. The module will not focus on a given national context. Instead it will set contemporary writing against the background of identifiably international issues and concerns. In so doing it will draw attention to non-national publishing strategies and audiences. Overall, the module will aim to show how writers are responding to the present period, how their work illuminates and reflects current cultural concerns. The weekly topics will address both between thematic and formal concerns.

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You have the opportunity to select elective 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

Optional modules may include Credits

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 American. The spiritual and philosophical and social ideas of key artists (such as Georgiana Houghton, Hilma af Klimt, Wassily Kandinsky and Piet Mondrian 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 Mark Rothko, Jackson Pollock, Helen Frankenthaler and Agnes Martin. 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’.

View full module details
30

• 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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30

This is a module built around a current academically rigorous exhibition (i.e. an exhibition running at the same time as the module). Through studying and assessing an exhibition, students will learn about a varied range of issues involved in curating art history from the logistical to the conceptual. Some of these issues are generic to the challenge of curating, others are specific to the piece of curation which is being studied (and which will from vary year to year). In addition, the course will examine the exhibitions as a multi-platform media event with its own digital dimension, which may generate press or media coverage, and involve other forms of interaction with its audience.

View full module details
30

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

Firstly, it will introduce students to the range of drawing techniques used by artists, the different types of drawings they produce 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, and provide foundations for effective connoisseurship..

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. To give some indicative examples, these may 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 may 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.

View full module details
30

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 present. 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.

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30

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

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30

This interdisciplinary course will examine historical and current theoretical ideas and research on the ways in which art is created and perceived. Artforms that will be considered include visual arts (painting, sculpture, architecture, popular art), performing arts (dance and theater), music, and film. Readings will interface with subdisciplines of psychology such as perception, psychoaesthetics, neurophysiology, social psychology, and studies of emotion. Principal areas of focus will include aesthetics, arts-experimental design, perception of art, meaning in art, the psychology of the creative process, social and cultural issues, and the ramifications of arts-sciences research. The primary focus will be on Western art forms, though other world art traditions and aesthetics will be discussed. Assessment methods will test understanding through a summary and critical reflection on a selected text and the proposal, research, and design and oral presentation of a potential interdisciplinary research project.

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The module gives School of Arts students across a range undergraduate programmes the opportunity to undertake a written independent research project at stage 3.

Students who wish to take the module must approach a permanent academic member of staff with a proposal, typically in advance of module registration, during the Spring term of the previous year. Students pick a research topic of their choice; however, students are only allowed to register for the module with the permission of a staff member who has agreed to supervise the project, and who has the expertise to do so. Potential supervisors must also ensure before they agree to supervise a project that the resources required to complete the project will be available to the student, and that adequate supervisory support will be available to the student throughout their study on the module.

Students will be supported in the preparation and submission of their work by their supervisor, although a central expectation of the module is that students will take increasing responsibility for their learning, consistent with expectations of Level 6 study.

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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.

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

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This module gives an opportunity for intensive study of one of the major novelists of Victorian England. There are many different views and interpretations of Dickens circulating in our culture. He has been dismissed as a writer of cosy sentimentality, celebrated as a radical critic of his age, and admired for his prodigious output and creative innovation.

Studying a selection of his fiction, we will consider a wide variety of interpretations, in the light of the most current literary criticism of Dickens's works. We will analyse Dickens’s texts in terms of narrative method, genre, characterisation, imagery and book history and – in the process – we will examine how the novels respond to, or challenge, significant aspects of Victorian culture and society such as class, gender, family, nation, childhood, the city, empire, industrialisation, and modernity.

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The module raises students' awareness of contemporary issues in postcolonial writing, and the debates around them. This includes a selection of important postcolonial texts (which often happen to be major contemporary writing in English) and studies their narrative practice and their reading of contemporary culture. It focuses on issues such as the construction of historical narratives of nation, on identity and gender in the aftermath of globalisation and 'diaspora’, and on the problems associated with creating a discourse about these texts.

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The module is structured around poetry and fiction produced in New York since the Second World War. The emphasis is on New York's experimental and avant-garde traditions, and one organising principle is the inter-connectedness of the arts in New York. The module introduces students to some of the main areas of culture in the city, from the New York school of poetry through Abstract Expressionism, early Punk and on to post-modern fiction. Writers to be studied will include John Cage, Barbara Guest, William Burroughs, John Ashbery and Patti Smith.

