BA Hons English and Creative Writing & French

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Key facts

  • UCAS Code: Q3R1
  • Start date: Sep 2020
  • Ranked: top 10 in the UK for Communications & Media Studies (Complete University Guide 2020)

  • Study abroad: available

  • Applicant visit day: March each year

Study with us

  • emphasis on helping you develop a range of applicable skills to grow your future career, including textual analysis and interpretation
  • focus on professional language skills and contemporary culture
  • opportunity to work with award-winning scholars and creative writers
  • we  have a reputation for getting to know students as individuals
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Why this course?

Our approach to the English & Creative writing course is innovative, modern and friendly, giving you a comprehensive understanding of English literature as a core basis for your creative work.

The emphasis is on helping you develop a range of skills to grow your future career, including textual analysis and interpretation. With us, you can study everything from poetry, the novel and drama (stage, screen, and radio) as you would expect on an English and Creative Writing degree. In addition, at Strathclyde, we offer the opportunity to use creative writing skills as part of your approach to literary criticism.

French is a major international language. It is the first language of more than 100 million people across the world, while more than 60 million people speak French as a second language.

Studying with us will give you the chance to become a fluent linguist and, with our year abroad programme, an opportunity to experience living, working and/or studying in another country.

Creative Writing MLitt 600x600

What you’ll study

English & Creative Writing

Year 1

All students take one English & Creative Writing class in each semester of the first year. These classes introduce the advanced study of literature and include a focus on research methods and techniques for writing essays – with the option of using a creative as well as critical approach.

Texts studied currently include Shakespeare, Othello; Bronte, Jane Eyre; Rhys, Wide Sargasso Sea; Woolf, Flush; Kay, Trumpet; Defoe, Robinson Crusoe, and a range of poetry from the Renaissance to contemporary slam and rap.

Year 2

In the second year, students take two core classes over two semesters: Writing Through Time 1 and 2.

You then have a choice of one or two interdisciplinary electives:

  • The Construction of Scotland: Text and Context (semester one)
  • Making the Modern Human (semester two)

Writing Through Time 1 and 2, our core classes, give you the confidence to discuss the historical range of English literature, which will include poetry, drama, the novel, and a screenplay. The interdisciplinary elective classes will open out a variety of different ways of thinking about literary Studies in a broader context.

Year 3

In the third year, you choose (single honours) six option classes (a minimum of two, of which must be in creative writing), or (joint honours) three option classes (one of which must be a creative writing class). Current options offered by staff include:

  • From Greek Theatre to the National Theatre of Scotland
  • Sin in Renaissance Drama
  • The Glasgow Novel
  • Language in Business
  • International Influences
  • Writing War
  • Detective Fiction
  • Directing in the Theatre
  • Scottish Literature: 1770-1914
  • Children’s Literature
  • Reading Poetry
  • Writing Short Fiction and Poetry
  • Dramatic Writing
Year 4

In Honours year, Single Honours students take five options and the dissertation in either English or Creative Writing (three classes must be from each of English and Creative Writing). Joint Honours students either take two options and the dissertation in either English or Creative Writing or write their dissertation in their other subject and take three English and Creative Writing options (one class must be from English). Current examples of our Honours options include:

  • Dramatic Work in Performance
  • Sixties Britain: Literature, Culture, Counterculture
  • Literature, Mind, and Brain
  • Creative Economies and the Culture Industry
  • Songs: Music and Literature
  • The 1930s: Literature and Culture
  • Victorian Gothic
  • Wild in the Renaissance
  • New Narratives
  • Creative Writing Portfolio
  • Contemporary Travel Writing
  • Forms of Feminism in Contemporary Literature

French

In every year, teaching focuses heavily on language work, but you'll also discover more about the culture of France and French-speaking countries.

Year 1

Two streams are offered in first-year: one for students with Higher French or an equivalent qualification and another for those without. Students in both classes study contemporary French language and aspects of the country’s culture and society.

Year 2 & 3

You'll continue to develop your reading, writing, speaking and listening skills. In the cultural class each year, you'll learn more about the history, politics, literature and cinema of France and French-speaking countries.

Year 4

In your final year, you'll concentrate on translation, written and oral language, and interpreting. You'll also have the chance to write a dissertation in French. If, however, you choose to write your dissertation for your other Honours subject, you'll take two of our cultural classes. These classes reflect the research expertise of our staff and currently focus on topics such as France since 1945, Black France, Writing the Body, and Images of Women.

