creative writing assessments coursework

Digital Open Days: 17 October, 14 November and 5 December, Listen to our recent interview with Benjamin Zephaniah. Through DMU Global, we offer a wide range of opportunities including on-campus and UK-based activities, overseas study, internships, faculty-led field trips and volunteering, as well as Erasmus+ and international exchanges. For further information and to see if you qualify please contact [email protected]. You’ll be taught by published poets with extensive experience in their field through workshops, seminars and tutorials. Additional costs: Here at DMU we provide excellent learning resources, including the Kimberlin Library and specialist workshops and studios. In the Describing Poetry module that accompanies the first Poetry Workshop, you will be introduced to some of the key thinking about poetry throughout literary history, and encouraged to explore creative-critical approaches to your work. Must the adaptation always be ‘secondary’? Working from the assumption that the media are an integral part of modern political life, we will examine the way in which politics is represented in the media and reviews critically the argument about 'bias'. Can we define a ‘good’ adaptation? Seminar discussions probe the choices offered by original texts and explore the possibilities and limitations inherent in different forms. There is a choice of mixed or same-gender flats, shared kitchen and laundry facilities, furnished bedrooms (some with en suite facilities) and internet access. We want you to learn that practicing a particular kind of writing can hone your craft in a different form (for example, dramatists learn so much about choreographing the natural movements of a voice on the page from writing free verse poetry). On the ‘creative’ side in previous years we have, for example, read Kafka’s short tales against Borges’s re-writings of them, tried to write like Kafka or Borges, turned a Kafka story into a Dostoevsky paragraph or a Nabokov poem, explored the various translations of these authors, and played with re-translating them. As well as providing a physical space in which to work, we offer online tools to support your studies, and our extensive online collection of resources accessible from our Library website, e-books, specialised databases and electronic journals and films which can be remotely accessed from anywhere you choose. You will also engage with the principles and practice of blog-writing, with copyright law and aspects of publishing finance. All rights reserved. Our innovative international experience programme DMU Global aims to enrich your studies and expand your cultural horizons, helping you to become a global graduate, equipped to meet the needs of employers across the world. Come to one of our open days and find out for yourself! On this module, you’ll not only gain a strong foundation in debates concerning literature's relationship to the environment, to heritage, and to ideas of community but you’ll engage with these debates following your own line of inquiry, and/or through your own developing practice, in ways that will equip you to take on similar projects after the MA as well. If you choose to study part-time, the fee per annum will be half the annual fee for that year, or a pro-rata fee for the module credit you are taking (only available for Home students). Assessments for optional modules vary, but are typically a 5,000-word essay or an equivalent portfolio of creative and/or critical work. Don't let us tell you how good we are. Fees and funding international: For 2020/21 tuition fees will be £13,750 per year. Whether you are a writer or a would-be publisher, this module will give you an introduction to the modern publishing industry and equip you with some of the practical skills involved in the successful publication of texts. Our prospectus will give you a clearer idea of what it's like to live and study at DMU and a snapshot of the courses we offer. You’ll learn from successful working writers and industry professionals. Duration: Three years full-time, six years part-time. This day includes plenary sessions, panels and small-group breakout sessions. We’re ranked in the top 10 creative writing courses in the UK for graduate prospects (Complete University Guide 2020). We welcome applications from students with a wide range of qualifications and experience. Using these enormously influential authors as a starting point, we read a range of ludic authors, passing back and forth between languages, nations, and genres. Mature applicants with less conventional qualifications are encouraged to contact the Admissions Team to discuss their application. This is a practice-based module taught by a novelist and non-fiction writer and aimed primarily at students on the creative writing strands but is also open to students studying for critical MAs. ... Assessment for Year 1. UDL means we offer a wide variety of support, facilities and technology to all students, including those with disabilities and specific learning differences. The aim of this mixed creative-critical module is twofold: both to explore together some of the major works of playful or ‘ludic’ modern literature across various languages, and to develop our appreciation of style and form by practising various forms of writing that are themselves ludic: creative imitation, parody, transposition from one style and form to another, creative translation. We also accept the BTEC First Diploma plus two GCSEs including English Language or Literature at grade 4 or above, Uncreative Writing and Artificial Intelligence. Pass Access with 30 Level 3 credits at Merit (or equivalent) and GCSE  English (Language or Literature) at grade 4 or above. Our body of teaching staff in the School of Literature, Drama and Creative writing includes award-winning poets Tiffany Atkinson, Sophie