English and English & Creative Writing

Your community, your University

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Contents

The department 3What makes us different 5English (BA Hons) 6The Sussex Centre for Folklore, Fairy Tales and Fantasy 14English & Creative Writing (BA Hons) 16Student Exchanges 25Our successes 26Thresholds 28Careers 30Our employability pledge 32About us 34Our other Research Centres 38

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The department

We offer two undergraduatedegree programmes. Theseprogrammes share the samefirst year experience to helpstudents discover their strengthsand decide which degree theywish to take.

We specialise in helping you to discover thefull range of your talents as a writer, thinkerand communicator and a high-level ofindividual support is available to this end. Youcan opt to spend part of your study time atone of our partner universities across theworld.

Our team of academic staff are all activescholars or published writers as well asexperienced and professional teachers. Theirresearch is engaged with the latestdevelopments in Literary History, in Languageand Linguistics, in Theory and in all the maingenres of Creative Writing.

You will benefit from a thriving academicculture which includes our unique Centre forResearch in Folklore, Fairytales and Fantasy,our Theory Research Group, the South CoastEighteenth Century and Romantics ResearchGroup (in partnership with other southernuniversities) and Thresholds, our on-lineinternational forum for writers of the shortstory. All of these host a regular programmeof conferences, guest speakers, and researchseminars to enhance your study environment.Please see www.chi.ac.uk/english for a full listof events and recent staff publications.

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What makes us different

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• Consistently rated highly in the NationalStudent Satisfaction Survey, our degreeprogrammes offer a unique blend ofEnglish and Creative Writing.

• Our students join a community ofdedicated writers and scholars andcontribute to our culture of enterprise,innovation and success.

• As educators, our aim is to help all of ourstudents achieve the very best of whichthey are capable and to direct them on avoyage of self discovery.

• Our network of national and internationalcontacts enable our graduates to find themost exciting employment opportunitiesto match their talents.

English (BA Hons)

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This degree programme willenable you to develop yourconfidence and expertise in arange of different writing modesby studying with practisingcritics, theorists, linguists andcreative writers.

Our academic staff are active and publishedresearchers within a thriving academicculture.

Recent publications by our staff include: FionaPrice’s Revolutions in Taste (Ashgate 2009), BillGray’s Fantasy, Art and Life: Essays on GeorgeMacDonald, Robert Louis Stevenson and OtherFantasy Writers (Cambridge Scholars 2011),Benjamin Noys’s The Persistence of theNegative (Edinburgh University Press 2010),and Robert Duggan’s The Grotesque inContemporary British Fiction (ManchesterUniversity Press 2013).

This course reflects the core study areas forEnglish, including Literary History, Languageand Literary Theory as well Creative Writingand (as an option) Drama. It also offersapproaches to new research areas, such asfantasy literature, ecocriticism, postcolonialliterature, gothic, and contemporary literature.You will explore innovative critical approachesto literature, including new theories, recentdiscoveries, and new critical methods.

During the course, tutors offer personalattention, guidance, and support so you candevelop as a critic and researcher. The coursealso provides considerable choice andflexibility to you as a student to allow you todevelop your own degree ‘package’ in thethree years (or more if you are part time)that you will study with us. The city ofChichester offers a rich range of culturalresources, including the Festival Theatre andThe New Park Cinema.

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The First Year Course is comprised of fourstrands of study, each strand composed oftwo modules which run through the year.These are Literary History; Language;Literary Theory and Creative Writing.

Year one module informationLiterary History – Victorian, Modern andContemporary LiteraturesThese modules will acquaint you with a seriesof key works in the Victorian and Modernperiod. It will also introduce you to thetechniques involved in studying a 'literaryperiod'. Although viewed conventionally as arather constrained period of commercialsuccess and prosperity, the Victorian periodsaw a great upheaval in traditional ways of life,and the evolution of works of literature thatreflect the conflict, discovery, questioning andsubversion of their times.

Language – Structure, Variety and Change This course aims to examine the majoraspects of synchronic and diachronic variationin the English language. It will explore theroots and early development of English; theemergence of the Standard language; theissues that the concept of Standard Englishraises; the linguistic relationships betweenstandard and non-standard forms of English;and the present sociolinguistic status ofEnglish, within the British Isles and around theworld. Students will have the opportunity tostudy closely the different periods in thehistory of the English language throughanalyses of literary and non-literary textswhich illustrate linguistic development andchange; they will also identify and discuss thedistinctive features of several dialects andregisters, illustrated in corpora and inliterature.

Literary Theory – Strategies for readingThe aim of this module is to introduce newstudents to literary theory. Theory isconcerned with exploring what literature isand what the study of it can and perhapsought to be, and its insights can beenormously valuable in our understanding ofliterary texts. The course is designed toacquaint students with some of the keytheoretical concepts and debates which arelikely to reappear frequently throughout theirdegree, and to suggest how these might be ofuse to them in their own analysis of texts.