Major projects

In your final year, you’ll build on your project work from previous years and write a dissertation. 

Year abroad

Honours students spend a year abroad after Year 3, usually working as an English-speaking teaching assistant, gaining experience on a work placement, or studying at a foreign institution.

This is a central highlight of the course and a major formative experience for students, not just in terms of language, but on many different levels, personal as well as professional.

Student competitions

The Stevenson Exchange Scholarship is a competitive award which offers students funding towards a project they wish to undertake while on their year abroad. Staff select and interview several candidates for this each year. Our students usually do well in this competition; in 2019, for example, one student secured £1,050 towards his project.

Glasgow is Scotland's biggest & most cosmopolitan city

Our campus is based in the very heart of Glasgow, Scotland's largest city. National Geographic named Glasgow as one of its 'Best of the World' destinations, while Rough Guide readers have voted Glasgow the world’s friendliest city! And Time Out named Glasgow in the top ten best cities in the world - we couldn't agree more!

We're in the city centre, next to the Merchant City, both of which are great locations for sightseeing, shopping and socialising alongside your studies.

Find out what some of our students think about studying in Glasgow!

Find out all about life in Glasgow
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Course content

English & Creative Writing

English 1A & 1B

These first-year classes offer an introduction to the study of English at university level.

In the course of these classes you will study a range of texts in the three main genres of creative literature - poetry, prose, and drama – and will learn to engage with the critical materials that analyse them, and have the option in assessment to respond creatively to some of these work as well.

Across this year you will also have an opportunity to understand how particular historical and social contexts shape literature, and to discuss ways in which historical literature continues to live and have relevance to the contemporary reader. Current texts studied in this class include Othello, Robinson Crusoe, Jane Eyre, and some contemporary song lyrics and Renaissance poetry.

French

Year 1

Students take two combined classes: French 1A (semester 1), French 1B (semester 2). These courses are mainly organised around a linguistic progression towards level B1 in the Common European Framework of Reference for Languages. There is a regular input of cultural background which takes the form of three lectures in semester 1 and two in semester 2 covering the following topics:

    • The Making of Modern France
    • France in a Global Context
    • Understanding the French Republic
    • French Identities
    • Contemporary French Society 

In addition, there is an introductory lecture in semester 2 entitled ‘What is translation about?’

Compulsory

English & Creative Writing

Writing Through Time 1&2

These classes develop your understanding of literary criticism from our first-year classes by engaging with the question of the historical situatedness of literary production, offering an overview of key ideas, debates and literary texts from the Renaissance to the present. Once again our focus is on different genres of writing: this time, poetry, drama, and long and short prose fiction. Through these texts, you will engage with distinct modes of analysis, with literary critical approaches sitting alongside more innovative creative approaches.

Elective

The Construction of Scotland

This class offers a wide variety of ways of thinking about 'Scottishness' and Scottish national identity. The main aim of the class it to challenge assumptions of national identity as something that is coherent and fixed by exploring the many complexities, subtleties, and contradictions in Scottish identity. Focusing on issues of language, gender, and place, the class will encourage students to deepen their understanding of 'Scottishness' and the constructed nature of national identity through a literary and cultural lens.

Making the Modern Human

The class aims to introduce you to changing ideas about the human in relation to two key moments in history: the concept of the idea of the beast within from the age of Shakespeare, and the emergence of Darwin's theory of evolution in the mid-nineteenth century. The class will look at shifts in understanding the boundary between humans and animals and at what that meant for how people understood themselves at two very different moments in the past. Core to the class will be how scientific, philosophical and literary materials contemplate the same ideas.

TextLab

Textlab is one of several Vertically Integrated Projects (ViPs) running across the University. Each ViP brings together a team of undergraduates, postgraduates, and staff to work on a research-based project.

TextLab brings together students and staff from English/Humanities and Computer and Information Science. We work on research projects in the field of Digital Humanities (the application of computer-based technologies to the study of texts) – specifically using computers to analyse Shakespeare’s language, and building a website aimed at schools.

French

L’Économie

Cultural focus: the French economy (role of the state, …), marketing à la française

Linguistic focus: equivalent of –ing in French.

