Course Information
Discover your Future at an Open Day
25 November and 13 December 2017
Book your place

BA (Hons)

BA (Hons)

Select year of entry:
3 years School of Fine and Performing Arts Lincoln Campus [L] Validated BCC (or equivalent qualifications) QW34 3 years School of Fine and Performing Arts Lincoln Campus [L] Validated BBC (or equivalent qualifications) QW34

Introduction

In studying the BA (Hons) Drama and English degree at Lincoln, students will be encouraged to make connections between the subjects, explore key differences between them and also develop critical rigour while questioning conventional assumptions about literature, drama, and the world.

Students are invited to consider literature from a variety of theoretical, historical and cultural perspectives, while the interdisciplinary nature of the course places an emphasis on bringing together a critical study of drama with creative practice.

With a wide range of optional modules that explore a variety of genres and playwrights, students have an opportunity to prepare for a range of careers in the theatre and media, both on and off stage, and for further study.

How You Study

During the first and second years of the course, students are introduced to literary forms and theories and can explore texts and authors from the early 19th Century through to the present day. The Drama modules offer students the opportunity to develop a critical and culturally engaged relationship to theatre in both scholarship and practice. In the third year, students may choose from a wide range of options and undertake a dissertation on a topic of their choice.

Teaching modes vary between modules with different attendance requirements accordingly. Students can expect to attend lectures, interactive discussion-based seminars and practical workshops, in addition to watching theatrical performances and film screenings.

Contact Hours and Reading for a Degree

Students on this programme learn from academic staff who are often engaged in world-leading or internationally excellent research or professional practice. Contact time can be in workshops, practical sessions, seminars or lectures and may vary from module to module and from academic year to year. Tutorial sessions and project supervision can take the form of one-to-one engagement or small group sessions. Some courses offer the opportunity to take part in external visits and fieldwork.

It is still the case that students read for a degree and this means that in addition to scheduled contact hours, students are required to engage in independent study. This allows you to read around a subject and to prepare for lectures and seminars through wider reading, or to complete follow up tasks such as assignments or revision. As a general guide, the amount of independent study required by students at the University of Lincoln is that for every hour in class you are expected to spend at least two to three hours in independent study.

How You Are Assessed

This course is designed to equip graduates with a wide variety of high-level skills to enhance their employability at the end of their studies.

Assessment Feedback

The University of Lincoln's policy on assessment feedback aims to ensure that academics will return in-course assessments to students promptly – usually within 15 working days after the submission date (unless stated differently above)..

Methods of Assessment

The way students are assessed on this course may vary for each module. Examples of assessment methods that are used include coursework, such as written assignments, reports or dissertations; practical exams, such as presentations, performances or observations; and written exams, such as formal examinations or in-class tests. The weighting given to each assessment method may vary across each academic year. The University of Lincoln aims to ensure that staff return in-course assessments to students promptly.

Interviews & Applicant Days

Applicants will be invited for an interview with tutors from the University's School of Fine & Performing Arts.

Staff

Throughout this degree, students may receive tuition from professors, senior lecturers, lecturers, researchers, practitioners, visiting experts or technicians, and they may be supported in their learning by other students.

For a comprehensive list of teaching staff, please see our School of Fine and Performing Arts Staff Pages.

Entry Requirements 2017-18

GCE Advanced Levels: BCC

International Baccalaureate: 28 points overall

BTEC Extended Diploma: Distinction, Merit, Merit

Access to Higher Education Diploma: A minimum of 45 level 3 credits at merit or above will be required.

In addition, applicants should have a minimum of three GCSEs at grade C or above, including English, or the equivalent.

Mature students with extensive relevant experience will be selected on individual merit.

If you would like further information about entry requirements or would like to discuss whether the qualifications you are currently studying are acceptable, please contact the Admissions team on +44 (0)1522 886097 or email admissions@lincoln.ac.uk

Level 1

Early Victorian Literature: Rebellion and Reform (Core)

The early Victorian period saw some of the most formative changes in modern history: the industrial revolution, the achievement of mass literacy, the rise of class conflict, the growth of freedoms for women, and the increase of religious doubt. Literature of the era both reflected these upheavals, and sought to intervene in shaping how the public responded to them. Students will have the opportunity to read texts of the period by writers such as Charles Dickens, Charlotte Bronte, Robert Browning and Christina Rossetti, and Chartist poets, placing them in their cultural context.

Introduction to Narrative (Core)

Narrative is everywhere in our lives: in books, on TV, in history, on the news, on social media, in our conversations and in our heads. This module aims to give students an understanding of how stories work, using the insights that have originated and developed from structuralist theory. Contemporary British fiction by writers such as Kate Atkinson, Hanif Kureishi, Irvine Welsh, Ian McEwan and Ali Smith will be used to introduce a set of critical concepts for the analysis of narrative fiction.

Introduction to Poetry (Core)

This module looks at what makes poetic language different from 'normal' language, at how poets use the sounds and meanings of words, and at how poetry can be used to refresh, change or question our understanding of the world. We look at a range of poetry in English from nursery rhymes to rap and from the 14th century to the 21st. Our aim is to enable students to discuss poetry with confidence, accuracy and clarity, and, we hope, to enjoy more fully “the only art form that you can carry around in your head in its original form”.

Late Victorian to Edwardian Literature: Decadence, Degeneration and the Long Edwardian Summer (Core)

The late Victorian and Edwardian period (leading up to the Great War) is characterised by anxiety – about the self, society and the empire. Writers become preoccupied with decadence (personal and social), crime, sexuality, the changing status of women and the implications of scientific developments. This is also the period that sees the birth of modern literary forms: the short story, science fiction, the detective novel, children's literature, and fiction about the supernatural. These and other themes are examined through the works of writers such as Oscar Wilde, H.G. Wells, Frances Hodgson Burnett, Robert Louis Stevenson and Bram Stoker.

Theatre & Performance Making I (Core)

An introduction to the fundamental elements of performance technique and performance making. Students can undertake foundational instruction in vocal and physical technique, including movement for theatre, spatial and ensemble awareness and the operation of the voice.

Theatre & Performance Studies (Core)

Theatre & Performance Studies situates the field of theatre and performance within the larger framework set out by Critical Histories in Semester A. The module provides three approaches to investigating the relationship between dramatic texts and performances and their historical, cultural and critical contexts, using a series of case studies.

Level 2

Avant-Garde Theatre (Option)

What does it mean for theatre to be ‘avant-garde’? What does it look like in practice, and how does it reflect critical thought and the wider world at the time? In this module, students can look at key early avant-garde movements as critical and expressive practices in relation to their genealogical position in theatre history and the contexts of contemporary theatre making that impacts on the theatre we make today.

Collaborative Elective (Option)

This module enables groups of students from mixed disciplines to work together on a large-scale, interdisciplinary project.

The module takes as its starting point a project brief from either an internal or external partner commissioning the student group to undertake and complete a collaborative project exploring pertinent cultural issues.

Contemporary Drama in Context (Option)

Students can study a range of contemporary dramatic texts and performances drawn from 1989 onwards. These plays will be grouped thematically into three key areas of contemporary cultural context: Neoliberalism; Borders and Nations; and Climate Change and the Environment. Applying the skills of close critical analysis developed throughout the course, students are expected to consider how contemporary theatre is engaging with the social, political and environmental fallout of 'the end of history' and examine the various dramaturgical strategies employed by contemporary theatre-makers to address these challenges.