Creative Writing – How Writers Work(Activating the Imagination)

PoetryThis module will introduce students tocreative writing as a subject area withinEnglish Studies. The creative writing strandsare founded on the belief that writingimaginatively is a vital part of studying Englishat degree level. Not only does this allowstudents to experience first hand the actualprocess of writing, it also informs their studyof other texts, giving them an ‘insider’s’ viewof the demands of a variety of genres. Themodule will also act as a foundation for otherwriting modules, and particular emphasis willbe placed upon the ‘building blocks’ ofeffective writing – the use of the senses, thevalue of ‘concrete’ as opposed to ‘abstract’writing, the construction of a voice and theuse of economic, intense language in shortforms of poetry.

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ProseThis module will extend the introduction tocreative writing as a subject area withinEnglish Studies begun in writing poetry.Students will spend the first half of thesemester working on the building blocks ofwriting prose fiction, such as using the senses,experimenting with sound and dialogue,dramatic structure in story-telling andresearch through creative exercises which willhelp them develop a narrative voice. They willalso learn, through experimenting withmodels and course materials, how to edit andrewrite a short story and how to workshopfiction. The second part of the module will bestructured around the concerns of the shortstory genre. Students will use these concernsto feed into their own writing of short fiction.Again the emphasis will be on developing thestudent’s voice as a writer, as well as on thedevelopment of tension, dialogue, characterand motivation.

Year two module informationIn year 2, as an English student you will take acore strand of Literary History, but thenshape your route according to your strengthsand interests, choosing from a range of othercourses.

Literary History – Renaissance toRomanticism

Renaissance to RestorationThis module - covering the Tudor and Stuarteras - will provide students with a detailedknowledge of literature from the earlysixteenth century to the late seventeenthcentury. The module follows chronology,starting with a contextual lecture on theliterature of the Renaissance, taking in thesixteenth century sonneteers, Wyatt, Surrey,Sidney and Spenser, moving on to the dramaof Marlowe and Shakespeare, and ending withseventeenth century poetry from Donne to

Rochester. The Restoration era is signalled inthe last three weeks on Marvell, Milton andRochester. The lectures will address the settexts in line with a specific issue in currentcritical debate, focusing on desire, power,feminist interpretation, sexual politics, history,subversion, subjectivity and carnival. Theemphases will be partly on seeing the texts intheir historical context but also on findingways of appreciating them today.

Restoration to RomanticismThis module aims to examine theinterrelationship between text and history inthe period from 1700-1832. Students willapproach set texts in the period with aspecific focus on their cultural contexts, inorder to gain an understanding of thecomplex interrelationship between text andhistory. The module also aims to add tostudents’ knowledge of the thematic varietyand scope of literary texts, and thus informchoices both for level three modules and theDissertation. It also aims to acquaint studentswith a series of critical approaches in order toprepare them for the more theoreticallyrigorous third year choices.

Contesting Texts – Women’s Writing, Post-Colonialism

Women’s WritingThis module aims to contribute to yourcritical understanding of the complexrelationship between ‘centres’ and ‘margins’,by engaging with the work of women writerswho challenge various orthodoxies. Many ofthe module texts, for example, contraveneestablished genre conventions, or questiongender roles in the cultures of their fictivesettings. The six chosen texts do not easily fitinto the canon of English Literature: indeed,most of the authors are not English.

Dr Fiona Price Reader in English Literature

Fiona’s research work is focussed on Eighteen Centuryliterature and Romanticism.

Fiona’s research work is focussed on Eighteen Centuryliterature and Romanticism. Her writing is well publishedand her new work is eagerly anticipated by academics in thefield. Fiona is also the convenor of the South CoastEighteenth Century Research Group (SCERRG) that drawstogether postgraduate students from the Universities ofChichester, Southampton, Kent and Winchester.

Post-Colonial ReadingsThis module aims to explore the significanceof postcolonial reading in English Literature.This will involve analysis of the livelycontemporary debates which are taking placewithin literary study prompted by therecognition of several minorities; the minoritythat is in question in this module is thatknown as the ‘Black Diaspora’. Although theimpetus for the module is so-called minoritywriting, the module aims to explore ways inwhich such arrivals pose questions about thesubject matter, methods and purpose ofliterary study as a whole. All the critical andliterary texts have been chosen to illustratethe kinds of challenges such writing presents.

Language – Language and authorityThis module aims to examine how languagemay represent and constitute relations ofpower and authority in society. It develops theskills in language awareness and analysis whichwere essential to success in Level 1 languagemodules. This continuation should enhancestudent understanding of the complex meansby which language functions to promotepatterns of power, authority and control.

This module considers some of therelationships between language and thecultural processes of empowerment anddisempowerment. Students are encouragedto critically examine how ideologies aredisseminated through various vocabularychoices and syntactic structures; they will payparticular attention to issues of gender, class,ethnicity and religious affiliation, as theseimpact upon an individual’s subjectivity andfreedom.

Language – Language into literatureThis module aims to give students greaterunderstanding of the various means by whichlanguage both embodies and resists notions

of the ‘literary’ and ‘non-literary’ in texts. Itexplores the contribution of Linguistics to thestudy of literary texts, equipping studentswith a body of knowledge that will enablethem to identify and explain salient textualfeatures, across a range of genres. Itintroduces students to recent developmentsin the field of Stylistics, giving them new waysand opportunities to define and discuss the‘style’ of various authors and texts.

