Contemporary culture is characterised by nothing if not a reawakened interest in the Gothic, be that in the form of the current vogue for horror film, in the heightened preoccupation with terror and monstrosity in the media, the extraordinary success of writers such as Stephen King and Stephenie Meyer, or in manifestations of an alternative Gothic impulse in fashion, music and lifestyle.
As the countless adaptations and retellings of texts such as Mary Shelley’s Frankenstein (1818; 1831) and Bram Stoker’s Dracula (1897) in our own day attest, the Gothic, though once relegated to a dark corner of literary history, has assumed a position of considerable cultural prominence.
The MLitt in The Gothic Imagination at the University of Stirling provides students with the unique opportunity to steep themselves in the scholarly appreciation of this mode, providing a rigorous and intensive historical survey of its literary origins and developments, and charting its dispersal across a broad range of media and national contexts. In so doing, the course equips its graduates with the necessary theoretical vocabulary to address, and critically reflect upon, the Gothic as a complex and multi-faceted cultural phenomenon, while also preparing them for further postgraduate research in the rich and vibrant field of Gothic Studies. In addition to these subject-specific objectives, the MLitt in The Gothic Imagination also provides its graduates with several invaluable transferable skills, including critical thinking, theoretical conceptualisation, historical periodization and independent research.
- Degree type: MLitt, Postgraduate Diploma, Postgraduate Certificate
- Study methods: Part-time, Full-time
- Duration: Full-time; MLitt-12 months, Part-time: MLitt-27 months,
- Start date: September
- Course Director: Dr Timothy Jones
- The MLitt in the Gothic Imagination consists of four core modules, two option modules, and a dissertation. Across these components, the course aims to provide students with a rigorous grounding in the work and thematic preoccupations of the most influential Gothic writers, both historical and contemporary. Supplemented by relevant historical and theoretical material throughout, the course aims to provide as rich and varied an exposure to the academic study of the Gothic as possible.
- The first two core modules seek to provide a searching historical overview of the genesis and development of the Gothic aesthetic, taking students systematically from the circulation of the term ‘Gothic’ in the political and aesthetic discourses of the late seventeeth and eighteenth centuries, through the late eighteenth-century writings of Horace Walpole, Ann Radcliffe, Matthew Lewis and Charlotte Dacre, and into the nineteenth-century fictions of writers such as Charles Maturin, Mary Shelley, Charles Dickens, the Brontës, Sheridan Le Fanu, Robert Louis Stevenson, Bram Stoker and Oscar Wilde.
- The second and third core modules, on Gothic in modern, modernist and postmodern writing, include texts by authors such as Gaston Leroux, Algernon Blackwood, H.P. Lovecraft, Djuna Barnes; Mervyn Peake, Shirley Jackson, Stephen King, Anne Rice, Joyce Carol Oates, Toni Morrison and Patrick McGrath.
- Option modules vary from year to year, depending on student interest and demand. Recent option topics have included the Gothic on the Romantic Stage; Nineteenth-century American Gothic; Transmutations of the Vampire; The Gothic in Children’s Literature; Monstrosity; The Female Gothic; Queer Gothic; and Gothic in/and Modern Horror Cinema.
- At the dissertation stage, students are encouraged to undertake independent, supervised research on any particular interest within Gothic studies that they might wish to pursue. Subject to the agreement of the course director, a creative writing dissertation may be undertaken at this stage.
If English is not your first language you must have one of the following qualifications as evidence of your English language skills:
- IELTS: 6.0 with 5.5 minimum in each skill
- Cambridge Certificate of Proficiency in English (CPE): Grade C
- Cambridge Certificate of Advanced English (CAE): Grade C
- Pearson Test of English (Academic): 54 with 51 in each component
- IBT TOEFL: 80 with no subtest less than 17
For more information go to English language requirements https://www.stir.ac.uk/study-in-the-uk/entry-requirements/english/
If you don’t meet the required score you may be able to register for one of our pre-sessional English courses. To register you must hold a conditional offer for your course and have an IELTS score 0.5 or 1.0 below the required standard. View the range of pre-sessional courses http://www.intohigher.com/uk/en-gb/our-centres/into-university-of-stirling/studying/our-courses/course-list/pre-sessional-english.aspx .
Two hours of seminars per module per week, plus individual consultations and supervisions with members of staff. Assessment is by means of a 4,000-word essay for each core module, and a variety of skills-based assessments (such as presentations; portfolios; blog-entries) for optional modules. All students complete a 15,000-word dissertation on a topic of their choice once optional and core modules have been completed.
With course-work assessed solely by means of independently devised, researched and executed essays, the MLitt in The Gothic Imagination equips students with a number of the skills and abilities that are prized and actively sought after by employers across the private and public sectors. These include the ability to process and reflect critically upon cultural forms; the ability to organise, present and express ideas clearly and logically; the ability to understand complex theoretical ideas; and the ability to undertake extended independent research.