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

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This module explores the eighteenth century fascination with bodies and the truths (or lies) bodies were supposed to reveal. Our focus will be on the ways in which the body is read and constructed in eighteenth-century literature and how these readings and constructions reflect various concerns about class, race, gender and sexuality. Efforts to regulate the body (particularly the female, plebeian and racialised body) became the focus of many reformers and philanthropists in the period who sought to recuperate the productive (and reproductive) labour of idle or transgressive bodies to serve the nation's moral and financial economies. Other writers, however, emphasised the body's potential to work against social and cultural norms, focusing on events such as the masquerade, in which women dressed as men and aristocrat’s as chimney sweeps.

Through the course of this module we will examine a range of literary representations of the body which seek both the control the body and to celebrate its disruptive potential. We will read texts from a variety of genres including medical literature, misogynist satire, sentimental novels, popular fiction, travel writing and pornography. Primary texts will be read alongside recent critical work by Thomas Lacquer, Michel Foucault, Roy Porter, and Peter Stallybrass and Allon White, which illuminate the ideological stakes writers played for when writing about the body. Topics for discussion will include disability and deformity, race, the sentimental body, dress and the body, the body as text and the relationship between the body and the body politic. The primary focus of this option will be literature, but we will also examine visual representations of the body in caricature and satire as well as in the portraiture.

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While the so-called 'Brontë myth' remains potent in popular culture today, the lives-and-works model associated with it continues to encourage readers to seek partially concealed Brontë sisters in their fictions. Beginning and ending with the problematic of mythmaking – its origins in Gaskell’s Life of Charlotte Brontë and its subsequent perpetuation in film and other rewritings - this module will restore attention to the rich literary contribution made by the sisters through an intensive focus on their novels and some poetry in the context of Victorian debates about gender and the woman question. Situating the Brontë myth in relation to other forms of mythmaking in the period (for example, ideologies of class, gender and empire), it will consider a small selection of film adaptations and go on to examine the Brontës’s experiments with narrative voice and form, their variations upon the novel of education, the tensions between romance and realism in their writing and their engagement with the political, economic and social conditions of women in mid-Victorian culture.

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

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

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This module explores the intersections between nation, narration and globalisation in the twentieth and twenty-first century novel. It will focus this exploration through textual representations of 'the stranger', a figure theorised since the beginning of the twentieth century as symptomatic of modernity in European cultures, and more recently by postcolonial critics as the paradigm through which the effects of globalisation are 'encountered' in contemporary ‘multicultural’ national and transnational spaces. Students will be encouraged to analyse the historical and conceptual relations between novel and nation and the particular ways in which the body of ‘the stranger’ has been reified through them. At the same time, they will be invited to consider ‘the stranger’ as a disorientating embodiment of distance and proximity, and to evaluate how this dynamic constructs and deconstructs the form and boundaries of the novel as a genre, and the surrounding familial, national and racial paradigms of belonging. Through discussions of the theoretical work of writers such as Georg Simmel, Freud, Fanon, Edward Said, Judith Butler, Zygmunt Bauman, and Homi Bhabha, students will be asked especially to consider the mutual effects of estrangement across gendered, racial, and colonial divides. The broad aims of the course are to problematise ‘the stranger’ as a literary means of orientating the individual and the nation; to situate the twentieth and twenty-first century novel as a symptomatic site for ‘strange encounters’; and to understand the extent to which it poses ‘strangeness’ and ‘homeliness’ as inseparable, necessary and possible acts of narration.

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Beginning in Harlem in the 1920s and ending in Vancouver at the turn of the 21st century the module will follow a chronological and geographical route from South to North and East to West, exploring a diverse range of literary fiction and poetry that fuses urban black experience and a history of migration. Drawing on material from the US, Canada, and the Caribbean, we will spend time analysing the representation of black identity and experience, aesthetics, and the ethics/politics of literary production. Considering both the material conditions and intellectual challenges faced by different communities, we will examine a rich cultural matrix, from soulful rural folk culture to hard-edged urban cynicism, from the collage and blues aesthetics of the Harlem Renaissance, to the hip-hop vernacular of Vancouver's southwest side.