DramaThis module has been planned with threemain aims. These are:• to locate modernist and contemporary

debates about the functions of drama in awider European tradition;

• to assist students to write in a variety of modernist and postmodernist modes;

• to enable students to reflect critically onthe relationships between theory andpractice in their own work and in thework of others.

The students will explore some elements ofthe dramatic tradition by engaging activelywith scripts and extracts in order to discoverthe variety of strategies open to playwrights.Students will experiment with notions ofconflict, character, action and dialogue. Themodule will engage with dialogue rather thanmonologue, with notions of revelation (Ibsen)and current action (Mamet, Marber); studentswill experiment with structure and setting upthrough exercises and ultimately through thewriting of a short play. Students will alsoengage with the demands of scripts writtenspecifically for the stage.

Genre – Poetry and Prose

PoetryThis module aims to provide students with aknowledge of how poetic genres have arisenand developed through time.

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The module shows that genres transformover time and that even in an age whenemphasis on pastiche and irony can seem toundermine categories of poetry, genres arestill very much at the heart of poetry today.The module aims to develop student skills inunderstanding rhythm, rhyme, free verse,diction, particular verbal effects, timbre, tone,voice, poignancy, and to inculcate skills in closecritical analysis, as well as an awareness of thecentrality of genre to a wide range of poeticpractice from the Renaissance to the presentday.

ProseThis is a chronologically based module,examining a range of representative textsover a range of literary periods. These textsinclude Moll Flanders, Wuthering Heights,Poe’s Tales and The Yellow Wallpaper, TheAdventures of Sherlock Holmes, Dublinersand The Cement Garden. Each of these textsis in some way an exemplar of genericinnovation, each writer contributingsomething new to the pattern of genres thathad existed thus far. Theoretical approacheswill range from Ian Watts’ seminal text TheRise of the Novel to theories of the sociologyof the novel and postmodernism.

Year three module informationBy the time you reach year 3, you will knowwhich areas of English you wish to specialisein. We offer single modules which arefocused on staff research, giving you theopportunity to work at the cutting edge ofwhat is happening now. You will alsoundertake a Dissertation, which is anindependent piece of work for which youhave tutorial guidance.

Women’s Writing in the Romantic EraThis module aims to examine a range ofwomen’s prose writing in the period 1776-1814. The module will give students the

opportunity to study prose texts in a varietyof genres that, though often underrated,were of importance to Romantic aesthetics.By examining these genres, it aims to givestudents a greater understanding of thecoherence of Romantic aesthetics (oftenprimarily explored in terms of poetry).Students will explore the relationshipbetween such writing and the politicaldebates of the period.

Contemporary British fiction (Strange Hybrids)This module will seek to untangle some of thestrategies and concerns of Britishpostmodernist fiction, focussing in particularon their challenging and experimentalrepresentations of gender, power, history andtime. Many of the modes of postmodernnarrative derive their essential tension fromthe fusion of apparent opposites: e.g. ‘magicrealism’ and ‘historiographic metafiction’.Motifs of freakishness, monstrosity, androgynyand the ‘undead’ recur in text after text.

Victorian Women’s WritingVictorian Women’s Writing is a module basedon the study and comparison of individualtexts in a variety of genres. Over thesemester, students will examine the work of awide range of women writers of thenineteenth century, from 1837 to 1900. Themodule will begin with an introduction to thehistorical context of the Victorian period, andthe literary and theoretical issues to beaddressed, including the problematic conceptsof 'the female sphere' and 'women’s'literature. Subsequent lectures and seminarswill frame the writing of both well-known,and recently 're-claimed' women writers inthe changing context of the period. Classeswill explore issues of representation and the'canon', as well as the forms and themesspecific to individual texts.

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Dr Duncan Salkeld Reader in Shakespeare StudiesDuncan is a well-regarded scholar in the highly competitive area ofShakespeare Studies.

His monograph, Madness and Drama in the Age of Shakespeare, is widelyconsidered to have been ‘ground breaking’. His latest monograph,Shakespeare Among the Courtesans, has also won much critical praise.Duncan was recently appointed Assistant Editor for a new edition ofTwelfth Night in the New Varorium Shakespeare series, a project thatcommands international scholarly respect. He has presented manypapers to conferences in England, Italy and America. He is currentlywriting Shakespeare and London for Oxford University Press.

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Contact time will reinforce analysis of form inthe Genre strand, feminist debates in ReadingWomen’s Writing, and issues of periodicityand gender encountered in Literary History,Genre and Contesting Texts strands at LevelTwo.

Shakespeare: Text and CultureThis module gives students a detailed,contextualized knowledge of at least sevenplays by Shakespeare. It covers various aspectsof Shakespeare’s texts and culture: theemergence of the early theatres, Shakespearein Stratford and London, early performances,the chronology and printing of the plays,theatre personnel, questions ofcontemporary social need and unrest, and thepolitical structure of the city and court. Themodule covers Shakespeare’s playschronologically from 2 Henry VI (1592) toThe Tempest (1609-10). It gives students adetailed and up-to-date understanding of thetextual, social and critical issues that connectwith each play. The module aims to providestudents with an awareness of recent criticaldebate in Shakespeare studies and equipthem with the skills to carry out their ownindependent investigative research in archivesand libraries.