In addition, students specialising in French take the French Culture and History 2 class. This class focuses on the Occupation and French Colonialism/Decolonisation. The historical context for each topic is first set, and documents from the two periods studied, before discussion moves on to the cultural domain, via analysis of the following texts and films:

  • Au Revoir les Enfants (film, Malle)
  • Stupeur et Tremblements (text, Nothomb)
  • L'Étranger (text, Camus)
  • Le Samourai (film, Melville)
  • Anthology of historical texts relating to the Second World War
  • Anthology of historical texts relating to French Colonialism/Immigration
Les Régions

Cultural focus: decentralisation, importance of regions in France.

Linguistic focus: the passive voice.

Les Femmes en Politique

Cultural focus: a further look (after first year) at French politics, concentrating on topical issues.

Linguistic focus: modal verbs.

Le Monde du Travail

Cultural focus: time (35 hour week, RTT and ‘ponts’, paternity/maternity leave, …) & ‘human resources’ (hierarchical organisation, discrimination, unions, relocation,…)

Linguistic focus: the negation, asking questions, using pronouns.

Immigration & Nationalité

Cultural focus: a historical view of immigration in France and a look at the specificity of the French ‘integration’ system.

Linguistic focus: the system of tenses in French (concentrating on past tenses).

La France et L'Europe

Cultural focus: the origins of the European ideal, Europe and the EU viewed from France.

Linguistic focus: subjunctive mood.

Compulsory

English & Creative Writing

Writing Short Fiction & Poetry

This core class will introduce creative writing students to two key genres: short fiction and poetry. Taught in workshop sessions by practising creative writers this will be a practice led class. On it, students will develop good practice related to the professional presentation of creative work, and will be introduced to the skills involved in reflecting critically on creative products and processes.

The class will build on the basic writing techniques that students have developed in their first and second year of study such as: point of view, characterisation, setting, dialogue and narrative structure. The class will also encourage and expect a more advanced and discerning set of reading skills. Looking at a wide range of material such as novels, short stories and poems the class will examine a range of different narrative strategies, contexts and approaches and use these as stimuli for creative work.

Dramatic Writing

This class will be based around a selection of screen and radio scripts that have formed the basis for dramatic works such as: The Graduate, Mad Men, Bladerunner, The True Story of Bonnie Parker and When Harry Met Sally and will introduce key concepts in the theory and practice of creative writing as these emerge in the context of writing for radio and screen.

Students will write dramatic scripts that demonstrate a good awareness of skills and techniques relevant to the genre, develop good practice related to the professional presentation of creative work, and be introduced to the skills involved in reflecting critically on creative products and processes. The class will be taught by practising creative writers.

Elective

Detective Fiction

This course will trace the development of crime fiction from the mid C19th until the present day. Beginning with some of the earliest depictions, we will examine short stories by Edgar Allen Poe and Arthur Conan Doyle, before going on to look at C20th representations of the literary sleuth in Britain and the USA. We will consider well-known examples from popular culture (eg Hercule Poirot and his 'little grey cells', the stereotype of the American private-eye) as well as more experimental, postmodern examples (Thomas Pynchon’s The Crying of Lot 49 and Paul Auster's New York Trilogy).

Throughout the course we will be concerned with connections between crime and the emergence of the modern city, questioning the extent to which detective fiction aims to impose a sense of rationality and closure on an otherwise uncertain and alienating world. In its concern with the social and cultural role of crime fiction, this course will also reflect on the importance of deconstructive, feminist, post-structuralist and psychoanalytic readings of the genre.

Greek Theatre to National Theatre

This class is designed to introduce students to theatre practice starting with Greek theatre through to the work of the National Theatre for Scotland. The sessions are designed to be both theoretical and practical with students engaging with activities that illuminate the textual material studied. Drama was intended to be performed and to this end, study will also include that of set design and how that has evolved over the centuries taking into account the changes in style and expectations of an audience as well as the harnessing of technological advances.

Students will study in two-hour sessions to allow the theoretical underpinning to be embedded into the workshop activities and should be considered as a foundation for future study in theatre practice. The intention is to study a selection of plays, not as isolated written works, but in relation to their production and performance.