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

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

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

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

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30

"The empires of our time were short-lived, but they have altered the world forever; their passing away is their least significant feature" (V.S. Naipaul).

British colonialism changed the world, but it also changed Britain. Since the period known as the 'end of empire' in the 1950s and 60s, Britain has grappled with its loss of imperial power, a loss that has informed contemporary debates about immigration, multiculturalism, and nationalism. This module explores how writers have represented the consequences of imperial decline for British society and culture. Beginning in the midst of the ‘end of empire’ and ending in the world in which we find ourselves today, we'll explore how some of the core concerns of contemporary Britain are best understood in terms of post-imperiality. These concerns include racism towards migrants and refugees, nostalgia for a romanticised imperial past, and the re-emergence of colonial discourse in debates about the ‘War on Terror’. Alongside these, we'll discover how literature can enable an investment in new forms of community and identity. Many of the writers on this module bring the category of ‘British’ into crisis, and in doing so, enunciate new forms of commonality that actively reject the harmful and exclusionary imperial myths about racial and cultural difference.

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

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

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In his 1980 essay, 'The Mathematics of Rimbaud', the poet, performer, and painter Allen Fisher observed that – as a consequence of the innovations in artistic practice throughout the 20th century – the idea of "art as objects and poetry as poems" had gradually lost its credibility. In stating this, Fisher not only articulated a compelling summary of the ways in which the study and practice of poetry and art over the last fifty years have consistently challenged the idea that these works are somehow enclosed, autonomous, or didactic units of meaning. He also indicated that sometimes poetry goes beyond text. Whether we think of the developments in the fields of concrete and visual poetry; poetry’s interaction with larger art installations; sound poetry; poetry in performance; or any combination of these different practices, contemporary poetry often invites us to think of ‘poems’ as something more than just words printed on a page.

In this module, you will have the opportunity to explore and engage with a diverse range of poetry beyond text, both on a creative and critical level. The curriculum will cover topics and themes including performance poetry (as well as poetry and performance more broadly), verbal artefacts, and intersections between poetry and sonic, visual and digital arts. Through both theory and practice, including regular creative exercises, the module offers you the opportunity to engage with these interdisciplinary poetry practices from both creative and critical perspectives. The assessment methods will also allow you the opportunity to pursue independent research projects that can be either creative or critical, or a combination of the two. In addition, the module will include ‘field trips’ to relevant poetry events, either in Canterbury or further afield. Throughout, our studies will help to further enhance your understanding of poetry as a kinetic and mutable form of art.

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Thomas Hardy is one of the most important writers of the last two hundred years. Born into a family that was somewhere below working class, he went on to become one of the most articulate explorers of human emotion and circumstance, whose abilities to describe the natural world are unmatched by any of his peers. In later life, he had achieved so much in the world of letters that even royalty visited him at his home. In his early sixties, he retired from novel-writing and decided to have a go at publishing poetry, unaware that he would go on to have an equally long career as a poet and would become one of the preeminent writers of verse in the twentieth century.

In this module, you will discover why Hardy persists in being one of Britain's most important, modern and relevant writers. It will explore the range of Hardy's work including his novels, some short fiction poetry, prose, and autobiography, in the light of specifically nineteenth-century concerns such as the emergence of modernity, the impact of science, the beginnings of modernism, and the shift from the rural to the urban. Themes to be explored will include Hardy’s changing position as an author throughout his career; his development of forms of narrative; his views on history and philosophy; the representation of class; anxieties about social, cultural and economic change; the status of the human and the animal; his interest in evolutionary theory and its widespread effect; and finally, his career and position as a twentieth-century poet.

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

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This module examines the development of Virginia Woolf's writing across the span of her life. It explores Woolf's most important modernist texts alongside some of her lesser-known writings, and considers a range of literary genres she wrote in (novels, essays, short stories, auto/biography). As well as paying close attention to the distinct style of modernist literature, there will be consideration of various historical, cultural, philosophical, political and artistic contexts that influenced, and were influenced by, Woolf’s writing. Students will be introduced to the key critical debates on Woolf, featuring discussion of topics as diverse as feminism, visual art, the everyday, war, sexuality, gender, class, empire, science, nature and animality. With Woolf as its central focus, this module therefore seeks to understand the lasting significance of modernist literature.