Robinson and Denise Riley, and tutors such as Peter Womack, Stephen Benson, Steve Waters, Rachel Potter and Jeremy Noel-Tod.Expect to be inspired by leading figures in the literary world such as internationally renowned novelist, poet, essayist, Booker Prize judge and musician Amit Chaudhuri and Costa Award-winning biographer, novelist and literary historian, Rebecca Stott. The might be of interest to anyone who wishes to gain an in-depth understanding of one of the most dazzling periods of European literary history. Assess the assessment. The module is generally taken by a mix of students from the various critical and creative writing MAs, as well as by students in Literature and Philosophy. It offers a historical survey of some of the major texts in Western poetics, from Plato to contemporary writers, to be read alongside a range of poems. Various attempts at (sub-)categorising contemporary fiction interpret it as a departure from previous aesthetics or a response to political or historical events or movements: post-modern; post-colonial; post-feminist; post-communist; post-9/11; post-millenial; post-national; even post-post-modern etc. Final assessment can take the form of a 5000 word critical essay or of a combination of a creative piece and a critical essay, to make up 5000 words. We will also explore the arguments around the ownership and control of media, the increasing use of the media by political parties and the changing relationship between citizens and politics engendered by new communication technologies. How is innocence (and loss of innocence) depicted differently for female, male, white and non-white protagonists? Assessment is by formal essay OR creative-critical assignment such as a literary blog. You will be encouraged to contribute texts from their own reading for discussion. Too often, academic critical writing seems to bring pre-packaged language to bear on works whose whole essence and aim is to change the ways in which we see and describe our world. This MA is your chance to immerse yourself in writing and reading, and discover more about your imaginative, artistic and intellectual capabilities as a poet. Oscar Wilde wrote that 'The youth of America is their oldest tradition; it has been going on now for three hundred years'. Applications for Postgraduate Taught programmes at the University of East Anglia should be made directly to the University. As well as providing a physical space in which to work, we offer online tools to support your studies, and our extensive online collection of resources accessible from our Library website, e-books, specialised databases and electronic journals and films which can be remotely accessed from anywhere you choose. You will also be invited to circulate your own bibliographies (developed in relation to in-class presentations as well as the main project) to other members of the class, and to bring to our attention any text(s) you encounter that may be of particular relevance. The home of  De Montfort Students' Union, (DSU) our Campus Centre offers a welcoming and lively hub for student life. Plus five GCSEs grades 9-4 including English Language or Literature at grade 4 or above. Note: All modules are subject to change in order to keep content current. One way of reading “post”-something-or-other is to think of it as an engagement with, and critical reassessment of, the past it so assiduously hyphenates: its literary conventions, cultural heritage, philosophical traditions, political ideologies, and - paradoxically - its long shadows way beyond the present moment. UEA is also part of a thriving network of regional poetry activity, which offers plenty of opportunities to gain performance experience and to get involved in publication. You’ll examine the relationship between word, image, and sound and, by the end of your course, you won’t just be writing – you’ll also be producing your own professional-standard publications. You may have tried one-off workshops or short courses but find that they are no longer enough. You’ll be provided with creative and critical knowledge in a single experiential burst, by exploring as they are relevant to writing fiction such topics as time, place, dramatic structure, character and concinnity. Our annual anthology is professionally published and distributed to a key list of poetry houses and other contacts. In the first year, the focus is upon shorter work, and the importance of developing your editing and re-drafting skills; and your capacity to accept and evaluate feedback from others. On a walking tour of Berlin we asked students to consider the theme of borders and exile, while others held a scavenger hunt in the New York Public Library and another trip discovered Danish literature in Copenhagen. We welcome applications from writers of all ages. Find out more about course fees and available funding. Find out more about course tuition fees and available funding. Please note that those candidates offered a place on the course will not be able to defer their offer to the next year if they are unable to take up the offer of a place, however they are welcome to reapply the next year. At second year the assignments lengthen, and the focus upon research intensifies as you are expected to situate your own writing alongside your reading of other writers in your field. Creative Writing students have  been  on DMU Global trips to explore ekphrastic writing and themes of oppression in Berlin, as well as visiting TED HQ and key literary locations in New York. We are also returning to the way in which literature was studied, and creative writing engendered, before the invention of professional literary criticism and creative writing courses in the twentieth century. In play, we will find, the boundary between the ‘creative’ and the ‘critical’ becomes unclear. Through your two Poetry Workshops, you will be encouraged to