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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.
Throughout, our studies will help to further enhance your understanding of poetry as a kinetic and mutable form of art. View full module details Beginning in Harlem in the s 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.
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.
View full module details 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.
View full module details 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.
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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.
View full module details 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.
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. 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. View full module details This module explores the history and practice of crime fiction in the United States from Edgar Allan Poe in the s 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.
View full module details This module explores the intersections between nation, narration and globalisation in the twentieth and twenty-first century novel. 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.
View full module details 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. View full module details 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.
View full module details 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. View full module details 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 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. View full module details 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. View full module details 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.
View full module details 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.
View full module details This module examines the development of Virginia Woolf's writing across the span of her life. 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. 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. View full module details This module is an intensive study of the Aesthetic and Decadent movements in late Victorian Britain.
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.
View full module details 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 Le Guin, Atwood. View full module details Teaching and assessment can vary between modules. In addition to seminars, the majority of literature modules also include a weekly lecture.
The majority of Stage 2 and Stage 3 Creative Writing modules also include a weekly workshop. Assessment at Stage 1 and 2 is by a mixture of coursework and examination. Some modules may include an optional practical element.
For a student studying full time, each academic year of the programme will comprise 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.
The University will consider applications from students offering a wide range of qualifications. Students offering alternative qualifications should contact us for further advice. The University will not necessarily make conditional offers to all Access candidates but will continue to assess them on an individual basis. Please contact us for further advice on your individual circumstances.
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. For more advice about applying to Kent, you can meet our staff at a range of international events.
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. Students studying abroad for less than one academic year will pay full fees according to their fee status.
Find out more about accommodation and living costs, plus general additional costs that you may pay when studying at Kent. Kent offers generous financial support schemes to assist eligible undergraduate students during their studies.
You may be eligible for government finance to help pay for the costs of studying. 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. 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.
The data for assessment and contact hours is compiled from the most populous modules to the total of 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. If you have any queries about a particular programme, please contact information uk.
There is no fixed closing date but you should apply for your programme as early as possible. Creative writing describing an old man But, you can use the first sentence if you talk about a lot of thing you did in the past , and the second sentence if you talk about one thing you did in the past too..
The first one is more natural if you are referring to an action that was in progress at 8 o'clock. But it is not possible to omit the subject in English, pronoun "I" in this case. If you are referring to an action that was concluded before 8 o'clock, you should use Past Perfect and a different preposition, "by 8 o'clock" in this case.
You have two options: 1 to use a comma for emphasis: At 8 o'clock last night Neither sentence sounds natural. I did my homework yesterday at 8 o'clock - to indicate a finished action.
OR I was doing my homework yesterday at 8 o'clock - to indicate action in progress someone asks you: what were you doing yesterday at 8? Creative writing prompts for science fiction In Canada, the federal government groups and organizes occupations based on a National Occupational Classification NOC system. This alis occupation may not reflect the entire NOC group it is part of.
Data for the NOC group can apply across multiple occupations. The NOC system is updated every 5 years to reflect changes in the labour market. Government forms and labour market data may group and refer to an occupation differently, depending on the system used. Each set of 3 interest codes is listed in order of importance. A code in all lowercase letters means the fit is weaker. Learn More Writers of novels and poetry usually finish writing their first work before looking for a publisher.
Some writers may choose to work with an agent for assistance contacting publishers; others may choose to self-publish their work online on a variety of websites. To be considered for publication, they must satisfy a high standard of writing. Non-fiction writers usually send query letters or proposals to editors before completing articles or books. Although some established television scriptwriters are assigned individual stories or entire series, most scriptwriters submit story ideas to producers hoping to get a contract for the finished script.
Fiction writers often do a considerable amount of public relations work such as book tours and readings of their work. Publishers may not fund promotional tours for authors who are not well known. Scriptwriters often work closely with directors and producers to ensure that facts and ideas are presented accurately. They may attend rehearsals for radio and theatre productions, or taping sessions for video productions. Creative writers spend much of their time working on their own, researching in libraries and on the Internet, and writing at home or in an office.
They are in regular contact with agents and publishers, and may spend some time interviewing people. The pressure of deadlines, long solitary hours, unwilling publishers and sporadic work can be stressful. Creative writers come from a wide variety of backgrounds. They must have a solid grasp of grammar and spelling, and be able to use language accurately, effectively and creatively.