Psychoanalysis and CultureThe aims of this course are to develop thestudents’ understanding of psychoanalysis as adiscourse of cultural analysis and to enablestudents to grasp the range of differentapproaches taken in psychoanalysis to culture,as well as to critically assess the claims ofvarious ‘schools’ of psychoanalysis. Studentswill explore these aims through applyingvarious psychoanalytic approaches to a rangeof cultural objects, not only literature but alsoart, film and more ‘everyday’ culturalphenomena.

Contemporary Poetry and theEnvironmentThis course aims to introduce students to theincreasingly important area of ecocriticism. Ina time of widespread environmentaldestruction, a number of writers and thinkersare questioning the ways in which we viewand treat the natural world. Bringing inconcerns such as ecology, science andenvironmentalism, this course looks at how anumber of contemporary poets haveresponded to nature. Poets studied includeTed Hughes, Chase Twichell, John Burnsideand Gary Snyder.

Fantasy LiteratureThis module is designed to enable students todevelop a historical and critical perspective ona literary tradition running from the literaryfairy tales written by German Romantics suchas Novalis and E.T.A. Hoffmann in the sameperiod as the Grimms’ collection of folk-tales;through George MacDonald’s mediation ofthis tradition into English literature, especiallyin his fairy tales (MacDonald’s Phantastesgreatly influenced the Alice books of hisfriend Charles Dodgson aka ‘Lewis Carroll’);and through MacDonald’s admirers C.S. Lewisand J.R.R. Tolkien to contemporary writers inthis genre such as J.K. Rowling and PhilipPullman. Other currents in the tradition offantasy literature ostensibly written forchildren might include the work of E. Nesbit,and Kenneth Grahame. The module may alsoexplore the relation between the literaryversion of a work and the film or stageversions of it (for example, His Dark Materialsand the Harry Potter stories).

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The Sussex Centre for Folklore,Fairy Tales and Fantasy

Established in 2009 by ProfessorBill Gray, the Centre provides aforum where writers andscholars from various disciplinescan discuss folk narratives, fairytales and fantasy works. Theheart of this project is a focuson the importance of fairy talesas a creative force both inliterature and culture.

The Centre is rooted in folk and fantasytraditions in Sussex and its surrounding region,an area rich in examples of all three kinds ofnarrative. From folk narratives throughliterary fairy tales written in, as well as about,Sussex to major works of fantasy and myth bySussex residents such as MacDonald, DavidLindsay, Mervyn Peake and Neil Gaiman.There are fantasy and fairytale elements notonly in prose works by Kipling, Wilde andWells, but also in the poetry of Blake, Keats,Shelley and Tennyson, all of whom haveconnections with Sussex, along with thefantasy illustrators Peake, Rackham, Shepardand Blake himself.

Though its heart is in Sussex, the scope of theproject is geographically and culturallyinclusive. While the contemporary fantasymarket is dominated by British authors werealize the fairy-tale traditions that shape laterfantasy (and not just fantasy) derive not onlyfrom the European traditions of Italy, France,Germany, and Scandinavia, but also fromsources far beyond Europe. It is this diversityand exuberance of folktales, fairy tales andthe fantastic imagination that the Centreseeks to explore, discuss and celebrate in arange of ways.

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The Centre brings together writers andscholars from diverse communities. It hasforged links with leading British andinternational institutions and, in keeping withits wide-reaching aims, has an internationaland interdisciplinary Advisory Board whichincludes D.L. Ashliman, Cristina Bacchilega,Colin Manlove, Don Haase Maria Nikolajeva,Marina Warner and Jack Zipes.

EventsThe Centre has hosted a series of eveninglectures which have attracted great public andacademic interest. In April 2012 the jointSussex Centre/Folklore Society conference‘Folklore & Fantasy’ was held at the Universityand in September 2012 the Sussex Centrejoined with the University of Kingston to hostGrimms Bicentenary Conference ‘AfterGrimm: Fairy tales and the Art of StoryTelling’ In March 2013 the centre held a Fairy-tale Symposium, and the keynotes includedJack Zipes, the world famous expert on fairytales.

For further information about the SussexCentre for Folklore, Fairy Tales and Fantasy,go to: www.chi.ac.uk/scfff

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Gramarye, the journal of theSussex Centre for Folklore,Fairy Tales and Fantasy

English & Creative Writing(BA Hons)

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Our course is an exciting andinspiring blend of closely-linkeddisciplines, offering an innovativecurriculum that draws on ourexperience in publishing creativewriting, teaching, and academicresearch.

We have one of the most experiencedCreative Writing teams in the UK. You willwork with highly-qualified and experiencedtutors, many of whom are practising andpublished poets, novelists and dramatists. Wehave a thriving writing culture, which includesthe student organised ‘open mic’ eventsTongues & Strings, regular book launches,conferences, and events with creative writers.Poet Laureate Carol Ann Duffy, MatthewSweeney, Helen Dunmore, Jo Shapcott, SarahHall, Bernadine Evaristo and Vicki Feaver arejust some of the names that have recentlyvisited the University.

