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Key Dates and Events Semester Dates. Music Centre. Share this course Back to search Ask a question. Download Prospectus See all downloads. Visit Us. Watch It. Video Meet Luke Wright. About this course. It begins — has always begun — with a blank page, from stretched goatskin to flickering, ticking cursor.
Ba creative writing uea
What will you say? How will you press the sound of your voice against that page? Can you pin your ideas with words? A quill presses into skin — punctures — fills — the pale feather blushes with iridescent colours — now subtle, now searing. Bleed a filigree of poetry. Life writing. Cut and paste characters, narrative perspectives — would she tell it like that?
Can we trust him, this narrator with a dazzle of quicksilver for a tongue?
UEA & CREATIVE WRITING
Lie still impeccably. In a hundred and forty characters.
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Jump cut here — line break — make it up. Rewrite it all, in another tense. A crisp flurry of imagery. Turn the page — all yours — what will you write? Course Profile. Overview 'Good readers make good writers' is the ethos of this course. Year 2 You begin to focus your creative writing on a particular form or two , choosing from prose, poetry and scriptwriting modules, as well as options in publishing and journalism. Year 3 In your final-year creative writing modules you will focus intensively on your own practice.
MALCOLM BRADBURY writer & critic | UEA & Creative Writing | Introductory Essay
You will use structured exercises based on objects, handouts, discussion and visualisation to stimulate the production of prose fiction and poetry. Initially, you'll write about 'what you know', drawing on notebooks, memories and family stories. Focus will shift to the work of established authors, using sample texts as a stimulus to your own writing.
The aim of this module is to get you writing prose fiction and poetry.
Along the way you'll develop the craft elements of writing and acquire some of the disciplines necessary to be a writer: observation, keeping notebooks, writing in drafts, reading as a writer an submitting to deadlines, among others. This module will build on the skills you have learnt in the Autumn Creative Writing workshops, using exercises, discussion and critique, but it will also provide you with experience in a broader range of forms and styles, including adaptation and scriptwriting. You'll have the opportunity to explore collaborative practice, potentially engaging in cross-arts.
This process may also involve reflective practice and blogging via a Virtual Learning Environment. This module is exclusive to students on English Literature with Creative Writing and Drama degree programmes.
This is the main introductory module to the study of literature. It aims to help new students to read historically, by offering a range of models of the relationship between literature and history, explored through the study of selected historical and literary moments. The module is taught by a weekly lecture, with an accompanying seminar. The term originated in the nineteenth century, the high period of a certain kind of realist novel that Colin MacCabe called the 'classic realist text'. Yet this 19th century novel is only one influential form of realism among many.
You'll investigate the varieties of realism by exploring the multifarious and innovative ways in which writers have exploited a variety of literary forms with the aim of producing the impression of a faithful representation of historical reality.
Realist impulses have often pulled writers in different directions, suggesting a plurality of different formal strategies. You'll learn to identify the different rhetorical and formal devices that writers across the centuries and in different cultural contexts have used to create realist effects.
This module seeks to build on and develop the work of the Autumn semester, in particular that of Reading Texts. The focus will fall again on small-group discussion and on the reading of a small number of texts. With this close attention to reading at its core, the module will also look at a number of the terms and ideas central to the study of literature and to the practice of interpretation.
One of the essential ways to interpret a literary text is through the careful and sustained reading of its language and form. Close reading, as this method has come to be known, is one of the building blocks of literary study and it is to this practice that 'Reading Texts' is devoted. You'll encounter a range of different types of literature from across a number of historical periods. You'll concentrate in each case on specific aspects of the language, style, and structure of the writing: for example, on voice, rhythm, rhyme, form, character, or metaphor. You'll experience some of the ways in which the identification of such aspects can be used as the starting point for the interpretation of a literary text, and so for the writing of literary-critical essays.
You'll also experience the kinds of pleasures and possibilities that close reading offers. You'll learn exclusively in tutorial groups, with reading being chosen individually by your tutor. You'll develop not only your close reading skills, but also your ability to discuss literary texts in small groups. The reading for each week will focus on a stated aspect of literary writing, with related tasks set for you as you go along.
Close reading is one of the building blocks for the study of literature at university and 'Reading Texts' will help you to put that in place. What is the state of the art of the novel at present? And what are some of the distinguishing preoccupations and characteristics of the contemporary novel? This module seeks to consider these questions with a view to developing an understanding of the condition of the novel today. You will focus on fiction published in the UK and Ireland in the last ten years, with a particular focus on more inventive writing.
You'll read a small set of contemporary novels, the content and form of each of which will exemplify some of the possibilities for fiction in the present day. You'll consider the relation between the contemporary novel and the contemporary moment - for example, our concerns regarding the environment, identity, nationhood, and history - and think also about what it might mean to be or to call oneself contemporary: to be together with one's own time.
The list of authors chosen for the module changes regularly, as you would expect. You'll consider a range of ways of conceiving and interpreting the contemporary novel, and discuss these ways with your peers. There is no consensus about what does or should constitute a canon of contemporary fiction, although there is a growing critical literature on the subject, some of which we'll read.
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