test, extend and refine your poetic technique – an experience that is often exciting and sometimes uncomfortable, but always rewarding. Become part of regional writing networks and perform and publish your work through events such as annual book festival States of Independence, DMU’s Cultural eXchanges festival, and spoken word events. The full list of accepted tests can be found here: Accepted English Language Tests, INTO UEA also run pre-sessional courses which can be taken prior to the start of your course. This insight into the professional world is a valuable  opportunity to enhance and build on your knowledge in a real-world setting, preparing you to progress onto your chosen career. Award-winning writer Benjamin Zephaniah spoke about his diverse career as a poet, novelist, musician, playwright, presenter and actor during his 'in conversation' with English lecturer Dr Jane Dowson - Listen to our recent interview with Benjamin Zephaniah. UEA also hosts an annual Poetry Festival, part of which is an event showcasing the MA poets’ work. Creative Writing (Joint Honours) BA (Hons), English Literature (Joint Honours) BA (Hons). If so, why? Class workshop will further develop skills in the specific dramatic forms. And you’ll be part of a group that’s of a consistently high standard, which offers (and expects in return) rigorous feedback and discussion. Not quite right? The assessment for the Describing Poetry module is a 5,000-word essay or piece of creative-critical work. Criticism which recognises that it cannot rest on received concepts and categories? At DMU there is always something to do or see, check out our events for yourself. You can also learn how to write feature articles, screenplays, news reports, travel writing … 'Hollywood' as an industry, cultural institution and maker of films has dominated the global cinematic imagination for decades. You will be encouraged to think experimentally, not only about the forms a finished translation might take, but also about the ways in which process might be incorporated into the translation. It builds upon our pledge to offer an equitable and inclusive approach to learning and teaching for all of our students. Watch: Dr Simon Perril and Dr Siobhan Logan speak about the benefits of studying Creative Writing at DMU. Reading, writing and analysis happen alongside each other. You will choose 50 per cent of your options from Creative Writing and 50 per cent from Drama, Film Studies or Journalism. And you’ll work independently towards your dissertation towards the end of your course. During the module, you’ll explore some of the following questions: how have different ways of 'framing' place influenced the sense of cultural identity associated with that place? There is also a ‘Just Ask’ service for help and advice, live LibChat, online workshops, tutorials and drop-ins available from our Learning Services, and weekly library live chat sessions that give you the chance to ask the library teams for help. Search for other courses below: © UEA. This 10-credit module consists of a day-long series of presentations and plenary discussions delivered by Creative Writing and Critical faculty of direct relevance to the practical aspects of researching and writing a major piece of creative work. This process will enable you to take a critical and reflective approach to your work (Both creative and reflective writing will be assessed). The home of  De Montfort Students' Union, (DSU) our Campus Centre offers a welcoming and lively hub for student life. By embedding stimulating themes throughout our distinctive course structure we give you the opportunity to develop skills across fiction, poetry, memoir, the graphic novel, screenwriting, non-fiction, audio and performance writing, concrete poetry and new media. In all years, the modules reinforce the knowledge that reading and analysing the work of other practitioners – your fellow students included - will help you understand and develop your own formal and technical abilities. The tutor may also circulate texts for discussion. Your assessed work for the module will be in two parts: a piece of creative-critical writing of your own and a critical reflection on a particular aspect of the theory and practice of creative criticism. How might they encourage you to experiment with new methods? Creative Writing, English Language, English Literature and History Drama (Joint Honours) BA (Hons) Journalism (Joint Honours) BA (Hons) Film Studies (Joint Honours) BA (Hons). You will explore East Anglia’s rich dramatic traditions, its devotional literature and practices (in orthodox forms and in those that brush against the heterodox), and, insistently, the manner in which its literature participates in its broader social and cultural worlds. Digital Open Days: 17 October, 14 November and 5 December, Creative Writing, English Language, English Literature and History. Recent examples include Mona Arshi (MA Poetry 2010) winning the Forward Prize for Best First Collection in 2015, Sam Buchan-Watts (MA Poetry 2014) being named a Faber & Faber New Poet in 2015, Sohini Basak (MA Poetry 2016) winning the Eyewear Publishing Beverly Series Poetry Prize, and Sean Wai Keung (MA Poetry 2016) winning the inaugural Rialto Open Pamphlet Competition 2016. We will situate English Renaissance literature within the wider context of the humanist literature of France, the Netherlands, and Italy. The School's annual intake is in September of each year.This course is open to UK, EU and International applicants. In the final year, such knowledge is pushed further by making you consider how your sense of the ways in which creative work is published and marketed will help you understand how your own practice might fit in – or resist – contemporary conventions. Click here for more detailed module information. You will have regular individual tutorials and extensive