Chichester itself is an excellent environmentin which to develop creative skills, boastingthe prestigious Festival Theatre, the nationallyrenowned New Park Film Club and a thrivinglocal writing scene.

In 2010 we hosted the distinguishedinternational conference ‘Poetry and Voice’,organised by Stephanie Norgate. Recentpublications by our Creative Writing staffinclude: Alison MacLeod’s Fifteen Modern Talesof Attraction (Hamish Hamilton, 2007),Stephanie Norgate’s The Blue Den(Bloodaxe,2012), David Swann’s The Privilegeof Rain (Waterloo Press, 2010), and HughDunkerley’s Hare (Cinnamon Press, 2010).

Many of our students go on to publish and winprizes. Recently students have published inmagazines such as The Paris Review and Stapleand have had work broadcast on BBC Radio 4.

We also offer one of the longest-establishedMA programmes in the UK and our studentshave won prizes in many competitions, JacCattaneo won the 2010 Royal Academy ofthe Arts Short Story Competition.Undergraduate and MA student IsabelAshdown, recently published her second novelHurry Up and Wait (Myriad). Jane Rusbridge’ssecond novel, Rook, is published byBloomsbury.

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“After completing my BA (Hons) in Englishand Creative Writing, I knew I wanted tokeep writing and make working withlanguage and literature my career. Whilstworking at an IT company, I developed anew role for myself in Marketing making useof the invaluable skills I gained during mydegree. I still wanted to work more withliterature and I now work as an Editor at DogHorn Publishing, an independent publisher,alongside being a Marketeer in the 9-5. TheUniversity of Chichester degree and tutorshave provided me with so much, and I wouldrecommend anyone with a passion forlearning more about language and literatureto apply. My advice to anyone taking thiscourse is to make use of every opportunity,get involved in your chosen industry whilstgaining your core skills at University andopen your mind to the experiences.”

Alexa RadcliffeEnglish & Creative Writing

Year one module informationIn the first year, you will follow a setcurriculum which introduces you to the keyareas of English and Creative Writing atChichester.

Creative Writing – How Writers Work(Activating the Imagination)

PoetryThis module will introduce students tocreative writing as a subject area withinEnglish Studies. The creative writing strandsare founded on the belief that writingimaginatively is a vital part of studying Englishat degree level. Not only does this allowstudents to experience first hand the actualprocess of writing, it also informs their studyof other texts, giving them an ‘insider’s’ viewof the demands of a variety of genres. Themodule will also act as a foundation for otherwriting modules, and particular emphasis willbe placed upon the ‘building blocks’ ofeffective writing – the use of the senses, thevalue of ‘concrete’ as opposed to ‘abstract’writing, the construction of a voice and theuse of economic, intense language in shortforms of poetry.

ProseThis module will extend the introduction tocreative writing as a subject area withinEnglish Studies begun in writing poetry.Students will spend the first half of thesemester working on the building blocks ofwriting prose fiction, such as using the senses,experimenting with sound and dialogue,dramatic structure in story-telling andresearch through creative exercises which willhelp them develop a narrative voice. They willalso learn, through experimenting withmodels and course materials, how to edit andrewrite a short story and how to workshopfiction. The second part of the module will be

structured around the concerns of the shortstory genre. Students will use these concernsto feed into their own writing of short fiction.Again the emphasis will be on developing thestudent’s voice as a writer, as well as on thedevelopment of tension, dialogue, characterand motivation.

Victorian, Modern and ContemporaryLiteraturesThese modules will acquaint you with a seriesof key works in the Victorian and Modernperiod. It will also introduce you to thetechniques involved in studying a 'literaryperiod'. Although viewed conventionally as arather constrained period of commercialsuccess and prosperity, the Victorian periodsaw a great upheaval in traditional ways of life,and the evolution of works of literature thatreflect the conflict, discovery, questioning andsubversion of their times.

Language – Structure, Variety and Change This course aims to examine the majoraspects of synchronic and diachronic variationin the English language. It will explore the rootsand early development of English; theemergence of the Standard language; theissues that the concept of Standard Englishraises; the linguistic relationships betweenstandard and non-standard forms of English;and the present sociolinguistic status ofEnglish, within the British Isles and around theworld. Students will have the opportunity tostudy closely the different periods in thehistory of the English language throughanalyses of literary and non-literary textswhich illustrate linguistic development andchange; they will also identify and discuss thedistinctive features of several dialects andregisters, illustrated in corpora and inliterature.

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Stephanie Norgate Reader in Creative Writing

Stephanie is a playwright and poet. Her poems have received high reviews. Vicki Feaver called hercollection, Hidden River was called 'An absolutely stunning firstcollection, combining craft and passion.’

Over the last ten years, Stephanie has co-ordinated Chichester’s MAin Creative Writing, establishing it as a national leader in the field, aflagship for the University, and a springboard for new writers.

