The following is a sample of the typical modules that we offer as at the date of publication but is not intended to be construed and/or relied upon as a definitive list of the modules that will be available in any given year. Due to the passage of time between commencement of the course and subsequent years of the course, modules may change due to developments in the curriculum and the module information in this prospectus is provided for indicative purposes only.
Introduction to Art History I
History of Art is a broad discipline that encompasses many different approaches. This module takes as its basic premise that there is no one true history, but rather that there are various ways of approaching the past. With this in mind, we will examine key terms that have shaped the discipline of art history, in order to consider some key issues and debates that shape writing about art. The module is designed to get you thinking about how and why histories are written. Over the course of the module, we will consider broad questions, such as: What counts as art and what should be included in history of art? Should a history of art be a history of artists? What about patrons, viewers, critics, historians, and museums? How important is artist intention in defining the meaning of art? How useful are “-isms” in writing history of art? How should we understand art in relation to social, political, and economic contexts? How and why does art change? How have chronological, geographical, and gender biases affected histories of art? What makes “good” art and should we care? The module also includes weekly workshops, designed to help you develop the academic skills required to study History of Art at undergraduate level.
Introduction to Art History II
This module builds on the foundation laid in Introduction to Art History I. It examines the study and interpretation of objects by considering different forms of writing on art. Each lecture will focus on a single work of art, examining a variety of ways in which it has been analysed. The artworks studied will cover the historical breadth of teaching in the Department of History of Art, from the Renaissance to the present day. The aim is to highlight diverse methodological approaches to art history, and different perspectives in dialogue across periods, geographies, and backgrounds. Integrated weekly workshops will allow you to develop and refine the academic skills acquired in Introduction to Art History I.
For English, you will need to choose three out of four modules
Language and Context
This module considers the main forms and functions of English vocabulary, grammar and discourse and explores how they are used in real social and cultural contexts. You’ll look at how language is used for different purposes and how people use language to reveal and conceal social realities as well other topics surrounding language and context. For this module you will have a combination of lectures and seminars.
Beginnings of English
You will be introduced to the language, literature and culture of medieval England and study texts from the Old and Middle English texts. In this module you’ll familiarise yourself with the knowledge needed for reading and understanding medieval texts. In addition you will be introduced to the basics of medieval grammar and spelling conventions. For this module you’ll have a combination of lectures and seminars.
This module will introduce some of the core skills necessary for studying literary studies through focusing on specific poetry and prose texts. You’ll address topics including: close reading, constructing an argument and handling critical material. For this module you’ll have a combination of lectures and seminars.
Drama, Theatre, Performance
For this module you’ll explore the variety of drama in the western dramatic tradition. You’ll consider some of the following: theatre of ancient Greece, medieval mystery and morality plays, the drama of Shakespeare and the Restoration, and nineteenth century naturalism. For this module you’ll study selected plays but also explore 20th century interpretations of the texts through use of video extracts. For this module you’ll have a combination of lectures, workshops and seminars.
Art and Power: Paris 1937
This module focuses on the International Exhibition held in Paris in 1937, which provides a survey of art in the service of politics in the years immediately preceding World War II. Participating countries – including the USSR, Germany, Italy, and Spain – were represented by national pavilions, combining art and architecture to articulate national values and ambitions. The cultural battles between contrasting styles of state-sponsored art – Soviet Socialist Realism, German Neoclassicism, Spanish Modernism – will be examined in light of political and military conflicts at a time when Europe was divided by the ongoing civil war in Spain. The module will consider important individual works, such as Picasso’s Guernica, as well as the pavilions as integrated artworks, combining visual arts and architecture.
Arts, Politics and Protest in 20th Century America
This module examines the ways in which artists responded to and engaged with domestic and foreign politics in America from the 1950s to the 1980s. It considers the ways in which artists used a range of artistic practices as a means of protest in an era of capitalist consumerism, the Cold War and the America Vietnam War, the rise of identity and sexual politics, the civil rights movement, and censorship and the US “culture wars”. In particular, this module will examine the work of historically marginalised constituencies, including African American artists, Mexican-American and Chicano artists, and women artists.