Dis-Locations: the Literature of Late Capitalism (Core)

Fragmentation, uncertainty and conflict characterise a world in aftermath of war, at end of empire, and at the beginning of a period of radical social and cultural change. This module aims to chart the emergence of the contemporary world from these fractured beginnings through an introduction to British literature of the period 1950–2000. From the post-war Windrush migration to the rise of the historical novel at the turn of the millennium, the Angry Young Men to new feminist perspectives and postcolonialism, this module explores relevant theoretical perspectives on the late 20th Century and encourages an appreciation of the relationship between texts and their social, political and cultural contexts.

Making It New: An Introduction to Literary Modernism (Core)

In this module students will have the opportunity to explore the early twentieth century, one of the most creative periods in English literature, when writers like James Joyce, T.S. Eliot, Virginia Woolf and D.H. Lawrence were challenging conventional ways of writing and reading, and rewriting how we experience and understand the world and ourselves. Required reading will include some of the most powerful works from the modern movement between 1910 and 1940 including James Joyce’s Ulysses and T.S. Eliot’s The Waste Land.

Placements (LSFPA) (Option)

This module encourages students to think beyond their University life, reaching into the wider community to hone their skills and target future employment possibilities. The Placements module provides students with the opportunity to examine how in arts-based organisations, educational and work in non traditional arts-based establishments enable students to use the direct and transferable skills they have developed during their degree These skills can contribute to the future career prospects of our graduates.

Postcolonialism (Core)

This module examines literary representations of the world that emerge from the history of European exploration and expansion, and considers literary responses from groups that were marginalized through imperialism. Students will be encouraged to look at the treatment by white writers of issues of race and empire in the early twentieth century. They will also have the opportunity to explore ways in which postcolonial literatures develop strategies of 'writing back' to the imperial centre and re-thinking identity in terms of race, gender and nation. The final section offers a study of postcolonial Britain and some global implications of postcolonial writing.

Scenography & Design (Option)

How have the practices of set, costume and performance design developed over time? In what ways can theories developed by pioneers of modern scenography be tested and put into practice today? How do spaces, bodies, materials and technologies interact in the production of meaning in theatre and performance? In this module, students are introduced to key aspects of the histories, theories and contemporary practices of scenography and performance design.

Stage Combat (Option)

This module aims to teach students the basics of engaging in stage combat and gives them the option of progressing to the Academy of Performance Combat Basic Three Weapon exam.

Staging the Early Modern (Option)

How do we stage play-texts written over four-hundred years ago? Why do we continue to stage plays written centuries ago? Why do they continue to speak to us, and how can we make them speak for us? In this module, students are given the opportunity to reinvent an early modern classic for the twenty-first century stage.

Study Period Abroad - English and Drama (Option)

This module provides an opportunity for students on the joint English and Drama BA to spend a semester at second level studying at one of the University’s partner institutions, developing academically and personally. During the semester abroad students undertake a course load at the partner institution of equivalent standard to that of one semester of the programme at Lincoln. Participation in study abroad also offers unique opportunities for personal student development in the widest sense, taking in cultural, sporting and social opportunities.

In order to participate, students are usually expected to obtain a 2:1 or higher at Level 1, have a good record of attendance and participation, and must complete an application process. A limited number of places will be available each year, and participation is at the discretion of the Module Co-ordinator and the Programme Leader.

Teaching Drama (Option)

This module aims to introduce students to teaching drama in schools and enables them to take part in a mix of practical workshops, interactive seminars and school-based research projects. It promotes the teaching of drama as a subject in its own right and helps students review their own experiences and concepts of drama.

The module will take account of the latest developments in all areas of drama teaching while emphasising recent developments curriculum developments at GCSE, AS, A level and BTEC levels. The module explores how the teaching of Drama as a discrete subject links with the National Curriculum at Key Stage 3. The module aims to introduce students to a range of educational and drama-specific strategies to enable them to teach a successful lesson or run a successful workshop.

Technical Theatre (Option)

How does a theatre performance work? What happens behind the scenes for a performance to operate effectively?

The Technical Theatre module provides students with the opportunity to improve their understanding of creating and operating a theatrical performance through both theoretical and practical based workshops, demonstrating common principles and practices within the subject of technical theatre.

Theatre Practice (Option)

This modules introduces students to practical strategies for the making of performance in the real-world contemporary theatre industry. The focus is on approaching performance through the lens of a professional practitioner. While we take existing models from contemporary theatre companies and theatre makers, we are also interested in developing a professional skill-set and attitude at this level and enabling students to consider themselves on their professional trajectory as makers. Students can explore the associated practices of improvising, devising and dramaturgy

Theory Wars (Core)

This module considers the range of theories that we can use when we read and think about literature. Students will have the opportunity to study psychoanalysis, feminism, Marxism and postmodernism, among others, to think about why and how we structure meaning and interpretation in certain ways. We consider questions such as ‘what is an author?’, ‘what is gender?’ and ‘why do certain things frighten us?’ through theorists such as Roland Barthes, Judith Butler and Sigmund Freud.

Level 3

Acting for Song (Option)

This is a practical module in which students can explore the techniques of singing and acting song. Working on both ensemble and individual numbers, this may be ideal preparation for anyone anticipating applying for drama schools, especially for musical theatre courses.

American Detective Fiction and Film: 1930 to the Present Day (Option)

Why have detective narratives proved so enduringly popular? This module will interrogate the iconic figure of the private eye in American popular culture, through the fiction and film of the twentieth and twenty-first century.

Contemporary Drama (Option)

This is a study of drama and performance from the late 1960s to the contemporary moment, and involves a consideration of plays by playwrights including Tom Stoppard, Pam Gems, Eve Ensler, Sarah Kane, Caryl Churchill, Robin Soans and debbie tucker green. Topics emphasised include political theatre, postdramatic theatre, verbatim theatre, in-yer-face theatre, and issues of censorship. This module is taught through workshops involving both academic discussion and practical work.

Creative Industries (Option)

In this module students can develop a detailed understanding of the arts as an ecosystem in relation to the wider world. Through a robust portfolio assessment, students have the chance to acquire a broad range of the administrative, professional and managerial skills required for a sustainable career in the arts.

Directing (Option)

What is the role of the director? What is the difference between directing an existing text and directing a piece 'from scratch'? What are the artistic and aesthetic concerns of the director, and what does it mean to direct theatre in the twenty-first century? This module introduces students to the practical process of classical and contemporary methodologies for directing theatre, from researching the script, through casting and rehearsals to auteurship, guided improvisation, and material development.

Dissertation (15c) (Option)

The Dissertation module provides the opportunity for a student to investigate and pursue a theatre and performance arts topic of his or her own choosing over an extended piece of academic writing.

Each student is allocated a supervisor that will help them to select and refine a topic appropriate for extended study, evaluate progress and read and offer feedback on draft work. Students will be expected to work on their own initiative to undertake research and synthesise it into a logical and original argument in the form of a 4,500 piece of scholarly writing.

Dissertation (30c) (Option)

The Dissertation module provides the opportunity for a student to investigate and pursue a theatre and performance arts topic of his or her own choosing over an extended piece of academic writing.

Each student is allocated a supervisor that will help them to select and refine a topic appropriate for extended study, evaluate progress and read and offer feedback on draft work. Students will be expected to work on their own initiative to undertake research and synthesise it into a logical and original argument in the form of a 9,000 word piece of scholarly writing.

Gothic in Literature and Film (Option)

Monsters and attics, desolate landscapes, imprisonment and pursuit: the gothic genre emerged in the late eighteenth century to depict our darkest fears and desires. Termed 'the literature of nightmare', gothic departs from a realistic mode of representation and employs a powerful means of symbolic expression. Students are given the opportunity to investigate ways in which the genre has explored psychological and political anxieties, and themes of sexual and social transgression. We consider literary texts from the eighteenth to the twenty-first centuries, including literature and film, and we give attention to sub-genres such as ‘female gothic’, ‘imperial gothic’ and ‘children’s gothic’.