Literary Theory – Strategies for readingThe aim of this module is to introduce newstudents to literary theory. Theory isconcerned with exploring what literature isand what the study of it can and perhapsought to be, and its insights can beenormously valuable in our understanding ofliterary texts. The course is designed toacquaint students with some of the keytheoretical concepts and debates which arelikely to reappear frequently throughout theirdegree, and to suggest how these might be ofuse to them in their own analysis of texts.

Year two module informationYou will shape your route according to yourown strengths and interests, and develop yourwriting skills in a range of literary genres,including poetry, drama and short fiction. Thisis combined with the critical study of genre.

Creative Writing – Poetry and Prose

PoetryBuilding on the skills developed in year 1, thismodule introduces students to differentstrategies for writing: lyric poetry, narrativepoetry and the dramatic monologue.Students are also introduced to writing informs such as the sonnet, the villanelle andthe sestina. The premise of the module is thatto be good poets students have to be goodreaders of poetry, and the set text is ananthology of contemporary poetry. Lecturesand seminars focus on the variety of formsand sources available to contemporary poets,and provide models and inspiration forstudents’ own poems.

Workshops give students the opportunity toreceive feedback on their poems, so that theycan engage with the process of editing andrevision.

Prose FictionIn this module, students are invited toexplore, in a very active way, theopportunities and challenges of particularforms of fiction in relation to the techniquesof story-writing. We will consider the realiststory, the modern Gothic story, and thefantastic story, among others. In doing so, wewill discuss the short stories and strategies ofmajor contemporary writers, including IanMcEwan, Angela Carter, Alice Munro,Margaret Atwood, Primo Levi, RobertCoover, and Patrick McGrath. By the end ofthis module, students will have a keen senseof the short story as an excitingcontemporary form. They will also haveproduced a body of work which willdemonstrate their ability to handle a range oftechnical and imaginative elements involved inthe writing of the short story.

Genre – Poetry and ProsePoetryThis module aims to provide students with aknowledge of how poetic genres have arisenand developed through time. It is co-requisitewith a course on the Creative Writingpathway (EN201) and focuses on poeticforms, their principal characteristics andvariations. The module shows that genrestransform over time and that even in an agewhen emphasis on pastiche and irony canseem to undermine categories of poetry,genres are still very much at the heart ofpoetry today.

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The module aims to develop student skills inunderstanding rhythm, rhyme, free verse,diction, particular verbal effects, timbre, tone,voice, poignancy, and to inculcate skills in closecritical analysis, as well as an awareness of thecentrality of genre to a wide range of poeticpractice from the Renaissance to the presentday.

ProseThis is a chronologically based module,examining a range of representative textsover a range of literary periods. These textsinclude Moll Flanders, Wuthering Heights,Poe’s Tales and The Yellow Wallpaper, TheAdventures of Sherlock Holmes, Dublinersand The Cement Garden. Each of these textsis in some way an exemplar of genericinnovation, each writer contributingsomething new to the pattern of genres thathad existed thus far. Theoretical approacheswill range from Ian Watts’ seminal text TheRise of the Novel to theories of the sociologyof the novel and postmodernism.

Single Honours students can also choosefrom the following strands:

Literary History – Renaissance toRomanticismThis module - covering the Tudor and Stuarteras - will provide students with a detailedknowledge of literature from the earlysixteenth century to the late seventeenthcentury. The module follows chronology,starting with a contextual lecture on theliterature of the Renaissance, taking in thesixteenth century sonneteers, Wyatt, Surrey,Sidney and Spenser, moving on to the dramaof Marlowe and Shakespeare, and ending withseventeenth century poetry from Donne toRochester.

Restoration to RomanticismThis module aims to examine theinterrelationship between text and history inthe period from 1700-1832. Students willapproach set texts in the period with aspecific focus on their cultural contexts, inorder to gain an understanding of thecomplex interrelationship between text andhistory. The module also aims to add tostudents’ knowledge of the thematic varietyand scope of literary texts, and thus informchoices both for level three modules and theDissertation. It also aims to acquaint studentswith a series of critical approaches in order toprepare them for the more theoreticallyrigorous third year choices.

Contesting Texts – Women’s Writing, Post-Colonialism

Women’s WritingThis module aims to contribute to yourcritical understanding of the complexrelationship between ‘centres’ and ‘margins’,by engaging with the work of women writerswho challenge various orthodoxies. Many ofthe module texts, for example, contraveneestablished genre conventions, or questiongender roles in the cultures of their fictivesettings. The six chosen texts do not easily fitinto the canon of English Literature: indeed,most of the authors are not English.

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Post-Colonial ReadingsThis module aims to explore the significanceof postcolonial reading in English Literature.This will involve analysis of the livelycontemporary debates which are taking placewithin literary study prompted by therecognition of several minorities; the minoritythat is in question in this module is thatknown as the ‘Black Diaspora’. Although theimpetus for the module is so-called minoritywriting, the module aims to explore ways inwhich such arrivals pose questions about thesubject matter, methods and purpose ofliterary study as a whole. All the critical andliterary texts have been chosen to illustratethe kinds of challenges such writing presents.This module occupies a similar critical terrainto that of ‘Reading Women’s Writing’, theother module in the Contesting Texts strand.