written feedback on your coursework. You can also get involved in the award-winning Demon Media group, volunteer to help in the community, become a course or faculty rep, and take part in DSU’s annual elections. What, if any, are the obligations owed to the source text? Our poetry graduates go on to enjoy all kinds of careers, especially in the literary arts. Alongside this, you can access LinkedIn Learning and learn how to use Microsoft 365, and study support software such as mind mapping and note-taking through our new Digital Student Skills Hub. May Ouma, English and Creative Writing BA (Hons). We will normally require students have had a break from full-time education before undertaking the Access course. Pass Access with 30 Level 3 credits at Merit (or equivalent) and GCSE  English (Language or Literature) at grade 4 or above. On this module, we investigate the history, production cultures and texts made by the US film industry from its classic period to contemporary filmmaking. Its proliferation co-exists with more conventional attempts at temporal taxonomy such as monographs and student guides dedicated to specific decades. English Language tuition, delivered by our British Council accredited Centre for English Language Learning, is available both before and throughout the course if you need it. How might recent developments in theory and practice inform your own methods of place writing? DMU Global High Flyers AwardOur dedicated DMU Global High Flyers Award offers ambitious students a discount of up to £1,000 towards a DMU Global opportunity (terms and conditions apply). And what happened when humanists turned philological methods upon the most sacred text of their culture: the bible? A typical offer is 104 points from at least 2 A-levels, or. Just one of the ways we do this is by using ‘DMU Replay’ – a technology providing all students with anytime access to audio and/or visual material of lectures. In July and August you’ll work independently, although you may, with your peers, continue the workshop in some form. Our graduates go on to careers in a variety of areas such as teaching, publishing and PR, while others undertake further studies such as the Creative Writing MA at DMU. We will also have to opportunity do some work in UEA’s Archive of Contemporary Literature: what and who is being archived according to which criteria, and what do archivists, academics and critics consider archival about the contemporary? This means students can revise taught material in a way that suits them best, whether it's replaying a recording of a class or adapting written material shared in class using specialist software. How did their advocacy of rhetoric create new ways for writers to engage with public life? The library staff offer additional support to students, including help with academic writing, research strategies, literature searching, reference management and assistive technology. We will support you to confidently use a huge range of learning technologies, including Blackboard, Collaborate Ultra, DMU Replay, MS Teams, Turnitin and more. You’ll learn from successful working writers and industry professionals. Click here for more detailed module information. Additional costs: Here at DMU we provide excellent learning resources, including the Kimberlin Library and specialist workshops and studios. But you will also practice shaping and developing your own ideas, and practice reading as a writer to learn new craft skills. The building is also home to the DSU officer team. Fees and funding: For 2020/21 tuition full-time fees will be £9,250 per year. The questions only grow more interesting if we consider changes in reception and more complex when we alter era or cultural setting. A series of sessions devoted to the discussion and hands-on tackling of practical problems connected with translation and the projects ahead, precede the presentations. Fees and funding: For 2020/21 tuition full-time fees will be £9,250 per year. This degree programme is carefully designed to develop your potential by ensuring you encounter the full range of forms open to the 21st century creative writer, whilst also allowing you flexibility to focus, for assignments, on projects and genres that interest you most. In this module you will explore the literature of these periods in its material contexts (the region’s prosperity and power may still be seen in its architecture and in the rich holdings of its libraries and museums) and ask whether there was a specifically East Anglian cultural tradition. Take a look around DMU by exploring our virtual campus. It is intended for all students on the Prose Fiction, Poetry, Scriptwriting and Biography and Creative Non-Fiction MA courses. You’ve been writing poetry for so long that it’s become a vital part of your life. How, then, to write criticism? It’s a chance to read the kinds of poetry you’ve never come across before, and to discover the potential of poetry beyond the forms and approaches you already know. Attendance is compulsory. Within UEA’s world-famous writing community, you’ll have the opportunity to meet some of the UK’s leading poets and poetry editors, and to benefit from their insight and expertise. The effects of new market forces, media and digital technology on the form of writing and the construction of the “author” could also be seen as one of the legacies of modernism. In addition to the weekly workshop, in the first semester you will take a creative-critical module, Describing Poetry, and in the second semester you will choose from a number of optional modules ranging from publishing to translation. On this module we will attempt to construct a (naturally provisional, selective and incomplete) genealogy of the contemporary by examining some of the discernible trends and tensions of relatively recent writing. 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