Growing Up and Growing Old: Youth and Age across the Nineteenth Century (Option)

This module explores what it meant to grow up and to grow old in the nineteenth century, through often contradictory accounts of experiencing age categories from childhood to old age.

Students will have the opportunity to examine various constructions of ageing, to reflect on age as a crucial facet of identity. This module considers age as a lens to explore the nineteenth century as a transitional period of growth and expansion as well as decay and decline, through a range of Romantic and Victorian texts.

Independent Study: English (Option)

In this module students, having first submitted a research proposal and had it agreed by the module convenor, have the opportunity to research in depth an author or topic of their choosing.

Students are expected to commence research over the summer between Levels 2 and 3 and, on their return, have regular, one-to-one meetings with a tutor who is a research specialist in that field. The supervisor offers advice and direction, but primarily this module encourages independent research leading to the production of a 10,000 word dissertation.

Life Writing (Option)

This module responds to the recent interest in the representation of lives within literary studies. It discusses a range of life representations (including biography, autobiography, letters, confessions, memoirs, and poems) from the Romantic period to the contemporary moment. Students may consider the origins of autobiography, address Modernist experiments with life representations, and discuss twentieth-century and contemporary innovations, including disability narratives and cross-cultural autobiographies. Themes such as the construction of selfhood, conceptions of memory, the relational self, and the ethics of life writing are addressed.

Literature and the Environment (Option)

The first principle of ecological thinking is that it is not only human beings that are meaningful, and that we are neither so separate from, nor so dominant over, the non-human as we tend to think. In this module we explore what difference it makes to read literature from this perspective. We study literature as part of our complex interaction with our environment, and, perhaps sometimes, as a uniquely valuable one. We will be reading texts from ancient Greek pastoral to contemporary dystopias, and from the poet John Clare to the woodland historian Oliver Rackham.

Literature, Film and Gender (Option)

This module explores a wide range of gender topics (masculinities, the backlash against feminism, crossdressing, queer theory, and transgendering) through a variety of literary texts and films. Shakespeare, Ibsen, Hardy, and Woolf, are considered alongside more popular fiction by writers such as Susanna Moore, and films, including Priscilla: Queen of the Desert and The Crying Game.

Madness, The Body, Literature (Option)

This module looks at long 20th century fiction and culture through the lens of discourses of madness and wellness. Students will have the opportunity to develop their understanding of trends in psychiatric and therapeutic cultures on display in a range of American and British literature from the fin-de-siècle to the contemporary. We look at writers such as Sigmund Freud, Ken Kesey, Rebecca West and Siri Hustvedt, alongside theoretical work by figures such as R.D Laing and Jean-Paul Sartre.

Monsters and Violence in Middle English Romance (Option)

This module explores the representation of East-West contact in Middle English romances, with a particular emphasis on the interlacement of racial and ethnic otherness and on different types of violence, from martial exploits and religious coercion to rape and cannibalism.

Students will have the chance to experience the breadth of the romance genre—its many thematic and topical branches, and its many sub-genres and their respective conventions—as well as insight to the actual act of crusading, and the cultural and social crises that arose from this act.

Performance Writing (Option)

This 30-credit Level 3 module will investigate different modes of writing for, through and in performance. The module introduces radical new dramaturgies and the potentiality of text as material, site and set. Students can develop approaches, strategies and techniques for writing for performance, inclusive of the notion of writing-as-performance, and a critical understanding of their application in theatre today.

Performance, Broadcast & New Technologies (Option)

What happens when performance meets new technology? How can digital technologies reshape and reconfigure the possibilities for performative and aesthetic experience? In this module students can practically engage with a range of new and broadcast technologies to develop a piece of performance practice that explores the relationships between technology and the experience of performance.

Physical Theatre (Option)

This practice-orientated module aims to introduce students to the range of approaches to Physical Theatre. Students can explore how to work imaginatively with space, text and image-making, using body and voice to devise an original performance of physical theatre.

Popular Performance (Option)

What does it mean to be ‘popular’? Why are ‘popular’ performance modes – such as clowning, cabaret, the musical and stand-up comedy – so often overlooked within the ‘serious’ study of theatre? In this module, students can engage with the historical, theoretical and practical contexts of a range of popular performance forms.

Postdramatic Theatre (Option)

Emerging in the twentieth century, postdramatic theatre calls into question such fundamentals of dramatic theatre such character, plot and dialogue, inviting us to conceive of a theatre beyond representation. This module asks ‘why?’ and ‘how?’, in both practical and theoretical contexts.

Postmodernism: Apocalypse and Genesis 1967-2000 (Option)

This module will explore the nature of the contemporary through analysis of selected literary texts. The initial date, 1967, has been chosen as it marks a point of transition from a post-war world based upon a liberal consensus to a time of radical uncertainty, extreme and experimental forms of expression, the breakdown of notions of realism in all the arts, sciences and philosophy. Literature, alongside the radicalisation of all intellectual concepts, including reason and common-sense, has played a significant role in debating, illustrating, and disseminating these new ways of thinking both in terms of form and content.

Science Fiction (Option)

This module considers the genre of modern science fiction (SF) and its evolution into one of today’s most popular narrative genres. Analysing a variety of forms – novel, short story, drama, graphic novel and film – students will have the opportunity to examine the socio-historical contexts of some of the most influential narratives of this period: from the emergence of “scientific romance” in the late nineteenth century, to late twentieth-century forms like cyberpunk and radical fantasy; from the problems of defining “genre fictions” and privileging SF over fantasy, to our enduring fascination with alternate histories, non-human agents (robots, animals, genetic hybrids, the environment), ecocatastrophe and post-apocalypse.

Sex, Texts and Politics: Geoffrey Chaucer’s Canterbury Tales (Option)

This module concentrates on the works of Geoffrey Chaucer, with a particular emphasis on The Canterbury Tales, perhaps Chaucer’s most famous work.

Students will have the opportunity to examine the General Prologue and a variety of tales in relation to their historical context and literary antecedents, and, throughout, specific attention will be given to questions of genre (ranging from fable and epic to satire and romance), literary authority, narrative construction, and medieval aesthetics.

Solo Performance (Option)

This module seeks to enable students to explore and analysis the various techniques of producing material which will eventually lead to the production of a Solo Performance. During the course of the module, students will analyse and engage with the work of a variety of contemporary solo artists which will hopefully influence and instruct their work. Engagement with a wide variety of Solo artists is important and where possible the resource that is the Lincoln Performing Arts Centre will provide a rich vein of resources in respect of incoming artists. These opportunities for students on this module will hopefully enable them to discover a personal voice and a unique persona as an artist.

Southern Accents (Option)

This optional module explores representations of the southern states of America in prose fiction, film, drama and music. In the first section southern stereotypes and ‘resistant’ representations, produced by southerners and others, are examined in relation to social, political and historical contexts. This is followed by a section on African American representations of the south. Finally, a section on music and vernacular traditions explores the influence of the south on American popular music. Students are encouraged to adopt an interdisciplinary approach to examine questions of regional identity in a wide range of texts.

Specialist Elective II (Option)

This module offers students the opportunity to work alongside established academics conducting research into a specialist area of drama, theatre and/or performance studies. Specific module content will be informed by the research expertise of the tutor, who will connect students with the contexts, practices, theories and debates associated with this field of research, developing skills of textual and critical analysis alongside creative and critical practices.

The Literature of Childhood (Option)

This module explores how childhood is constructed in a wide range of literary texts – texts by adults for adults, by adults for children, and by children themselves. Underpinning the module is the notion of ‘childhood’ as a cultural construct into which writers invest various, even contradictory, meanings. Students have the opportunity to explore texts by adults who idealise or demonise the child to suit their personal and philosophical agendas. Students may then analyse the mixture of didactic and therapeutic agendas in enduring genres of children’s literature such as the fairytale, adventure story and cautionary tale. Finally, we turn to children as authors in a study of juvenilia.