Art in America 1945-80
This module introduces and examines some of the major themes and movements to emerge in American art after 1945, including Abstract Expressionism, Neo-Dada, Pop Art, and Conceptual Art. You will consider the historical and cultural contexts of art in a range of media, including painting, sculpture, installation and performance. You will look at some of the key critical responses to American modern art, and investigate the extent to which post-1945 practices were radically new or whether they were informed by awareness of pre-war and/or European avant-garde practices.
Courts and Princes in Renaissance Italy, 1450-1520
This module examines painting, architecture and sculpture at the courts of Ferrara, Mantua, Naples, Urbino and Milan in the period 1420-1520 and suggests that the small princely courts of Italy played an important role in shaping ‘the Renaissance’. Princes at courts competed for the services of the 'best' artists, and Leonardo da Vinci, Pisanello, Piero della Francesca and Andrea Mantegna are just some of the masters who worked for these Courts. This module draws both on established literature, but also seeks to incorporate more recent research questions regarding gender, material culture etc. As such, this module introduces students to questions that will be developed further in modules in second and third year.
Inventing French Art: From the Renaissance to Louis XIV
This module will provide a broad survey of French art from the later 16th century to the end of the 17th century, focusing on the era of Louis XIV. We will consider the role of architecture and different types of patronage; the creation and structure of the palace of Versailles; the origins of the Royal Academy of Painting and Sculpture, and its use of theory and art education. We will focus on the careers of Charles Lebrun, and two of the Best-known French painters based in Rome (Nicolas Poussin and Claude Lorrain). We will also explore the remarkable provincial artists Georges de la Tour and the three Le Nain brothers. The module examines the functions of art and architecture within society and politics, and the invention of a national artistic tradition.
Italian Art in the Age of Caravaggio
This module looks at Italian art in early seventeenth century Rome through a focus on one of the best known painters active during that period, Michelangelo Merisi da Caravaggio. Caravaggio was a colourful character with a biography as delicious as his paintings, but the very notoriety of the artist during his lifetime can make looking at his merits as an artist quite difficult. Here, we look at Caravaggio and his contemporaries to get a better understanding of the artistic context of Rome in the late 1500s, a period often labelled as the Counter Reformation. The module will focus on the following themes: the importance of imagery as a vehicle of propaganda; the importance of display and collecting to elite Roman patrons; the relationship between political centres; self-fashioning; the importance of women as patrons and as subjects of art, but also as artists themselves.
Plural Art Histories
In this module, you will be examining selected pieces of art, architecture, and drama from classical Greece, China, Europe, colonial and postcolonial Americas, with some reference to contemporary examples, in order to explore some fundamental questions about art, such as: what is the relationship between creators and the world in which they live? How are the arts made, used, and regarded? In each case, the production and reception of the arts is studied through a contextual approach, paying attention to political, economic, religious, and cultural factors.
You must choose three modules in English covering at least two of the following areas:
Literature 1500 to the present
Each of the modules offered will provide a comprehensive introduction to the changes in the genres of prose, poetry and drama across the period studied, placing the works encountered in the context of key aesthetic, social and political/historical contexts.
English Language and applied linguistics
Building on the study of English language undertaken in year one, your second year language modules provide the exciting opportunity for you to explore aspects of language use in the mind, in society and in literature.
Medieval languages and literatures
You can choose to pursue one or more of the medieval areas introduced in year one, or you can opt to study a new but related area. In all cases you will develop your understanding of language change and variety, registers, styles, modes and genres, as they appear in medieval texts, and become more expert in reading with reference to wider medieval cultures.
Drama and performance
Year two modules provide the opportunity to develop approaches from the first year by studying 20th and 21st-century theatre; by exploring key critical approaches to drama in theory and practice, and by focusing on a key period in the development of our nation’s theatre. For a sample of typical modules from each area please see our single honours BA English listing.
Art and Reform in Renaissance Germany
The module will investigate the role of art as a vehicle for the transmission of religious and political propaganda in the period c.1470-1530 in Germany. Various forms of art will be examined with reference to the widespread calls for religious reform. In turn, these reforms led to changes in patterns of art production and consumption, and led to the destruction of imagery. Other concerns include: the impact of the Reformation on the working practices of artists such as Durer, Holbein, Cranach and Riemenschneider; witchcraft and images; art as political propaganda; the development of new genres of art; and gender and reformation.