The class will give students insights into evolving theatre practices, predominately in Europe, through examination and analysis of dramatic fiction and their theatrical constructs. The class will draw upon the work of playwrights that will include Euripides, Shakespeare, Moliere, Pirandello, Chekov, Brecht, Beckett, Pinter, and Greig and examine the professional practice of contemporary theatre performers and directors. The class will work alongside practice-based research on the communication of dramatic fiction through theatrical performance.

International Influences

This class teaches you how various kinds of world literature have been influential on literature in English. Each week the lecture introduces a new literature, sometimes referring to one or two specific authors, and places the foreign literature linguistically, culturally and historically. We then look at specific influences on writers in English. Sometimes we will look at translations, sometimes adaptations, including into different media, and we will see that texts can lead to other texts through complex chains of influence.

Seminars often take a foreign text, and look at one or more English language variants of it.  One of the assessments is an essay involving analysis of adapted texts; the other is an essay on the more general issues which arise. Students are not expected to learn or know about any of the foreign languages involved.

Topics for 2019-20 are likely to be similar to those for the current year, which includes Sappho and Homer (Greek), Catullus (Latin), Dante and Petrarch (Italian), the Hebrew Bible, Borges (and other Latin Americans), Chinese and Japanese poetry, Scottish Gaelic, Indian and other South Asian literature, and Scandinavian (including Old English) literature.

 

Language in Business

This class explores the ways in which language is used in businesses and other organisations (including charities, government, education, etc.). The class also functions as an introduction to the theory of communication more generally; we explore how meaning is communicated, how texts are made coherent, why speaking is a way of acting, how conversations are structured, and how politeness is managed.

We consider gender as an aspect of organisations, and how language maintains and constructs gender. We look at the use and invention of words (eg brand names), including organisational metaphors and the use of storytelling in an organisation. We consider how language and communication differ across cultures, and how this can lead to cross-cultural misunderstanding, and we ask whether different languages shape different ways of thinking; as part of this, we consider the discourses of banal nationalism.

The materials we study may include websites, values statements, marketing brochures and posters, public apologies, political speeches, transcripts of e-mail interactions, and of meetings. One of the assessments is an essay involving analysis of one of these kinds of organisational discourse; the other is an essay on the more general issues which arise. Students are not expected to have any prior knowledge of linguistics or the analysis of language.

 

Reading Poetry

This class will examine the tools of poetry, including voice, rhyme, meter, schemes, and tropes, in a variety of genres and periods. The aim of this course is to introduce students to the conventions of poetry and the ways in which these conventions have been subverted or modified over time, allowing for innovation and introducing new voices, such as those of women, minorities and the working classes.

We will consider a number of poetic forms, such as the sonnet, the lyric, the epic, and the ode, with examples taken from the early modern to the present day. The principal aim of the class is to give students the tools required to read poetry with confidence.

The course will cover the sonnet, sonnet sequences, lyric poetry, dramatic monologues, narrative poetry, epic, satire, ekphrasis, and odes and elegies, and a wide range of authors including Donne, Pope, Byron, Christina Rossetti, Tennyson, Dickinson, Poe, Siddal, Rilke, Plath, Angelou, and Atwood.

Sex, Revenge & Corruption in Renaissance Drama

This class will focus on drama, a key genre in the period from the 1580s to the closure of the playhouses in 1642. Reading work by major dramatists such as William Shakespeare, Christopher Marlowe, Ben Jonson and Thomas Middleton, we will engage with a form that addressed both a highly literate and a popular audience, and is thus a particularly interesting place to trace ways of thinking in the period.

The common thread that ties this selection of plays together is their interest in transgression: what happens when humans cross the limits set by tradition, religion and the state? In the process of this theatrical interrogation, the plays pose questions about violence, identity, gender, desire, citizenship and the role of the theatre itself. We will read tragedies and comedies, and wonder why tragedies in this period are so often comic, and why the comedies end badly.

TextLab

Textlab is one of several Vertically Integrated Projects (ViPs) running across the University. Each ViP brings together a team of undergraduates, postgraduates, and staff to work on a research-based project.

TextLab brings together students and staff from English/Humanities and Computer and Information Science. We work on research projects in the field of Digital Humanities (the application of computer-based technologies to the study of texts) – specifically using computers to analyse Shakespeare’s language, and building a website aimed at schools.