The Making of English Literature: Georgian Literature, 1710-1832 (Core)

Students reading Georgian Literature have the opportunity to study a selection of canonical and less well-known texts from the period and explore the historical and cultural context of their production. The module discusses developments in the novel from Daniel Defoe to Jane Austen and innovations in poetry from Alexander Pope to Romantic writers such as William Wordsworth. Important themes include satire, sensibility, the Gothic, popular and polite culture, authorship, and Georgian theatre. Contextual discussion focuses on the ‘construction’ of nation, gender, class and empire, and the relationship of British literature to the Enlightenment and to Revolution.

Theatre For Young Audiences (Option)

What part does theatre play in the lives of children today? How do we make such theatre relevant, accessible and alive in a world dominated by screen-based interaction? What is the most appropriate setting and subject matter to engage children in a theatrical experience?

Students will form small groups and devise short performances designed to tour to Primary Schools in the City of Lincoln. The tour will usually play in a different Primary School every day for one working week, with audience sizes ranging from 80 - 300 children. The tour will replicate a professional touring model, accompanied by a dedicated Technician with a full complement of audio, visual and lighting equipment. The audience will usually comprise of 4 - 7 year old children, their teachers and teaching or learning assistants. Students will require DBS Checks to tour, and these will be provided by the School of Fine and Performing Arts.

Twenty-First Century British Fiction (Option)

This module aims to explore new thematic trends, stylistic innovations and cultural developments in post-millennial British fiction, including a focus on globalizing processes, transnational migration and digital technology.

The module also addresses the development (and rethinking of the concepts) of gender and class in literature of the period and account for the continuing importance of the literary form in an age of digital publishing.

Women’s Writing and Feminist Theory (Option)

A diverse range of prose, poetry, and drama written by women from the eighteenth century to the present is considered alongside key concepts in feminist theory and the history of the women’s movement. Writers range from Mary Wollstonecraft to Zora Neale Hurston to Jeanette Winterson. Topics range from the feminine aesthetic and French feminism to feminist utopianism and cyberfeminism.

†The availability of optional modules may vary from year to year and will be subject to minimum student numbers being achieved. This means that the availability of specific optional modules cannot be guaranteed. Optional module selection may also be affected by staff availability.

Special Features

Visiting Writers

Students with interests in creative writing and contemporary literature may benefit from readings and masterclasses by published authors, including Poet Laureate Dame Carol Ann Duffy.

Performance Opportunities

Students may decide to join our semi-professional theatre group and benefit from enhanced opportunities to perform. The Lincoln Company has taken a range of exciting shows to the Edinburgh Festival Fringe for nearly a decade. Our work ranges from new writing to contemporary and experimental performance, but all of our shows are produced and directed by our current and former students, who are supported by our in–house technical team.

Lincoln Performing Arts Centre, the Lincoln Company works all year round running shows in repertory, touring regionally, and engaging in national and international festivals.

Previous work taken to Edinburgh includes Joe Orton’s 'Loot', David Greig’s 'The cosmonaut’s letter to the woman he once loved in the Soviet Union' and a devised performance, 'Cartography', by graduate company, Flickbook Theatre, which was highly commended by the National Student Drama Festival in 2015.

Activities

Activities such as play readings, film showings and field trips also enhance students’ experience of literary studies and have included our annual visit to Newstead Abbey, former home of the poet Lord Byron.

Placements

Placement Year

When students are on an optional placement in the UK or overseas or studying abroad, they will be required to cover their own transport and accommodation and meals costs. Placements can range from a few weeks to a full year if students choose to undertake an optional sandwich year in industry.

Students are encouraged to obtain placements in industry independently. Tutors may provide support and advice to students who require it during this process.

Student as Producer

Student as Producer is a model of teaching and learning that encourages academics and undergraduate students to collaborate on research activities. It is a programme committed to learning through doing.

The Student as Producer initiative was commended by the QAA in our 2012 review and is one of the teaching and learning features that makes the Lincoln experience unique.

Facilities

Students have access to the Lincoln Performing Arts Centre, with its 450-seat theatre and studio spaces. The venue is used to stage the work of professional companies, as well as to showcase the performance work of students.

At Lincoln, we constantly invest in our campus as we aim to provide the best learning environment for our undergraduates. Whatever the area of study, the University strives to ensure students have access to specialist equipment and resources, to develop the skills, which they may need in their future career.

View our campus pages [www.lincoln.ac.uk/home/campuslife/ourcampus/] to learn more about our teaching and learning facilities.

Career Opportunities

Graduates can develop the skills and knowledge for a variety of roles within the theatre, such as actor, director, playwright, producer, stage manager and technician, as well as in related professions in publishing, journalism, advertising, public relations, marketing and communications. Others may continue their studies at postgraduate level or take qualifications in teaching.

Careers Service

The University Careers and Employability Team offer qualified advisors who can work with students to provide tailored, individual support and careers advice during their time at the University. As a member of our alumni we also offer one-to-one support in the first year after completing a course, including access to events, vacancy information and website resources; with access to online vacancies and virtual resources for the following two years.

This service can include one-to-one coaching, CV advice and interview preparation to help you maximise our graduates future opportunities.

The service works closely with local, national and international employers, acting as a gateway to the business world.

Visit our Careers Service pages for further information. [http://www.lincoln.ac.uk/home/campuslife/studentsupport/careersservice/]

Additional Costs

For each course students may find that there are additional costs. These may be with regard to the specific clothing, materials or equipment required, depending on their subject area. Some courses provide opportunities for students to undertake field work or field trips. Where these are compulsory, the cost for the travel, accommodation and meals may be covered by the University and so is included in the fee. Where these are optional students will normally (unless stated otherwise) be required to pay their own transportation, accommodation and meal costs.

With regards to text books, the University provides students who enrol with a comprehensive reading list and our extensive library holds either material or virtual versions of the core texts that students are required to read. However, students may prefer to purchase some of these for themselves and will therefore be responsible for this cost. Where there may be exceptions to this general rule, information will be displayed in a section titled Other Costs below.

Other Costs

We encourage students to see as much theatre and performance as they can, and we support students with a ticket allocation at the Lincoln Performing Arts Centre. Each student will receive event/performance credits at £90 p/a, which can be used against ticketed performances

For specific optional modules where a placement may be involved, students will be expected to fund travel costs to and from their individual placement, plus any accommodation and general living costs. More information relating to the cost of placements can be found under the Features tab.

Students on this course are expected to obtain their own copies of primary texts indicated for use and discussion in seminars (where available) and will be responsible for any additional costs incurred.

Related Courses

Our BA (Hons) Drama and Theatre degree puts the creativity of performance at centre stage and aims to prepare students for a range of careers in the theatre and media, both on and off stage.
The BA (Hons) English degree at the University of Lincoln explores a lively and varied collection of texts within their historical and theoretical contexts, from Medieval literature and the Renaissance to postcolonialism and postmodernism.
The BA (Hons) Film and Television degree is taught by research-active academics working in a variety of fields including national and heritage cinema, gender and sexuality, minority representation, children's TV, and shlock cinema.
The BA (Hons) Music course at Lincoln is a contemporary, industry-focused degree for musicians looking to develop their skills as performers, composers and collaborators within a flexible curriculum that encompasses classical, rock, pop and non-Western music.

Introduction

In studying the BA (Hons) Drama and English degree at Lincoln, students will be encouraged to make connections between the subjects, explore key differences between them and also develop critical rigour while questioning conventional assumptions about literature, drama, and the world.