Art at the Tudor Courts, 1485-1603
This course will provide an introduction to visual art at the Tudor courts, from the accession of Henry VII in 1485 to the death of Elizabeth I in 1603. In doing so, it takes account of a wide range of art forms, from portraiture to pageantry, jewellery to the book. Key issues dealt with in lectures and seminars include contemporary theories of visuality and monarchy, the particular context of court culture, and the use of visual material in the service of self -fashioning. It considers the impact of major historical developments including the Reformation and the advent of print. As such, the relationship of the arts to politics is a key theme. Through exploring the highly sophisticated uses of visual art at the Tudor courts, the course seeks to re-evaluate the common idea that English art at the time was isolationist and inferior to that of continental Europe. The module consists of one 2-hour lecture and one 1-hour seminar each week.
From the Bastille to the Eiffel Tower
This module provides an overview of the development of Paris from the French Revolution to the Third Republic. Themes covered include: the evolving structure of the city; the evolution of building types; representations of the city the symbolic geography of Paris; the Parisian art world (artists’ studios, the art market, exhibitions); major monuments and sites (e.g. the Panthéon and the Opéra Garnier).
This module explores the Italian Futurist movement as a pioneering project in multimedia experimentation, which included painting, sculpture, architecture, design, photography, film, performance, typography, literature, and music. It will investigate the movement’s apparent rejection of Italy’s cultural heritage and celebration of modern technology, from the speed of the motorcar to the violence of modern warfare. The political objectives of the Futurists will be considered, including the movement’s complex relationship with Fascism. The publicity strategies of the group, such as the extensive use of manifestoes and provocative public interventions, will also be examined. The module will cover the period from Futurism’s headline-grabbing conception in 1909 through to the end of its second manifestation in the 1940s.
Los Angeles Arts and Architecture: 1945-85
In this module, you will be introduced to a number of artistic and architectural practices that emerged in Southern California after 1945. You will also explore the cultural and historical context of a number of artistic practices, as well as the role of Los Angeles in the development of post-1945 American art and architecture, including mid-century modernism, Pop Art, Conceptual Art and Light & Space Art. A central question in this module will be whether all art made in Los Angeles can be classified as ‘Los Angeles Art’.
This module examines the history of museums, galleries, collecting and the history and politics of the display of art objects. The emphasis is on the last two hundred years. Discussion will focus on such issues as: the establishment of national institutions such as the Louvre and the National Gallery, London; the role of cultural imperialism; exhibitions and their history; and the modern art museum.
Realism and Impressionism, 1840-1890
This module examines two of the most influential movements in Western art, Realism and Impressionism. We will consider the major figures and critical debates in the history of modern art. Among the artists to be studied are Courbet, Bonheur, Millet, Manet, Morisot, Degas, Cassatt, and Renoir. This module includes the study of different critical approaches to the study of art works and visual culture.
Visualising the Body
This module examines the visual representation of the human body from antiquity the 21st century. It will entail close study and analysis of visual images, combined with critical readings in the histories and theory of art, society, film and visual culture. Key themes will include: health and the politics of ‘normality’; the sexual body; the modified body; ideal and grotesque bodies; and the ‘foreign’ body. The particular concerns of the module are: visualising social differences of gender, class and race; the cultural formations of ‘difference’; and the ways these are negotiated and secured in images of the body.
Typical year three modules
Dissertation in Art History
This module involves the in-depth study of an art historical topic over one or two semesters. You will chose the topic in consultation with a tutor, subject to the approval of the Department, and will be allocated a dissertation supervisor appropriate to the chosen topic. Teaching for this module takes the form of individual tutorials with your dissertation supervisor, as well as group workshops focusing on research, writing, and presentation skills. It provides you with the opportunity to undertake a substantial piece of writing on a topic of particular personal interest.
European Avant-Garde Film
This module examines avant-garde cinema in early 20th century Europe. It will begin by exploring what is meant by the term ‘avant-garde’ and considering the development of experimental filmmaking in the context of artistic movements such as Futurism, Cubism, Dada, Surrealism and Constructivism. You will focus on developments in Germany, France and the Soviet Union during the 1920s and 1930s, and consider key trends from abstract animation to cinema pur. The module will highlight some key concerns of non-mainstream cinema such as narrative, abstraction, reflexivity, spectatorship, movement, time and space. You will also examine the engagement of experimental film with modernity, considering both aesthetic and political strategies of the European avant-gardes.