Language – Language and authorityThis module aims to examine how languagemay represent and constitute relations ofpower and authority in society. It develops theskills in language awareness and analysis whichwere essential to success in Level 1 languagemodules. This continuation should enhancestudent understanding of the complex meansby which language functions to promotepatterns of power, authority and control.

Language – Language into literatureThis module aims to give students greaterunderstanding of the various means by whichlanguage both embodies and resists notionsof the ‘literary’ and ‘non-literary’ in texts. Itexplores the contribution of Linguistics to thestudy of literary texts, equipping studentswith a body of knowledge that will enablethem to identify and explain salient textualfeatures, across a range of genres. Itintroduces students to recent developmentsin the field of Stylistics, giving them new waysand opportunities to define and discuss the‘style’ of various authors and texts.

DramaThis module has been planned with threemain aims. These are:• to locate modernist and contemporary

debates about the functions of drama in awider European tradition;

• to assist students to write in a variety of modernist and postmodernist modes;

• to enable students to reflect critically onthe relationships between theory andpractice in their own work and in the workof others.

The students will explore some elements ofthe dramatic tradition by engaging activelywith scripts and extracts in order to discoverthe variety of strategies open to playwrights. Students will experiment with notions ofconflict, character, action and dialogue. Themodule will engage with dialogue rather thanmonologue, with notions of revelation (Ibsen)and current action (Mamet, Marber); studentswill experiment with structure and setting upthrough exercises and ultimately through thewriting of a short play. Students will alsoengage with the demands of scripts writtenspecifically for the stage.

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Year three module informationIn addition to a research Dissertation you willtake a number of creative and critical specialsubjects developed from our researchexpertise. Critical modules are listed on page15. Creative Modules include:

Advanced PoetryThis Level 3 module builds upon work donein years 1 and 2. Having covered sound andimage in year 1, the lyric, the dramaticmonologue and narrative poetry in year 2,students will build on this firm foundation byengaging, in a more explicit way, with issuesvital to developing poets. Through readingand discussion, students will be encouraged toreflect more deeply on notions such as poeticvision, the deployment of form, sequencesand the role of influences. This work will besupported by the reading of accounts ofprocess by published poets. In addition to this,the module will look at a range of work bycontemporary poets, examining a variety ofstrategies employed by poets writing today.The module will therefore seek to developnot only students’ skills in terms of writing andre-drafting specific poems, but also animaginative reflection on the process ofwriting.

Novel Writing“Mine deeper. Strike through the mask!” Thewords of Herman Melville form theunderlying note of this Level 3 module, whichaims to build upon modules on short fictionin Years 1 and 2. Having acquired skills innarrative, imagery, characterisation, andtheme, students will now be encouraged todevelop these skills in greater depth whileengaging with the demands and challenges ofa longer form. Using prescribed reading andindependent research, students will be askedto develop the first chapter of a novel, as wellas a concise synopsis of the remainder.Students will be encouraged to adopt a set ofworking methods and habits that assist life-long learning so that the novel may becompleted after University. To this end,students will be asked to write a critical paperthat demonstrates productive and creativeengagement with a novel that has expandedthe imaginative range of their creativepractice. Here, students will be asked to makecritical insights that demonstrateunderstanding of relevant and appropriateliterary traditions within their chosen field.Together, the two modes of assessment areintended to deepen the reflective andcreative techniques fostered in the twoprevious years of the course.

Writing the Short Story‘Short story writers,’ Nadine Gordimer tellsus, ‘write by the light of the flash’. Thismodule will explore the conventions andinnovations of short fiction, a form that isperhaps best characterised by its intenselyrevelatory quality. In particular, it will seek tofoster in each student a keen and dynamicawareness of the relationship between thetradition of the short story and his/her owninterests and aims as a story-writer.

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As all good writers are also good readers, thismodule will require students to becomededicated readers of short fiction. The focusand inspiration for this Level 3 specialistmodule will be several single-authoredcollections of short stories.

Dramatic WritingThis module aims to extend the practice andstudy of dramatic writing already begun inmodules ENL205 and ENL212. The modulewill engage with the major elements ofdramatic writing, such as the scenario,synopsis, conflict, action, voice, dialogue,setting, character building and motivation,imagery, subtext and metaphor. The modulewill focus on writing for the stage throughexperimenting with a variety of styles andmethods.

Writing for ChildrenThe aim of this module is to provide studentswith a very particular context forunderstanding the developments and shiftingconcerns of Anglo-American children'sliterature through a historical perspective. Indoing this, students will develop an awarenessof the controversial judgements, valuesystems and demands imposed on thespecialised genre of fiction for children.

During the module, a range of primarymaterial will be examined, and students willconsider a number of critical issuessurrounding children's fiction, such as howwriters (consciously or unconsciously)recommend particular ideologies to theirreaders, and how these can be seen todirectly relate to historical dimension andcultural notions of the child.

The intention is that such examination willchallenge students to consider their owncultural position and value systems, and thatthis will strengthen and inform their ownwriting of contemporary short fiction (agerange: 8 – 16).