Students are invited to consider literature from a variety of theoretical, historical and cultural perspectives, while the interdisciplinary nature of the course places an emphasis on bringing together a critical study of drama with creative practice.

With a wide range of optional modules that explore a variety of genres and playwrights, students have an opportunity to prepare for a range of careers in the theatre and media, both on and off stage, and for further study.

How You Study

During the first and second years of the course, students are introduced to literary forms and theories and can explore texts and authors from the early 19th Century through to the present day. The Drama modules offer students the opportunity to develop a critical and culturally engaged relationship to theatre in both scholarship and practice. In the third year, students may choose from a wide range of options and undertake a dissertation on a topic of their choice.

Teaching modes vary between modules with different attendance requirements accordingly. Students can expect to attend lectures, interactive discussion-based seminars and practical workshops, in addition to watching theatrical performances and film screenings.

Contact Hours and Reading for a Degree

Students on this programme learn from academic staff who are often engaged in world-leading or internationally excellent research or professional practice. Contact time can be in workshops, practical sessions, seminars or lectures and may vary from module to module and from academic year to year. Tutorial sessions and project supervision can take the form of one-to-one engagement or small group sessions. Some courses offer the opportunity to take part in external visits and fieldwork.

It is still the case that students read for a degree and this means that in addition to scheduled contact hours, students are required to engage in independent study. This allows you to read around a subject and to prepare for lectures and seminars through wider reading, or to complete follow up tasks such as assignments or revision. As a general guide, the amount of independent study required by students at the University of Lincoln is that for every hour in class you are expected to spend at least two to three hours in independent study.

How You Are Assessed

Assessment Feedback

The University of Lincoln's policy on assessment feedback aims to ensure that academics will return in-course assessments to students promptly – usually within 15 working days after the submission date (unless stated differently above)..

Methods of Assessment

The way students are assessed on this course may vary for each module. Examples of assessment methods that are used include coursework, such as written assignments, reports or dissertations; practical exams, such as presentations, performances or observations; and written exams, such as formal examinations or in-class tests. The weighting given to each assessment method may vary across each academic year. The University of Lincoln aims to ensure that staff return in-course assessments to students promptly.

Interviews & Applicant Days

Applicants will be invited for an interview with tutors from the University's School of Fine & Performing Arts.

Staff

Throughout this degree, students may receive tuition from professors, senior lecturers, lecturers, researchers, practitioners, visiting experts or technicians, and they may be supported in their learning by other students.

For a comprehensive list of teaching staff, please see our School of Fine and Performing Arts Staff Pages.

Entry Requirements 2018-19

GCE Advanced Levels: BBC

International Baccalaureate: 29 points overall

BTEC Extended Diploma: Distinction, Merit, Merit

Access to Higher Education Diploma: A minimum of 45 level 3 credits to include 30 at merit or above will be required.

In addition, applicants should have a minimum of three GCSEs at grade C or above, including English, or the equivalent.

Mature students with extensive relevant experience will be selected on individual merit.

If you would like further information about entry requirements or would like to discuss whether the qualifications you are currently studying are acceptable, please contact the Admissions team on +44 (0)1522 886097 or email admissions@lincoln.ac.uk

Level 1

Early Victorian Literature: Rebellion and Reform (Core)

The early Victorian period saw some of the most formative changes in modern history: the industrial revolution, the achievement of mass literacy, the rise of class conflict, the growth of freedoms for women, and the increase of religious doubt. Literature of the era both reflected these upheavals, and sought to intervene in shaping how the public responded to them. Students will have the opportunity to read texts of the period by writers such as Charles Dickens, Charlotte Bronte, Robert Browning and Christina Rossetti, and Chartist poets, placing them in their cultural context.

Introduction to Narrative (Core)

Narrative is everywhere in our lives: in books, on TV, in history, on the news, on social media, in our conversations and in our heads. This module aims to give students an understanding of how stories work, using the insights that have originated and developed from structuralist theory. Contemporary British fiction by writers such as Kate Atkinson, Hanif Kureishi, Irvine Welsh, Ian McEwan and Ali Smith will be used to introduce a set of critical concepts for the analysis of narrative fiction.

Introduction to Poetry (Core)

This module looks at what makes poetic language different from 'normal' language, at how poets use the sounds and meanings of words, and at how poetry can be used to refresh, change or question our understanding of the world. We look at a range of poetry in English from nursery rhymes to rap and from the 14th century to the 21st. Our aim is to enable students to discuss poetry with confidence, accuracy and clarity, and, we hope, to enjoy more fully “the only art form that you can carry around in your head in its original form”.

Late Victorian to Edwardian Literature: Decadence, Degeneration and the Long Edwardian Summer (Core)

The late Victorian and Edwardian period (leading up to the Great War) is characterised by anxiety – about the self, society and the empire. Writers become preoccupied with decadence (personal and social), crime, sexuality, the changing status of women and the implications of scientific developments. This is also the period that sees the birth of modern literary forms: the short story, science fiction, the detective novel, children's literature, and fiction about the supernatural. These and other themes are examined through the works of writers such as Oscar Wilde, H.G. Wells, Frances Hodgson Burnett, Robert Louis Stevenson and Bram Stoker.

Theatre & Performance Making I (Core)

An introduction to the fundamental elements of performance technique and performance making. Students can undertake foundational instruction in vocal and physical technique, including movement for theatre, spatial and ensemble awareness and the operation of the voice.

Theatre & Performance Studies (Core)

Theatre & Performance Studies situates the field of theatre and performance within the larger framework set out by Critical Histories in Semester A. The module provides three approaches to investigating the relationship between dramatic texts and performances and their historical, cultural and critical contexts, using a series of case studies.

Level 2

Avant-Garde Theatre (Option)

What does it mean for theatre to be ‘avant-garde’? What does it look like in practice, and how does it reflect critical thought and the wider world at the time? In this module, students can look at key early avant-garde movements as critical and expressive practices in relation to their genealogical position in theatre history and the contexts of contemporary theatre making that impacts on the theatre we make today.

Collaborative Elective (Option)

This module enables groups of students from mixed disciplines to work together on a large-scale, interdisciplinary project. The module takes as its starting point a project brief from either an internal or external partner commissioning the student group to undertake and complete a collaborative project exploring pertinent cultural issues.

Contemporary Drama in Context (Option)

Students can study a range of contemporary dramatic texts and performances drawn from 1989 onwards. These plays will be grouped thematically into three key areas of contemporary cultural context: Neoliberalism; Borders and Nations; and Climate Change and the Environment. Applying the skills of close critical analysis developed throughout the course, students are expected to consider how contemporary theatre is engaging with the social, political and environmental fallout of 'the end of history' and examine the various dramaturgical strategies employed by contemporary theatre-makers to address these challenges.

Dis-Locations: the Literature of Late Capitalism (Core)

Fragmentation, uncertainty and conflict characterise a world in aftermath of war, at end of empire, and at the beginning of a period of radical social and cultural change. This module aims to chart the emergence of the contemporary world from these fractured beginnings through an introduction to British literature of the period 1950–2000. From the post-war Windrush migration to the rise of the historical novel at the turn of the millennium, the Angry Young Men to new feminist perspectives and postcolonialism, this module explores relevant theoretical perspectives on the late 20th Century and encourages an appreciation of the relationship between texts and their social, political and cultural contexts.

Making It New: An Introduction to Literary Modernism (Core)

In this module students will have the opportunity to explore the early twentieth century, one of the most creative periods in English literature, when writers like James Joyce, T.S. Eliot, Virginia Woolf and D.H. Lawrence were challenging conventional ways of writing and reading, and rewriting how we experience and understand the world and ourselves. Required reading will include some of the most powerful works from the modern movement between 1910 and 1940 including James Joyce’s Ulysses and T.S. Eliot’s The Waste Land.