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What is the relationship between 'animal' and ‘human’, and how is this explored through writing? This module seeks to examine creaturely relations by focusing on literature from the eighteenth century up to the present, alongside key theoretical and contextual material that engages with questions concerning animality and humanity. We will focus on how writers imagine distinct animal worlds as well as how they understand the role of animals in human cultures. A range of novels, short stories and poems will raise questions about how we look at, think with, and try to give voice to animals, and topics covered will include ‘Becoming Animal’, ‘Animal Autobiography’, ‘Observing Animals’, ‘Colonial Creatures’, ‘Animal Experiments’, ‘Taming and Training’, and ‘Questions for Animals’. Students taking this module will gain a firm grounding in the diverse critical field known as ‘animal studies’, whilst also considering the broader cultural, philosophical and ethical implications of how we think about the relationship between humans and animals.

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

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The module examines some key texts in the theory and literary presentation of utopia. In the first part of the module we will examine classic early utopian texts (Plato, More) and will set these in the context of the modern theory of historical progress (Hegel) the failure of that progress to materialise (Agamben) and the nature of hope for the future (Bloch). In the second part of the module, we will examine modern classics which look at the failure of the communist utopia (Zamyatin, Huxley, Orwell) and at later texts which revived the genre of utopia (LeGuin, Atwood).

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You have the opportunity to select elective modules in this stage

Teaching and assessment

Art History modules include weekly lectures and small group seminars; 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.

All Art History modules are assessed by coursework – essays, presentations, image or text analyses and other module-related activities. 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.

English and American literature modules are taught by weekly seminars. Compulsory modules include a weekly lecture, with individual supervision offered for the Long Essay. Assessment at Stage 1 is by a mixture of coursework and examination. Some modules may include an optional practical element.

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.

Contact Hours

For a student studying full time, each academic year of the programme will comprise 1200 learning hours which include both direct contact hours and private study hours.  The precise breakdown of hours will be subject dependent and will vary according to modules.  Please refer to the individual module details under Course Structure.

Methods of assessment will vary according to subject specialism and individual modules.  Please refer to the individual module details under Course Structure.

Programme aims

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

Careers

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.

English and Amercian Literature graduates have gone into: journalism, broadcasting and media, publishing, writing and teaching; more general areas such as banking, marketing analysis and project management; or on to further study for postgraduate qualifications.

Entry requirements

Home/EU students

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

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

New GCSE grades

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

Qualification Typical offer/minimum requirement
A level

BBB including English Literature or English language and Literature at grade B

Access to HE Diploma

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

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

BTEC Level 3 Extended Diploma (formerly BTEC National Diploma)

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

International Baccalaureate

34 points overall or 15 points at HL. HL English A1/A2/B at 5/6/6 OR HL English Literature A/English Language and Literature A (or Literature A/Language and Literature A of another country) 5 at HL or 6 at SL.

International students

The University welcomes applications from international students. Our international recruitment team can guide you on entry requirements. See our International Student website for further information about entry requirements for your country. 

However, please note that international fee-paying students cannot undertake a part-time programme due to visa restrictions.

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

Meet our staff in your country

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

English Language Requirements

Please see our English language entry requirements web page.

Please note that if you are required to meet an English language condition, we offer a number of 'pre-sessional' courses in English for Academic Purposes. You attend these courses before starting your degree programme. 

General entry requirements

Please also see our general entry requirements.

Fees

The 2020/21 tuition fees have not yet been set. As a guide only, the 2019/20 annual tuition fees for this programme are:

UK/EU Overseas
Full-time £9250 £15700
Part-time £4625 £7850

For students continuing on this programme, fees will increase year on year by no more than RPI + 3% in each academic year of study except where regulated.* 

Your fee status

The University will assess your fee status as part of the application process. If you are uncertain about your fee status you may wish to seek advice from UKCISA before applying.

Fees for Year in Industry

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

Fees for Year Abroad

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

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

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. 

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.