Theories of Literature & Wellbeing

The relationship between literature and wellbeing is of interest to the a number of employers and professions, including health and social care (evidenced by the journal Medical Humanities and the 'Get into Reading' programme run by The Reader, a charity). However investigations into the potential benefits of reading or hearing literature are hampered at the moment by the lack of a theoretical base from which to start. Academic work in English and literature is growing more interdisciplinary with sustained interest in the psychology of the reading experience for example.

This class combines recent academic research with the needs and interests of students to assess a number of theories which relate literature to wellbeing. It also encourages students to reflect on their own experiences as students, readers and critics of literature. Students with an interest in arts therapy may find the class a useful part of their degree, as well students considering teaching English or working in libraries, arts organisations or social care.

The class will also provide a new avenue for literary investigation for students who may be considering going on to do interdisciplinary research. The learning outcomes will differ from learning objectives insofar as they focus on broader cognitive abilities, non-subject specific skills or graduate attributes.

  • improved ability to understand what a theory is and how it can be evaluated
  • enhancement of skills taught in other English classes, such as textual analysis, argumentation, group discussion etc
Writing War

This class explores the literature of conflict in the 20th and 21st centuries, from the First World War to the Iraq War. The class treats war as a complex cultural phenomenon rather than a simple military activity, and as such we explore not only the literature of combat but also a range of texts.

The Glasgow Novel

This class will trace the development of fictional representations of Glasgow from the beginnings of industrialism to the present age. In doing so, it will consider a wide variety of historical and literary approaches to depicting the city. Beginning with a brief history of the pre-C20th Glasgow novel, the course goes on to consider some of the most famous literary depictions of Glasgow, including McArthur and Long’s No Mean City, Archie Hind’s The Dear Green Place and Alasdair Gray’s Lanark.

French

Les Nouvelles Façons de Consommer

Cultural focus: the impact of consumerism on the environment.

Linguistic focus: adjectives and comparative, hypothesis, conditional mood.

L’Esclavage Moderne

Cultural focus: a historical review of slavery and a look at modern forms of slavery.

Linguistic focus: reinforcement work on subjunctive mood, passive voice and negative forms.

L’Année à l’Étranger

Cultural focus: practical module aiming at preparing students for the year abroad.

There is also a French Studies 3 class: Freedom and Identity in France and the Francophone world. This class is based on the study of the following texts and films as examples of the treatment of the class’s twin themes:

  • Milou en mai (film, Malle)
  • Poverty (various texts)
  • The Dreyfus Affair (various historical texts)
  • Monsieur Klein (film, Losey)
  • Rue des Boutiques Obscures (text, Modiano)
  • National Identity in the Third Republic (various historical texts)
Le Système Éducatif

Cultural focus: a look at current issues in the French education system.

Linguistic focus: reported speech, imperative mood, a further look at pronouns.

Year abroad

Year abroad
This is the year abroad, spent either studying at a foreign university or working as a language assistant or on a work placement. This year is compulsory to gain entry into Honours.

The Dissertation is compulsory for single honours students and optional for joint-honours students.

English & Creative Writing

Dissertation

This individual project involves original academic research under one-on-one supervision with a member of staff. In addition, you will choose from a range of research and practice led options.

Elective

Creative Economies & Culture Industry

This Honours option will explore how 'creative economies' operate in the twenty-first century, using a focus on local industries to investigate global issues and challenges. It will enable students to understand how the concepts of 'creative economy', 'cultural industry' or 'creative industries' developed, and explore the controversies which have often surrounded these terms.

Literature, Mind & Brain

This class responds to developments in literary research which are drawing on findings in cognitive science. A number of PhDs and postdoctoral researchers, as well as more experienced literary scholars, are using these findings to ask questions about the nature of literary experience in general, and the nature of specific literary texts in particular. In addition, the class responds to the increasing demand for interdisciplinary skills for humanities students. This is likely to appeal to honours English students who wish to bridge the gap between the critical analysis of texts and the rapidly changing model of human cognition emerging from psychology, neuroscience and philosophy.

The class will combine a weekly reading of a scientific or philosophical article with a short literary text and consider the implications of and/or problems with the article in the light of the literary text. No class of this kind is currently on offer at Strathclyde.

New Narratives

The publishing world is changing rapidly with the advent of digital publishing and the ebook. This class will enable students to explore new possibilities and write for new markets and platforms. It will also look at skills that students need for a career in both traditional and digital publication such as editing, submitting work and performing/reading work in front of an audience.