Placements (LSFPA) (Option)

This module encourages students to think beyond their University life, reaching into the wider community to hone their skills and target future employment possibilities. The Placements module provides students with the opportunity to examine how in arts-based organisations, educational and work in non traditional arts-based establishments enable students to use the direct and transferable skills they have developed during their degree These skills can contribute to the future career prospects of our graduates.

Postcolonialism (Core)

This module examines literary representations of the world that emerge from the history of European exploration and expansion, and considers literary responses from groups that were marginalized through imperialism. Students will be encouraged to look at the treatment by white writers of issues of race and empire in the early twentieth century. They will also have the opportunity to explore ways in which postcolonial literatures develop strategies of 'writing back' to the imperial centre and re-thinking identity in terms of race, gender and nation. The final section offers a study of postcolonial Britain and some global implications of postcolonial writing.

Scenography & Design (Option)

How have the practices of set, costume and performance design developed over time? In what ways can theories developed by pioneers of modern scenography be tested and put into practice today? How do spaces, bodies, materials and technologies interact in the production of meaning in theatre and performance? In this module, students are introduced to key aspects of the histories, theories and contemporary practices of scenography and performance design.

Stage Combat (Option)

This module aims to teach students the basics of engaging in stage combat and gives them the option of progressing to the Academy of Performance Combat Basic Three Weapon exam.

Staging the Early Modern (Option)

How do we stage play-texts written over four-hundred years ago? Why do we continue to stage plays written centuries ago? Why do they continue to speak to us, and how can we make them speak for us? In this module, students are given the opportunity to reinvent an early modern classic for the twenty-first century stage.

Study Period Abroad - English and Drama (Option)

This module provides an opportunity for students on the joint English and Drama BA to spend a semester at second level studying at one of the University’s partner institutions, developing academically and personally. During the semester abroad students undertake a course load at the partner institution of equivalent standard to that of one semester of the programme at Lincoln. Participation in study abroad also offers unique opportunities for personal student development in the widest sense, taking in cultural, sporting and social opportunities.

In order to participate, students are usually expected to obtain a 2:1 or higher at Level 1, have a good record of attendance and participation, and must complete an application process. A limited number of places will be available each year, and participation is at the discretion of the Module Co-ordinator and the Programme Leader.

Teaching Drama (Option)

This module aims to introduce students to teaching drama in schools and enables them to take part in a mix of practical workshops, interactive seminars and school-based research projects. It promotes the teaching of drama as a subject in its own right and helps students review their own experiences and concepts of drama.

The module will take account of the latest developments in all areas of drama teaching while emphasising recent developments curriculum developments at GCSE, AS, A level and BTEC levels. The module explores how the teaching of Drama as a discrete subject links with the National Curriculum at Key Stage 3. The module aims to introduce students to a range of educational and drama-specific strategies to enable them to teach a successful lesson or run a successful workshop.

Technical Theatre (Option)

How does a theatre performance work? What happens behind the scenes for a performance to operate effectively?

The Technical Theatre module provides students with the opportunity to improve their understanding of creating and operating a theatrical performance through both theoretical and practical based workshops, demonstrating common principles and practices within the subject of technical theatre.

Theatre Practice (Option)

This modules introduces students to practical strategies for the making of performance in the real-world contemporary theatre industry. The focus is on approaching performance through the lens of a professional practitioner. While we take existing models from contemporary theatre companies and theatre makers, we are also interested in developing a professional skill-set and attitude at this level and enabling students to consider themselves on their professional trajectory as makers. Students can explore the associated practices of improvising, devising and dramaturgy.

Theory Wars (Core)

This module considers the range of theories that we can use when we read and think about literature. Students will have the opportunity to study psychoanalysis, feminism, Marxism and postmodernism, among others, to think about why and how we structure meaning and interpretation in certain ways. We consider questions such as ‘what is an author?’, ‘what is gender?’ and ‘why do certain things frighten us?’ through theorists such as Roland Barthes, Judith Butler and Sigmund Freud.

Level 3

Acting for Song (Option)

This is a practical module in which students can explore the techniques of singing and acting song. Working on both ensemble and individual numbers, this may be ideal preparation for anyone anticipating applying for drama schools, especially for musical theatre courses.

American Detective Fiction and Film: 1930 to the Present Day (Option)

Why have detective narratives proved so enduringly popular? This module will interrogate the iconic figure of the private eye in American popular culture, through the fiction and film of the twentieth and twenty-first century.

Contemporary Drama (Option)

This is a study of drama and performance from the late 1960s to the contemporary moment, and involves a consideration of plays by playwrights including Tom Stoppard, Pam Gems, Eve Ensler, Sarah Kane, Caryl Churchill, Robin Soans and debbie tucker green. Topics emphasised include political theatre, postdramatic theatre, verbatim theatre, in-yer-face theatre, and issues of censorship. This module is taught through workshops involving both academic discussion and practical work.

Creative Industries (Option)

In this module students can develop a detailed understanding of the arts as an ecosystem in relation to the wider world. Through a robust portfolio assessment, students have the chance to acquire a broad range of the administrative, professional and managerial skills required for a sustainable career in the arts.

Directing (Option)

What is the role of the director? What is the difference between directing an existing text and directing a piece 'from scratch'? What are the artistic and aesthetic concerns of the director, and what does it mean to direct theatre in the twenty-first century? This module introduces students to the practical process of classical and contemporary methodologies for directing theatre, from researching the script, through casting and rehearsals to auteurship, guided improvisation, and material development.

Dissertation (15c) (Option)

The Dissertation module provides the opportunity for a student to investigate and pursue a theatre and performance arts topic of his or her own choosing over an extended piece of academic writing.

Each student is allocated a supervisor that will help them to select and refine a topic appropriate for extended study, evaluate progress and read and offer feedback on draft work. Students will be expected to work on their own initiative to undertake research and synthesise it into a logical and original argument in the form of a 4,500 piece of scholarly writing.

Dissertation (30c) (Option)

The Dissertation module provides the opportunity for a student to investigate and pursue a theatre and performance arts topic of his or her own choosing over an extended piece of academic writing.

Each student is allocated a supervisor that will help them to select and refine a topic appropriate for extended study, evaluate progress and read and offer feedback on draft work. Students will be expected to work on their own initiative to undertake research and synthesise it into a logical and original argument in the form of a 9,000 word piece of scholarly writing.

Gothic in Literature and Film (Option)

Monsters and attics, desolate landscapes, imprisonment and pursuit: the gothic genre emerged in the late eighteenth century to depict our darkest fears and desires. Termed 'the literature of nightmare', gothic departs from a realistic mode of representation and employs a powerful means of symbolic expression. Students are given the opportunity to investigate ways in which the genre has explored psychological and political anxieties, and themes of sexual and social transgression. We consider literary texts from the eighteenth to the twenty-first centuries, including literature and film, and we give attention to sub-genres such as ‘female gothic’, ‘imperial gothic’ and ‘children’s gothic’.

Growing Up and Growing Old: Youth and Age across the Nineteenth Century (Option)

This module explores what it meant to grow up and to grow old in the nineteenth century, through often contradictory accounts of experiencing age categories from childhood to old age.

Students will have the opportunity to examine various constructions of ageing, to reflect on age as a crucial facet of identity. This module considers age as a lens to explore the nineteenth century as a transitional period of growth and expansion as well as decay and decline, through a range of Romantic and Victorian texts.

Independent Study: English (Option)

In this module students have the opportunity to research in depth an author or topic of their choosing. Students are expected to commence research over the summer between Levels 2 and 3 and, on their return, have regular, one-to-one meetings with a tutor who is a research specialist in that field. The supervisor offers advice and direction, but primarily this module encourages independent research leading to the production of a 10,000 word dissertation.