Previous graduates of the course have gone on to pursue successful careers in such fields as teaching, publishing, research, academia, advertising, journalism and the film industry.
The 15,000-word dissertation that is submitted towards the end of the course allows students to devise, develop, support and defend their own academic ideas across an extended piece of written work; addition to the skills of independence, organisation and expression fostered by this exercise, the dissertation also provides an excellent point of entry into more advanced forms of postgraduate research, including the Doctoral degree.
The MLitt in Theology, Imagination and the Arts is a one-year taught programme run by the Institute for Theology, Imagination and the Arts (ITIA), part of the School of Divinity. The course is designed to provide a broad introduction to postgraduate work in the field of theology and the arts. It can be taken as self-contained programme of study or as a grounding for those intending to pursue doctoral research in this field.
The programme consists of three taught modules taken over two semesters followed by a 15,000-word dissertation written over three months during summer.
Modules are interdisciplinary in nature, integrating various artistic media and theological themes, and are taught through weekly lectures and seminars with class sizes typically ranging from 6 to 12 students. Assessment comprises a combination of coursework and written examination.
Students attend ITIA’s weekly research seminar, and may, if they wish, enrol in language classes and attend other lectures, seminars and reading groups as appropriate. The School offers classes in Hebrew, Greek and Latin, which are open to all students.
Each module typically comprises:
For more details of each module, including weekly contact hours, teaching methods and assessment, please see the latest module catalogue which is for the 2017–2018 academic year; some elements may be subject to change for 2018 entry.
A ship is setting sail from England.
It’s a very old, very particular kind of ship.
It’s the magnificent, creaky timbered, curly roped, burgundy sail kind. You’ve seen bigger ships surely, and certainly more streamlined, but this one is hard to get over. It’s the kind that straightens your back and brings a tear to your eye as you shyly lift your gaze to its regal shape. This is the kind of ship that shouldn't exist anymore.
Standing on the dock in the dusking light, you can hear singing carried over the waves, and excited laughter. Figures are calling to you from the deck, beckoning to you, calling to you in your old names. These are the names no one should know, the ancient names, how can this possibly be happening?
The evening moon is emerging from behind clouds. But let us lean forward, the captain is lifting her lantern: To all scholar-explorers and heretical investigators … there is something pressing to say, something urgent. This is an invitation.
We are setting sail to un-map the world.
Join us for this voyage … the world’s first postgraduate programme in Myth and Ecology – The Mundus Imaginalis.
In a time when every square inch of the globe seems to be neutered, quartered and googled, we intrepids are journeying out to glimpse the Otherworld that is secreted most wonderfully in this one - to peer into the steaming foliage and bright feathered world that still exists underneath the grid - whilst we still can. The hour is late.
This is an Otherworld that wriggles in your fist like the archaic trout of the smoky Thames and disappears (carrying all of Shakespeare in its scales) when we attempt to tell it what-it-is. This right-by-our-side Otherworld causes ink to slide off the page and evaporate when we produce the T-square too avidly.
We set sail to do nothing less ambitious than to court the mysteries: the small and gentle ones, the elaborate and complex gnashing teethed ones, the ones you glimpsed at the edge of your garden when you were little. We set sail to un-map our presumption that we know what the earth is.
When we un-map the world, we start the un-colonising of our own imagination and we move from personal fantasy to an imagination that is bigger than ourselves. We understand that psyches don’t only dwell within, we dwell amidst them, and their imagination help create our reality every day. When we un-map the world it starts to talk back to us, we begin to trail not trap. We start to witness not just thinking about the earth, but thoughts from the earth.
Our travels through the waters of time and place will bring us to people and traditions where the weaving of the human and non-human are at their most permeable, their most acute and most sophisticated. In the end, we will trade our tired maps for the best compass of all, the one that really matters - a truth north - what the Troubadours called ‘the educated heart’. It is time, as the poets say; ‘to think in ways we’ve never thought before’. It is time to trade comfort for shelter.
Make no mistake, study awaits. An un-gridded world reveals not just knowledge but wisdom, an un-mapped world will reveal not chaos but cosmos. With that wisdom, with that cosmos, comes tangible learning and focused application. Be prepared. This will be the most exacting journey. Take not one single step towards the gangplank without knowing that we take no passengers. So, here we stand on the dock. It is night, but the scholar-explorers are preparing to raise anchor. The captain leans forward with her lantern one more time, peers towards us and asks:
“Shall we go?”
This is a residential and immersive postgraduate programme that takes imagination seriously. It is delivered by Schumacher College, and is validated by University of Wales Trinity Saint David and led by mythologist Dr Martin Shaw and anthropologist Dr Carla Stang. Carla brings her knowledge of different cultures, her fieldwork and phenomenological study, Martin brings mythology and two decades of work as a wilderness rites-of-passage guide. As they rove through mythology, anthropology, philosophy and poetics, they will also invite guest teachers on a module by module basis.