This class aims to hone the skills students have acquired in previous years to produce new work for print, performance and for a range of digital platforms. It will also provide an up-to-date examination of the publishing world and will include reflective element.

The 1930s: Literature & Culture

The 1930s is a period of cultural and political instability that is dominated by the inequalities between rich and poor, by problems with employment and housing, and by an insecure international situation in which the United Kingdom is increasingly isolated from developments in continental Europe. Into this conflict come authoritarian populist politicians intent on restoring strong leadership and the restoration of past national glories, and on the other side coalitions of the liberal left seeking a new politics to resist such authoritarian thinking. It is a period, in other words, strikingly like our own.

In taking the class you will gain an understanding of the distinctive concerns of the literature and wider culture of the 1930s. We will pay particular attention to formal questions that dominate the decade’s literature - those of documentary, realism, and the legacy of Modernism - as well as to thematic issues of class division and national identity, urbanisation, and domestic politics.  You will also gain an understanding of the relationship between literature and other forms of cultural production in the period, particularly journalism and documentary cinema.

By taking part in the class you will develop your abilities in close critical reading of literary texts and will gain further experience of independent learning and essay and examination writing.

The Power of Underlying Material: Adaptation, book to film & beyond

This class is an elective option in fourth year English that encourages students to look at the layering process involved in adapting a piece of underlying material either for literature or for the screen. We will examine a comprehensive range of source texts that inform many literary works and much of the screen drama available in the late 20th century and, in particular, in the current marketplace.

The class will complement the third year core class in Creative Writing, and will also be useful to those undertaking honours dissertations in Creative Writing. As well as exercises in close reading, and theoretical analysis, the class will emphasise the commercial realities of basing work on underlying material.

Sixties Britain: Literature, Culture, Counterculture

The 1960s are often thought of as the decade of hedonism, hippies, free love and The Beatles. Yet the sixties were also a time of deep political unrest and activism, during which political movements for civil rights, anti-war and women’s liberation gained momentum. In addition, the 1960s were a decade of important technological advancements (including the introduction of colour television and developments in space exploration) which would have a fundamental effect on culture in Britain and beyond. This aim of this class, therefore, is to explore the legacy of the 1960s, its representation through a variety of key literary, cultural and critical texts.

Beginning with an examination of British culture through a literary lens in the late 1950s, it goes on to explore the central tensions of the decade. In doing so, students will engage with a variety of classic texts of the period, examining the 1960s in terms of culture vs counterculture, class, race and gender, reflecting on just how controversial the decade actually was.

Songs: music & literature

This class looks at songs of different kinds. We ask what makes songs both similar to, and different from, poems. We explore how words are fitted to musical structures, including rhythms and tunes. We examine how poems are set to music, or otherwise accompanied by music; we consider the difference between poetic and musical metre, and the use of rhyme. We explore different kinds of singing style.  We examine why songs give us strong emotional experiences.

We consider the difference between high and low cultures in songs, and the borrowing of songs between genres. We consider the role of songs in constructing identity, including national identity. We consider popular and rock songs, folk songs, and classical songs; in addition we will look at some overseas song traditions (eg Chinese, Australian Aboriginal).

One of the assessments is an essay involving analysis of a song which you choose yourself; the other is an essay on the more general issues which arise.

Students are not expected to have any prior knowledge of music or linguistics, or musical ability.

Soviet Literature: 1917-1967

This class looks at three key moments in the history of the Soviet Union, and explores how political contexts radically different from those in western Europe affected the way literature was written and interpreted.

All texts are in English, translated from Russian. The Russian Revolution in 1917 happened at a moment of intense experimentation in literature across Europe. In the early revolutionary years, many Soviet writers of the avant garde explored the possibility of experimental writing which could both reach the masses and help to bring about social change. We will look at both the literary theory and some of the experimental texts from this period, including a film. In the 1930s, during Stalin's rule, this revolutionary approach was sidelined by a top down emphasis on 'Soviet socialist realism', fiction that is easily accessible and offers a vision of a brighter future for a population living through unprecedented change. We will look at three of these Socialist Realist novels and appraise how far they conformed with the ambitions of the state, as well as considering the nature of literary realism itself.

Finally, we will consider literature by dissidents, writers who increasingly challenged the Communist regime in the 'Thaw' that followed Stalin's death in 1953, looking at novels by two dissident writers, including Boris Pasternak's Dr Zhivago.