Renaissance Luxuries: Art and Good Living in Italy 1400 - 1600
This module seeks to engage with the Renaissance as a period of conspicuous consumption of a range of luxury goods, and examines the social, cultural and economic factors which characterised the period 1400-1600. Amongst the issues raised in lectures and seminars will be the importance of objects as signifiers of status, magnificence, the diversification of objects and the attendant rise in specialised living arrangements, and women as consumers of art.
American Visual Cultures
The module examines the visual culture of America from the late 19th century to the present day. The module explores how visual culture – art, advertising, architecture, cinema, television, cartography, video, the internet and images of science – has transformed and shaped the image of the United States. The module looks closely at a series of themes: urban and rural landscapes, icons and iconography, art and photography, race and gender in the US, high and low culture, sex and sexuality. The module also introduces various visual and critical theories which help us better understand the visual cultures of the United States.
Fascism, Spectacle and Display
This module will examine cultural production during Italy’s fascist regime. There will be an emphasis on the experience of visual culture in public settings such as the exhibition space, the cinema, and the built environment. A wide range of cultural artefacts will be examined, paying attention to material as well as visual aspects. Visual material will be situated in the social, cultural and political circumstances of the period. Topics will include: Fascism’s use of spectacle, fascist conceptions of utopia, the regime’s use of the past, the relationship between Fascism and modernism, Fascism as a political religion, the cult of Mussolini, urban-rural relations, and empire building. The module will also consider the afterlife of fascist visual culture and the question of ‘difficult’ heritage.
Mobility and the Making of Modern Art
New technologies of mobility have long been a defining condition of modernity. It is from this perspective that we will examine modern art while highlighting the interrelated components of movement and speed – mechanized motion, temporality and their political connotations (e.g., social, ideological, artistic trends). This module includes a range of works, mainly paintings, from the mid-nineteenth century to the early twentieth century. We will also consider photography and other pre-cinematic forms of moving images such as optical devices, peepshows, and panoramas that added different motion and time to representation. A key question is the role of artists in naturalizing the equation between mobility, modernity, and the West. To this end, our consideration will involve non-Western representations to explore the ideological and economic implications of mobility.
This module traces the development of performance art from the 1950s to the 1980s. It considers the work of a number of artists in America and Europe in terms of their focus on the body of the artist, the dematerialization of the art object, and the changing role of the audience or viewer. Students will engage with a range of theories of identity, gender and selfhood; phenomenology and participation; duration, temporality and impermanence pain, endurance and abjection. Exploring performance art’s relationship with other visual art forms, including dance, experimental music, film and television, this module considers and evaluates the art historical genealogies of performance art and body art and examines the ways in which performance art has shifted the terms of art history. In addition, it will consider the issues at stake in constructing a history of performance art, and in documenting, exhibiting, and writing about ephemeral, invisible, or indeterminate practices.
This module examines the development of photography in America from roughly 1945 onwards. The module breaks the period down into themes and considers: the transformation of ‘documentary’ photography; the emergence and importance of colour photography; experimental, conceptual and post-conceptual photography; issues of serialism and seriality; landscape photography; the photobook; and analogue/digital photography. The module will draw on the work of a diverse range of photographers, including Walker Evans, Robert Frank, Harry Callahan, Aaron Siskind, Ed Ruscha, Lewis Baltz, Robert Adams, Robert Heinecken, Stephen Shore, Todd Hido, William Eggleston. and Doug Rickard.
Photography in the Nineteenth Century
The module will review the origins of photography; early commentaries and debates on the new medium’s status; the identity of those who became photographers; the dominant genres employed in photographic imagery; the developing culture of reproduction, exhibition, and photography criticism. The module will explore the connections and conflicts between 19th-century photography and art. It will also consider the relationship between 19th-century photography and travel, science, and problems of social ideology.
The final year is when all the different strands of your teaching and learning experience as an undergraduate culminate in the opportunity to demonstrate and apply all the different kinds of skills you have acquired in researching a topic, extended analysis of specialist themes and areas, and in independent study.
You will have the opportunity to study a range of authors, genres, linguistic approaches, and textual forms and contexts, in both national and international contexts, thinking about English in the broadest possible terms. You will also have the opportunity to specialise in areas for which you have developed particular aptitude and passion during your undergraduate career.
A typical list of options available can be found on our single honours BA English listing