Particularly in the early stages of their careers, writers may participate in writing groups or attend writing workshops and conferences to develop their research and writing skills and polish their craft.
Post-secondary education does not ensure success, but it does help to develop research and writing skills, organizational skills and professional contacts. A related diploma or degree also may give writers the credentials required to supplement their incomes by working in related occupations for more information, see the Advertising Copywriter Technical Writer and Editor occupational profiles.
English, communications and other writing-related programs are offered by post-secondary schools throughout Alberta. Entrance requirements vary but generally include a high school diploma with a competitive average in English Language Arts and 4 other appropriate Grade 12 subjects for example, social studies, math, second language or science courses.
Specific course requirements vary from one program to another. Keyboarding skills, a portfolio of written work, testing or an interview also may be required.
Creative writing courses are offered by organizations for example, Canadian Authors, The Banff Centre, the Writers' Guild of Alberta, the Alberta Magazine Publishers Association and the Alberta Romance Writers' Association community-based writing organizations, the extension departments of colleges and universities and the continuing education divisions of school systems.
Creative writers may publish and market their work themselves or submit their work to publishers. Fiction writers and poets often do other types of writing as well or work in other occupations to supplement their incomes. Poetry in particular receives more admiration than financial reward although poets may sell their work to literary journals, greeting card companies or magazine publishers. They also may market their work through book launches or websites.
Writers of magazine articles may be employed by or do freelance work for the publishers of national, regional or specialty magazines for example, religious or recreation-related publications.
Freelance periodical writers may sell an article to more than one magazine, but this requires good negotiation skills and a solid understanding of copyright law.
Creative writers are part of the larger National Occupational Classification Authors and writers. In fact, there is no guarantee of any remuneration. Many successful freelance writers supplement their incomes by teaching, writing business or technical materials, providing editing services, doing voice-overs reading scripts for radio , participating in Residency programs or serving as Visiting Writers for schools.
Established writers often apply for grants from government and arts organizations. As of October 1, , the minimum wage in Alberta is. For more information, see Alberta Employment Standards. Freelancers may be paid by the hour or by the word this is common in magazines , or they may be paid a flat rate. Freelance screenwriters usually are paid on a split-fee basis: one third in advance, one third after the first draft and the balance upon completion.
They may receive an advance against royalties based on projected sales revenue from the book, depending on the genre for example, history, business, reference, children's book and the reputation of the writer. Wages and salaries do not include overtime hours, tips, benefits, profit shares, bonuses unrelated to production and other forms of compensation.
Good Reliability, represents a CV of between 6. The information contained in this profile is current as of the dates shown. Salary, employment outlook, and educational program information may change without notice.
It is advised that you confirm this information before making any career decisions. Creative writing beaches So you're trying to work out a division problem in your head.
KW's got a few tips and tricks to give you a head start. The Jeopardy theme song is playing in your head - da, da, da, da, da, da, daaaaaa - Chill out already!
To find out if a number is divisible by seven, take the last digit, double it, and subtract it from the rest of the number. Try halving four times to get the answer to this one. Simply remove that zero to find out what that number would be if it were divided by Check out this example: If you had , you would double the last digit three to get six, and subtract that from 20 the remaining amount to get This brings us back to the old halving trick we used with two and four.
If a number is evenly divisible by 10 it will end in zero.
If the last digit is a zero or a five, then the number is divisible by five. Since 23 ends in three, it isn't divisible by five. Half of 64 is 32 and half of 32 is 16, then half of 16 is 8. Use the same trick we used to see if a number is divisible by three - it works for any power of three 3,6,9,12, etc. When you divide something by two, you simply cut it in half. If you want to know whether a number can be evenly divided by five you just need to look at the number's last digit.
If THAT number is divisible by three, so is the original number.
If you want to divide 88 by 4, you simply halve 88 which is 44 and then halve that number which, in this case, is Half of 12 is six and half of six is three - so your answer is three. Just add up all the digits until you have a single number.
The rule for dividing by four is the same as for dividing by two - only you have to do it twice. If the number you're trying to divide is odd like, say, 33 , then you can't divide it evenly by two. Wanna know if you can divide a number evenly by three? Three is definitely divisible by three, so you know that is too. Write my essay 4 me reviews Action Resume Service is a professional and executive resume service that substantially improves resume presentation and response rates across all client types.
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