Victorian Gothic

This class will examine the development of the Gothic tradition in a diverse selection of Victorian texts which will include works by the Brontes, Bram Stoker, H. G. Wells, Oscar Wilde and Arthur Conan Doyle.

The aims of the course are twofold. Firstly, we will consider the literary origins and devices of Gothic in the popular novels and short stories of the Romantic period (eg Mary Shelley’s Frankenstein), and trace the ways in which major Victorian authors modified them, paying attention to questions such as genre and inter-textuality. However, these textual studies will continually be placed within a broader historical and social context: the principal aim of the class is to assess how an understanding of the fascination of the Gothic mode for Victorian authors can be used as a tool for exploring the complexities of nineteenth-century society.

We will use the texts to consider issues such as urbanisation, scientific progress, religious crisis, Empire, new forms of communications technology and print culture, the ‘New Woman’, deviant sexualities, degeneration, decadence and the fin-de-siècle.

Throughout, the texts will be read ‘against the grain’ by employing a range of critical terminology (such as Freud’s work on dreams or recent work on ‘female Gothic’).

Wild in the Renaissance

The concept of 'the wild' is one that emerges in many different ways in the writings of the Renaissance; in relation to self-cultivation (holding back the wildness within), the control of one's world (taming the ever-present wilderness); and in relations with fellow humans in a changing world (in savage domination). These ideas get played out in numerous ways in the period - from poetic use of the symbolic resonance of gardens and gardening; the religious underpinnings of the 'missionary endeavour' in the New World and what that says about the concept of human nature; to the anxious self-examination of humanity's inevitable sinfulness.

This class will thus introduce you to key canonical texts from the period – plays, poetry, and court masques – by writers including Shakespeare, Jonson, and Milton, and will also engage with a critical and theoretical debates about the relationships between humans and the natural world from the new fields of animal studies and ecocriticism.

Contemporary Travel Writing

This class engages with some of the key tensions in contemporary travel writing from race and sexuality, to issues of cultural stereotyping and ‘foreignness’. By working through a series of international case studies ranging from India to North America, the class will address why travel continues to be an important metaphor for thinking about our experience of the world, as well as offering a framework for how we understand it.

Forms of Feminism in Contemporary Literature

The class will explore how feminist concerns are represented in contemporary literature, and how literary forms shape contemporary feminism. Students will encounter some of the most important literary works of the post-1990 period, and learn to make connections between literary analysis and feminist theory. Engaging with a diverse range of literary forms—from novels, poems and plays to comics and manifestos—students will leave the course with an advanced understanding of the role literature plays in contemporary feminist politics.

French

French

The language course is based on a series of thematic dossiers dealing with current issues in France and the Francophone world. The focus of the class is on reinforcing and developing key professional language skills, such as translation into English, translation into French, liaison interpreting, and 'exposé' (formal oral presentation).

Students in Joint Honours French will additionally have one or more French Studies 4 classes. Everyone will take the Core Class, Images of Women, which considers the changing portrayal of women over the centuries, using the following texts as the basis of discussion:

  • Madame Bovary (novel, Flaubert)
  • Fatale (novel, Manchette)
  • L’événement (Ernaux, novel)
  • Women in the Paris Commune of 1871 (various historical documents)

Joint Honours students not writing a dissertation in French will take these two further classes:

  • The Occupation and its portrayal in French films
  • France since 1945
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Learning & teaching

English & Creative Writing

In Year 1 you'll have two lectures and one workshop per week. The rest of your teaching is in your other two subjects.

In Year 2, you will have three lectures and two workshops a week and in Years 3 and 4, you will have between two and four lectures and workshops a week, depending on whether you are undertaking joint or single Honours.

A large part of your week will be spent reading in preparation for classes.

French

We focus on the four important language skills:

  • reading
  • writing
  • speaking
  • listening

We make great use of technology in the classroom – interactive lectures and digital language laboratories – and outside, through the use of web-based learning and streamed French television.

In later years, you'll perform presentations, write reports and interpret into English, which prepares you for potential future careers.

Scholars from French universities visit regularly to give guest lectures and lead workshops, at both undergraduate and postgraduate level.