This is a year-long programme where you will walk in and out of other centuries. It will be a deep and exacting study of image, cosmology, storytelling, myth and lived experience that reaches out to an earth that is profoundly more than human. From Amazonia to Siberia, from the Hermetic, Troubadour, Sufi and Romantic faiths and traditions, we are journeying out to study cultures that celebrate a world ensouled, alive and radiating intelligence.
The main counterweights of the year will be a progression through western mythologies (many hidden or barely remembered), and the lived philosophy of the Mehinaku people of Amazonia. There will be the study of many other lifeworlds, together with which we will learn how people in different times and places have and do respond to an earthy consciousness of extraordinary wonder, regarding such as both magical and utterly ordinary. Such experiential study is how we will begin to tune our ear.
Cloistered in the beautiful setting of the Dartington estate and upon the wild moors of Devon, England, is the chance to apprentice to subtle and often secret knowledge, the reason being that we are living in a time when many of these secrets need to become public, need to be practiced and need to be lived. In doing so we encounter the wonder of ordinary reality and that far from being a rarefied state available to only a few, we will find that a dynamic relationship to what the neo-platonists called the ‘Anima Mundi’- is our natural state.
This interdisciplinary Masters course draws on studies in mythology, psychology, anthropology, theology, esoteric philosophy, a range of wisdom traditions and the arts.
It offers a discerning investigation into seemingly nonrational modes of knowing, exploring the cosmological sense of the sacred, the widespread practices of symbol interpretation and the cultural role of the creative imagination.
The overall aim of the course is to encourage critical, imaginative and creative ways of engaging reflexively with some of the most important questions of our time, such as the debate between science and religion, the nature of sacred reality, and the foundations of spiritual, religious and ritual experience. To do this we explore theories of knowledge and consciousness, oracular and divinatory practices (ancient and contemporary), and the cultural expression of myth in landscape, poetry, art and music.
The course has been highly praised as an outstanding example of transformative learning, as it brings personal reflection and creativity to bear on the study of spirituality in the broadest sense. It brings to the fore issues of connectivity, sustainability, ecological awareness, and the engagement of the imagination in the aid of individual, community and global understanding, wellbeing and harmony.
Canterbury is a perfect venue to study this course, with its ecclesiastical heritage, rich literary history, beauty of landscape and architecture, and easy access to both London and the continent.
The course will appeal to all those seeking to develop and enrich their lives through the study of the history, philosophy and practices of Western sacred and esoteric traditions, and will be of particular interest to teachers, practitioners and therapists in the fields of contemporary spirituality and wellbeing who would like to engage more deeply with both the foundations of their work and their own self-knowledge.
There are many areas for potential further study, and we now have a thriving graduate environment with MPhil/PhD researchers pursing topics as diverse as the music of the spheres, Freemasonry, conflict resolution, alchemical symbolism, transformative learning and intuitive reading methods.
The four taught modules, comprising seminars, learning journal groups and workshops take place at alternate weekends, in term time, from October to March, with optional workshops in the summer term.
The Creative Project assignment and dissertation module take place from April to September (for full-time students) and April to the following September (for part-time students). Each teaching weekend includes an open lecture by a visiting speaker. There are also optional sessions on Friday afternoons (compulsory for Tier 4 students).
The four taught modules will address the following topics:
• Theories and Methods
• Symbol and Imagination
• Oracular and Divinatory Traditions
• Spirit and Psyche
• Creative Project
• Learning Journal
Teaching methods include seminars, lectures and workshops. Students can expect eight hours of teaching each study weekend, plus two hours of learning journal groups. They also receive individual supervision for each taught and research assignment, and eight hours of research preparation seminars.
They will attend two days a year for creative project presentations and a variety of optional workshops will be offered. There will also be an open public lecture at each study weekend, on the Saturday evening, which they are encouraged to attend, and optional Friday afternoon seminars on a variety of themes.
Four essays of 4,000 words (20 credits each), one creative project review of 4,000 words, one learning journal write-up of 4,000 words (20 credits each) and one dissertation of 12-15,000 words (60 credits).
Most of the students on this course are mature adults with established careers. However, possible career opportunities might include teaching, counselling and mentoring, spiritual and wellbeing guidance, alternative healing and therapies, writing and media, the arts, and further research.
For information on how to apply, please follow this link: https://www.canterbury.ac.uk/study-here/how-to-apply/how-to-apply.aspx
See our postgraduate fees and funding page to discover the loans, scholarships and bursaries available.