Life Writing (Option)

This module responds to the recent interest in the representation of lives within literary studies. It discusses a range of life representations (including biography, autobiography, letters, confessions, memoirs, and poems) from the Romantic period to the contemporary moment. Students may consider the origins of autobiography, address Modernist experiments with life representations, and discuss twentieth-century and contemporary innovations, including disability narratives and cross-cultural autobiographies. Themes such as the construction of selfhood, conceptions of memory, the relational self, and the ethics of life writing are addressed.

Literature and the Environment (Option)

The first principle of ecological thinking is that it is not only human beings that are meaningful, and that we are neither so separate from, nor so dominant over, the non-human as we tend to think. In this module students can explore what difference it makes to read literature from this perspective. We study literature as part of our complex interaction with our environment, and, perhaps sometimes, as a uniquely valuable one. Students can read texts from ancient Greek pastoral to contemporary dystopias, and from the poet John Clare to the woodland historian Oliver Rackham.

Literature, Film and Gender (Option)

This module explores a wide range of gender topics (masculinities, the backlash against feminism, crossdressing, queer theory, and transgendering) through a variety of literary texts and films. Shakespeare, Ibsen, Hardy, and Woolf, are considered alongside more popular fiction by writers such as Susanna Moore, and films, including Priscilla: Queen of the Desert and The Crying Game.

Madness, The Body, Literature (Option)

This module looks at long 20th century fiction and culture through the lens of discourses of madness and wellness. Students will have the opportunity to develop their understanding of trends in psychiatric and therapeutic cultures on display in a range of American and British literature from the fin-de-siècle to the contemporary. We look at writers such as Sigmund Freud, Ken Kesey, Rebecca West and Siri Hustvedt, alongside theoretical work by figures such as R.D Laing and Jean-Paul Sartre.

Monsters and Violence in Middle English Romance (Option)

This module explores the representation of East-West contact in Middle English romances, with a particular emphasis on the interlacement of racial and ethnic otherness and on different types of violence, from martial exploits and religious coercion to rape and cannibalism.

Students will have the chance to experience the breadth of the romance genre—its many thematic and topical branches, and its many sub-genres and their respective conventions—as well as insight to the actual act of crusading, and the cultural and social crises that arose from this act.

Performance Writing (Option)

This 30-credit Level 3 module will investigate different modes of writing for, through and in performance. The module introduces radical new dramaturgies and the potentiality of text as material, site and set. Students can develop approaches, strategies and techniques for writing for performance, inclusive of the notion of writing-as-performance, and a critical understanding of their application in theatre today.

Performance, Broadcast & New Technologies (Option)

What happens when performance meets new technology? How can digital technologies reshape and reconfigure the possibilities for performative and aesthetic experience? In this module students can practically engage with a range of new and broadcast technologies to develop a piece of performance practice that explores the relationships between technology and the experience of performance.

Physical Theatre (Option)

This practice-orientated module aims to introduce students to the range of approaches to Physical Theatre. Students can explore how to work imaginatively with space, text and image-making, using body and voice to devise an original performance of physical theatre.

Popular Performance (Option)

What does it mean to be ‘popular’? Why are ‘popular’ performance modes – such as clowning, cabaret, the musical and stand-up comedy – so often overlooked within the ‘serious’ study of theatre? In this module, students can engage with the historical, theoretical and practical contexts of a range of popular performance forms.

Postdramatic Theatre (Option)

Emerging in the twentieth century, postdramatic theatre calls into question such fundamentals of dramatic theatre such character, plot and dialogue, inviting us to conceive of a theatre beyond representation. This module asks ‘why?’ and ‘how?’, in both practical and theoretical contexts.

Postmodernism: Apocalypse and Genesis 1967-2000 (Option)

This module will explore the nature of the contemporary through analysis of selected literary texts. The initial date, 1967, has been chosen as it marks a point of transition from a post-war world based upon a liberal consensus to a time of radical uncertainty, extreme and experimental forms of expression, the breakdown of notions of realism in all the arts, sciences and philosophy. Literature, alongside the radicalisation of all intellectual concepts, including reason and common-sense, has played a significant role in debating, illustrating, and disseminating these new ways of thinking both in terms of form and content.

Science Fiction (Option)

This module considers the genre of modern science fiction and its evolution into one of today’s most popular narrative genres. Analysing a variety of forms – novel, short story, drama, graphic novel and film – students will have the opportunity to examine the socio-historical contexts of some of the most influential narratives of this period.

This ranges from the emergence of “scientific romance” in the late nineteenth century, to late twentieth-century forms like cyberpunk and radical fantasy; from the problems of defining “genre fictions” and privileging science fiction over fantasy, to our enduring fascination with alternate histories, non-human agents (robots, animals, genetic hybrids, the environment), ecocatastrophe and post-apocalypse.

Sex, Texts and Politics: Geoffrey Chaucer’s Canterbury Tales (Option)

This module concentrates on the works of Geoffrey Chaucer, with a particular emphasis on The Canterbury Tales, perhaps Chaucer’s most famous work.

Students will have the opportunity to examine the General Prologue and a variety of tales in relation to their historical context and literary antecedents, and, throughout, specific attention will be given to questions of genre (ranging from fable and epic to satire and romance), literary authority, narrative construction, and medieval aesthetics.

Solo Performance (Option)

This module seeks to enable students to explore and analysis the various techniques of producing material which will eventually lead to the production of a Solo Performance. During the course of the module, students will analyse and engage with the work of a variety of contemporary solo artists which will hopefully influence and instruct their work. Engagement with a wide variety of Solo artists is important and where possible the resource that is the Lincoln Performing Arts Centre will provide a rich vein of resources in respect of incoming artists. These opportunities for students on this module will hopefully enable them to discover a personal voice and a unique persona as an artist.

Southern Accents (Option)

This optional module explores representations of the southern states of America in prose fiction, film, drama and music. In the first section southern stereotypes and ‘resistant’ representations, produced by southerners and others, are examined in relation to social, political and historical contexts. This is followed by a section on African American representations of the south. Finally, a section on music and vernacular traditions explores the influence of the south on American popular music. Students are encouraged to adopt an interdisciplinary approach to examine questions of regional identity in a wide range of texts.

Specialist Elective II (Option)

This module offers students the opportunity to work alongside established academics conducting research into a specialist area of drama, theatre and/or performance studies. Specific module content will be informed by the research expertise of the tutor, who will connect students with the contexts, practices, theories and debates associated with this field of research, developing skills of textual and critical analysis alongside creative and critical practices.

The Literature of Childhood (Option)

This module explores how childhood is constructed in a wide range of literary texts – texts by adults for adults, by adults for children, and by children themselves. Underpinning the module is the notion of ‘childhood’ as a cultural construct into which writers invest various, even contradictory, meanings. Students have the opportunity to explore texts by adults who idealise or demonise the child to suit their personal and philosophical agendas. Students may then analyse the mixture of didactic and therapeutic agendas in enduring genres of children’s literature such as the fairytale, adventure story and cautionary tale. Finally, we turn to children as authors in a study of juvenilia.

The Making of English Literature: Georgian Literature, 1710-1832 (Core)

Students reading Georgian Literature have the opportunity to study a selection of canonical and less well-known texts from the period and explore the historical and cultural context of their production. The module discusses developments in the novel from Daniel Defoe to Jane Austen and innovations in poetry from Alexander Pope to Romantic writers such as William Wordsworth. Important themes include satire, sensibility, the Gothic, popular and polite culture, authorship, and Georgian theatre. Contextual discussion focuses on the ‘construction’ of nation, gender, class and empire, and the relationship of British literature to the Enlightenment and to Revolution.