Assessment

English & Creative Writing

Most classes are assessed by a mixture of essays or other written work and by exams. For some classes, there are no exams and in some cases, oral work is assessed. The approximate coursework/exam split for the majority of classes is as follows: 75/25% (Year 1) 75/25% (Years 2 and 3) 50%/50% (Year 4)

French

Written examinations include translations from and into French, writing for a specific purpose and essay questions. Continuous assessment includes online grammar tests and group projects, allowing you to conduct research, prepare a presentation and produce a poster.

In your final year, you'll write a dissertation. Oral and aural tests are also an important part of assessment at all levels and include listening comprehension exercises, presentations in French followed by discussion and interpreting.

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Entry requirements

Required subjects are shown in brackets.

Highers

Standard entry requirements:

  • 1st sitting: AAAA
  • 2nd sitting: AAAABB

(Higher English, Higher French, Maths/Applications of Mathematics National 5 B, or equivalent)

Minimum entry requirements*:

  • 1st sitting: AABB
  • 2nd sitting: AABBB

(Higher English B, Higher French B and Maths/Applications of Mathematics National 5 C)

*Find out if you can benefit from this type of offer.

A Levels

Year 1 entry: ABB-BBB
Year 2 entry: AAA-ABB

(A Level French B, GCSE English Language 6/B or Literature 6/B, GCSE Maths 4/C)

International Baccalaureate

36

(Maths SL5)

HNC

Social Sciences:

Year 1 entry: A in Graded Unit; Maths National 5 B, or equivalent

International students

Find out entry requirements for your country by visiting our country pages.

Additional Information

  • deferred entry is not normally accepted
  • student numbers for optional classes may be limited in years 3 and 4

Widening access

We want to increase opportunities for people from every background. Strathclyde selects our students based on merit, potential and the ability to benefit from the education we offer. We look for more than just your grades. We consider the circumstances of your education and will make lower offers to certain applicants as a result.

Find out if you can benefit from this type of offer.

Degree preparation course for international students

We offer international students (non-EU/UK) who do not meet the academic entry requirements for an undergraduate degree at Strathclyde the option of completing an Undergraduate Foundation year programme at the University of Strathclyde International Study Centre.

Upon successful completion, you will be able to progress to this degree course at the University of Strathclyde.

International students

We've a thriving international community with students coming here to study from over 100 countries across the world. Find out all you need to know about studying in Glasgow at Strathclyde and hear from students about their experiences.

Visit our international students' section

map of the world

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Fees & funding

2020/21

All fees quoted are for full-time courses and per academic year unless stated otherwise.

Scotland/EU

TBC

Fees for students domiciled in Scotland and the EU are subject to confirmation in early 2020 by the Scottish Funding Council.

(2019/20: £1,820)

Rest of UK

TBC

Assuming no change in RUK fees policy over the period, the total amount payable by undergraduate students will be capped. For students commencing study in 2020/21, this is capped at £27,750 (with the exception of the MPharm and integrated Masters programmes), MPharm students pay £9,250 for each of the four years. Students studying on integrated Masters degree programmes pay an additional £9,250 for the Masters year with the exception of those undertaking a full-year industrial placement where a separate placement fee will apply.

(2019/20: £9,250)

International

£15,300

University preparation programme fees

International students can find out more about the costs and payments of studying a university preparation programme at the University of Strathclyde International Study Centre.

Available scholarships

Take a look at our scholarships search for funding opportunities.

Please note: All fees shown are annual and may be subject to an increase each year. Find out more about fees.

How can I fund my studies?

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Students from Scotland and the EU

If you're a Scottish or EU student, you may be able to apply to the Student Award Agency Scotland (SAAS) to have your tuition fees paid by the Scottish government. Scottish students may also be eligible for a bursary and loan to help cover living costs while at University.

For more information on funding your studies have a look at our University Funding page.

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Students from England, Wales & Northern Ireland

We have a generous package of bursaries on offer for students from England, Northern Ireland and Wales:

You don’t need to make a separate application for these. When your place is confirmed at Strathclyde, we’ll assess your eligibility. Have a look at our scholarship search for any more funding opportunities.

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International Students (Non-UKScholarships, EEA)

We have a number of scholarships available to international students. Take a look at our scholarship search to find out more.

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Apply

English and Creative Writing & French

Qualification: BA

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Contact us

Undergraduate Selection

Telephone: +44 (0)141 444 8600

Email: hass-ug-selectors@strath.ac.uk