The course will help you to develop an understanding of contemporary design management. It prepares graduates for careers as design consultants, managers, researchers and design-led, change-makers in private and public organisations, as well as for doctoral study. You will develop modes of thinking critical to the challenges design managers face across a range of real-world situations. The course explores design management from a range of future-oriented perspectives, including service design, design for sustainability, design strategy, and design and branding. An Imagination Lab – an intensive project-based design studio – enables students to undertake a deep dive into a complex design challenge.
You will study a range of modules as part of your course, some examples of which are listed below
• Design Research Methods
• Design Management
• Major Research Project
• Contemporary Issues in Design
• Imagination Lab
• Design and Business
• Design Directions
You are keen to gain more insight into the innovative potential of painting in a rapidly changing world. You are aware of the forces of physicality and materiality in art work, and you take a painterly approach to conducting your experimental research into the functioning of perception psychology, cognition and imagination. A painting both reveals how ideas are imagined and shows how material is edited and used. Taking a painterly and critical approach means harnessing materiality to create new links and associations. By combining ideation and materiality, transforming your ideas into unexpected, meaningful and powerful images, you determine the meaning and significance of your work in contemporary society.
Past, present and future
All over the world, painting has been reinvented as a result of political changes, the digitisation of society, demand for a postcolonial perspective and the current runaway art market. Alongside its emphasis on materiality and ideation, the Painting programme responds to these developments by continually seeking a dialogue between different viewpoints on the past, present and future: between perception and cognition, image and language, stable and unstable media, old and new technologies and, in a broader sense, between art and science and both local and global forms of society. This allows us to collectively explore charted and uncharted territories whilst sharing our views and ideas, working in groups and learning from each other. At the same time, you will also embark on your own path, improving your knowledge and skills, and learning to reflect critically on your own position, role and work and on the world around you.
Students come to the Painting programme from a range of different areas, including art and design, but all share a fascination for painting. The mix of disciplines enables you to hone your artistic vision, working in a hybrid practice as a critical and engaged artist. As your art increasingly engages with the world, you will grow both as an individual and in your artistic practice, reinforcing the power of your imagination and exploring your own relationship to a transforming, technologically charged society.
The Critical Writing in Art & Design MA programme in the School of Humanities provides unique opportunities for postgraduate students to develop high-level writing, research and analytical skills in the setting of one of the world’s most dynamic art schools. Combining workshop models of teaching and learning, and ‘live’ projects with leading arts organisations, the MA provides the skills required for a successful career in the arts or a research degree. For 2017/8, we are introducing some exciting new areas of specialisation within the programme.
The programme is committed to the idea that writing – of all kinds – is a creative practice that requires imagination as well as good literary skills and expert knowledge. Students on the MA are presented with many opportunities to develop and apply the skills required by various writing formats from the review and catalogue essay, to fiction and other forms of speculation. The unique structure of the programme allows for specialisation and the freedom to explore novel approaches to writing.
The Critical Writing in Art & Design programme combines lectures, specialist writing workshops and ‘crits’ as well as live projects with external partners. Previous partners have included the Royal Opera House, Kettle’s Yard in Cambridge and Turner Contemporary in Margate. Recognising that the media is undergoing considerable change, the MA also offers opportunities to work with professionals working print and online publishing, broadcasting and podcasting. Students on the programme enjoy opportunities to share classes and to work on shared projects with other students across the RCA including our sister programme, the Critical Practice pathway in the Contemporary Art Practice programme in the School of Fine Art.
Founded in 2010, the Critical Writing in Art & Design programme will launch a set of new specialisms in autumn 2017: Publishing and New Media; Creative Writing; and Art Theory. Students follow a shared, core programme as well as their chosen specialism. This will enable students to develop focused and expert skills within the RCA’s new 15-month MA framework. The specialisms allow a close focus on the particular needs of individual students, delivered through small group seminar teaching and one-to-one tutorials.
Graduates of the Critical Writing in Art & Design programme have published their MA work as books for publishers around the world including MIT Press, China Machine Press, and Zero Books. Others write regularly for the art press (including titles such as Art Monthly, Frieze and Eye Magazine). Some graduates of the programme have gone on to doctoral study at the University of Oxford, the University of Manchester and Goldsmiths. Others work in editorial positions in art and design magazines, or as curators and programmers in galleries and museums and other arts organisations in Europe, China and North America.
Critical Writing in Art & Design students have a strong track record of producing ‘live’ publications with the support of the programme. These include the Albertopolis Companion produced by the graduating class of 2015 or ARK: Words and Images from the Royal College of Art Magazine 1950–1978, an anthology from 2014. Other live projects include Of and For Turner Contemporary, a series of texts exploring a remarkable building on the Kent coast. Students on the programme are encouraged to publish their writing on a dedicated Critical Writing in Art & Design website during their studies.
From 2017, the programme is primarily located in the RCA's newest facilities in White City.