Theatre For Young Audiences (Option)

What part does theatre play in the lives of children today? How do we make such theatre relevant, accessible and alive in a world dominated by screen-based interaction? What is the most appropriate setting and subject matter to engage children in a theatrical experience?

Students will form small groups and devise short performances designed to tour to Primary Schools in the City of Lincoln. The tour will usually play in a different Primary School every day for one working week, with audience sizes ranging from 80 - 300 children. The tour will replicate a professional touring model, accompanied by a dedicated Technician with a full complement of audio, visual and lighting equipment. The audience will usually comprise of 4 - 7 year old children, their teachers and teaching or learning assistants. Students will require DBS Checks to tour, and these will be provided by the School of Fine and Performing Arts.

Twenty-First Century British Fiction (Option)

This module aims to explore new thematic trends, stylistic innovations and cultural developments in post-millennial British fiction, including a focus on globalising processes, transnational migration and digital technology.

The module also addresses the development (and rethinking of the concepts) of gender and class in literature of the period and account for the continuing importance of the literary form in an age of digital publishing.

Women’s Writing and Feminist Theory (Option)

Students can study a diverse range of prose, poetry, and drama written by women from the eighteenth century to the present is considered alongside key concepts in feminist theory and the history of the women’s movement. Writers range from Mary Wollstonecraft to Zora Neale Hurston to Jeanette Winterson. Topics range from the feminine aesthetic and French feminism to feminist utopianism and cyberfeminism.

†The availability of optional modules may vary from year to year and will be subject to minimum student numbers being achieved. This means that the availability of specific optional modules cannot be guaranteed. Optional module selection may also be affected by staff availability.

Special Features

Visiting Writers

Students with interests in creative writing and contemporary literature may benefit from readings and masterclasses by published authors, including Poet Laureate Dame Carol Ann Duffy.

Performance Opportunities

Students may decide to join our semi-professional theatre group and benefit from enhanced opportunities to perform. The Lincoln Company has taken a range of exciting shows to the Edinburgh Festival Fringe for nearly a decade. Our work ranges from new writing to contemporary and experimental performance, but all of our shows are produced and directed by our current and former students, who are supported by our in–house technical team.

Lincoln Performing Arts Centre, the Lincoln Company works all year round running shows in repertory, touring regionally, and engaging in national and international festivals.

Previous work taken to Edinburgh includes Joe Orton’s 'Loot', David Greig’s 'The cosmonaut’s letter to the woman he once loved in the Soviet Union' and a devised performance, 'Cartography', by graduate company, Flickbook Theatre, which was highly commended by the National Student Drama Festival in 2015.

Activities

Activities such as play readings, film showings and field trips also enhance students’ experience of literary studies and have included our annual visit to Newstead Abbey, former home of the poet Lord Byron.

Placements

Placement Year

When students are on an optional placement in the UK or overseas or studying abroad, they will be required to cover their own transport and accommodation and meals costs. Placements can range from a few weeks to a full year if students choose to undertake an optional sandwich year in industry.

Students are encouraged to obtain placements in industry independently. Tutors may provide support and advice to students who require it during this process.

Student as Producer

Student as Producer is a model of teaching and learning that encourages academics and undergraduate students to collaborate on research activities. It is a programme committed to learning through doing.

The Student as Producer initiative was commended by the QAA in our 2012 review and is one of the teaching and learning features that makes the Lincoln experience unique.

Facilities

Students have access to the Lincoln Performing Arts Centre, with its 450-seat theatre and studio spaces. The venue is used to stage the work of professional companies, as well as to showcase the performance work of students.

At Lincoln, we constantly invest in our campus as we aim to provide the best learning environment for our undergraduates. Whatever the area of study, the University strives to ensure students have access to specialist equipment and resources, to develop the skills, which they may need in their future career.

View our campus pages [www.lincoln.ac.uk/home/campuslife/ourcampus/] to learn more about our teaching and learning facilities.

Career Opportunities

Graduates can develop the skills and knowledge for a variety of roles within the theatre, such as actor, director, playwright, producer, stage manager and technician, as well as in related professions in publishing, journalism, advertising, public relations, marketing and communications. Others may continue their studies at postgraduate level or take qualifications in teaching.

Careers Service

The University Careers and Employability Team offer qualified advisors who can work with students to provide tailored, individual support and careers advice during their time at the University. As a member of our alumni we also offer one-to-one support in the first year after completing a course, including access to events, vacancy information and website resources; with access to online vacancies and virtual resources for the following two years.

This service can include one-to-one coaching, CV advice and interview preparation to help you maximise our graduates future opportunities.

The service works closely with local, national and international employers, acting as a gateway to the business world.

Visit our Careers Service pages for further information. [http://www.lincoln.ac.uk/home/campuslife/studentsupport/careersservice/]

Additional Costs

For each course students may find that there are additional costs. These may be with regard to the specific clothing, materials or equipment required, depending on their subject area. Some courses provide opportunities for students to undertake field work or field trips. Where these are compulsory, the cost for the travel, accommodation and meals may be covered by the University and so is included in the fee. Where these are optional students will normally (unless stated otherwise) be required to pay their own transportation, accommodation and meal costs.

With regards to text books, the University provides students who enrol with a comprehensive reading list and our extensive library holds either material or virtual versions of the core texts that students are required to read. However, students may prefer to purchase some of these for themselves and will therefore be responsible for this cost. Where there may be exceptions to this general rule, information will be displayed in a section titled Other Costs below.

Other Costs

We encourage students to see as much theatre and performance as they can, and we support students with a ticket allocation at the Lincoln Performing Arts Centre. Each student will receive event/performance credits at £90 p/a, which can be used against ticketed performances

For specific optional modules where a placement may be involved, students will be expected to fund travel costs to and from their individual placement, plus any accommodation and general living costs. More information relating to the cost of placements can be found under the Features tab.

Students on this course are expected to obtain their own copies of primary texts indicated for use and discussion in seminars (where available) and will be responsible for any additional costs incurred.

Related Courses

Our BA (Hons) Drama and Theatre degree puts the creativity of performance at centre stage and aims to prepare students for a range of careers in the theatre and media, both on and off stage.
The BA (Hons) English degree at the University of Lincoln explores a lively and varied collection of texts within their historical and theoretical contexts, from Medieval literature and the Renaissance to postcolonialism and postmodernism.
The BA (Hons) Film and Television degree is taught by research-active academics working in a variety of fields including national and heritage cinema, gender and sexuality, minority representation, children's TV, and shlock cinema.
The BA (Hons) Music course at Lincoln is a contemporary, industry-focused degree for musicians looking to develop their skills as performers, composers and collaborators within a flexible curriculum that encompasses classical, rock, pop and non-Western music.

Tuition Fees

2017/18 UK/EUInternational
Full-time £9,250 per level
£13,650 per level
Part-time £77.00 per credit point  N/A
Placement (optional) Exempt Exempt

 

2018/19 UK/EUInternational
Full-time £9,250 per level
£14,700 per level
Part-time £77.00 per credit point  N/A
Placement (optional) Exempt Exempt

In 2018/19, fees for all new and continuing undergraduate UK and EU students will be £9,250.

Please note that not all courses are available as a part-time option.

For more information and for details about funding your study, please see our UK/EU Fees & Funding pages or our International funding and scholarship pages. [www.lincoln.ac.uk/home/studyatlincoln/undergraduatecourses/feesandfunding/] [www.lincoln.ac.uk/home/international/feesandfunding/]

The University intends to provide its courses as outlined in these pages, although the University may make changes in accordance with the Student Admissions Terms and Conditions [www.lincoln.ac.uk/StudentAdmissionsTermsandConditions].