Writing for the ScreenThis module aims to equip students with theknowledge and skills to craft a short cinematicscreenplay. The module introduces thebuilding blocks of screenwriting, focusing on:visual storytelling, plot (using Treatments andStep Outlines), scene-building, research skills,characterisation, setting, sound, struggle,movement, and lay-out. Students experiencethe collaborative nature of screenwriting, andshould ultimately be able to locate thescreenwriter within a broader institutionalframework. Students are asked to write anessay on ‘The Poetics of Screenwriting forShort Films’ - a meditation upon the student’sworking methods, comparing and contrastingthese with concepts from Aristotle’s ‘Poetics’and with processes and methods adopted byothers in the field. The module looks atalternatives to contemporary Hollywood,including the philosophies of screenwritersfrom other traditions. The module allowsstudents to choose between (or combine)‘commercial’ and ‘experimental’ workingmethods.

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Student Exchanges

We have teamed up withThompson Rivers University inBritish Columbia to run astudent exchange programme.

Students can opt to spend one or twosemesters of their second year atThompson Rivers in Kamloops.

Credits will then be transferred back toChichester. There are no extra fees to pay asyou will still be registered as a student in theUK.

The department also has ERASMUSexchange agreements with universities inGermany, France and Turkey.

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Our successes

The last few years have shown afabulous flowering of ourCreative Writing writers’ work.

We are very proud to have been the venuefor several first book launches and would liketo thank our graduates for returning to sharetheir experience with current MA inCreative Writing students.

The crucible of talent and inspiration on theMA continues to develop through ourunique course with its methods of literarycross-fertilisation and finely developedcritique. In many ways, the MA writerscreate this atmosphere through theirdedicated approach to workshopping – aprocess which we teach very carefully.

Their generosity to one another is one ofthe experiences valued by everybody on thecourse. The annual MA in Creative Writingpublishing panel event has become anopportunity for our graduates to return andto network with other students, agents andpublishers. Below are some highlights ofrecent successes.

Bethan Roberts' third novel, My Policeman,(Chatto and Windus), was released inFebruary 2012. Her previous novel, TheGood Plain Cook, was the book at bedtimeon Radio 4 and received excellent reviews.Bethan's first novel, The Pools, which evolvedfrom her MA dissertation, was published bySerpent's Tail in the summer of 2007.

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Isabel Ashdown Croucher’s second novelHurry Up and Wait was published by MyriadEditions in 2011.

Jac Cattaneo won the 2010 Royal Academyof Arts short story competition, sponsoredby Litro Magazine.

K.J.Orr, an AHRC funded University ofChichester Ph.D was shortlisted for theNational Short Story Award 2012.

Jane Rusbridge’s first novel, The Devil’s Music,was published by Bloomsbury in the summerof 2009. It was described as ‘a beautifullytold story of family secrets and betrayal,involving knots, Harry Houdini and theshifting landscape of memory.’ The novelwas initially part of her MA dissertationproject. Her second novel, Rook, waspublished in 2012.

On the Third Day by Kate Betts won Channel4’s ‘The Play’s The Thing’ script-writingcompetition in 2006. The play wasperformed in The New AmbassadorsTheatre, London.

Maggie Sawkins published her poetrycollection, The Zig Zag Woman (Two RavensPress, 2007) following her successfulpamphlet, based on her MA dissertation,Charcot’s Pet (Flarestack 2004).

Lena Bakke has won the Allers novel writingcompetition in her native Norway. Allershave commissioned 15 books in the seriesabout the Viking woman BorghildrSigurdsdottir.

Francis Burton’s collection of short stories, AHistory of Sarcasm, (written during the MA)was published in 2010 by DoghornPublishing.

Further details can be found atwww.chi.ac.uk/english/studentwritingsuccesses

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ThresholdsHome of the InternationalShort Story Forum

Cross the threshold, jointhe conversation.

Like doorways and other thresholds, a greatshort story lets us step into lives, acrossworlds and through states of mind.Whether you're a postgraduate student witha love of the short story, a curious reader ora short story writer, register atTHRESHOLDS now to find out more andjoin the conversation. www.chi.ac.uk/shortstoryforum

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Careers

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Our graduates from this subjectarea are highly valued byemployers for their problemsolving and exceptionalcommunication skills.

The key to an English degree iscommunication, and at Chichester we focuson your abilities in written and spokenexpression through group work and grouppresentations, opportunities to develop yourown self-managed research projects, anddeveloping your skills in critical analysis. Wealso offer a level three course in professionalwriting, an extensive provision in language,and exciting and engaging courses thatexplore the diversity of literature.

On our degree you can develop your skillsby becoming involved in one of our manysociety activities. These include EventsManagement and Promotional Work relatingto Tongues and Strings, our writing cabaret,writing for the student newspaper andattending the wide range of careers eventsprovided by the department. There is also achance to become involved with ourspecialist research groups. These include theSouth Coast Eighteenth-Century andRomantic Research Group(www.scerrg.org), The Sussex Centre forFolklore, Fairy Tales and Fantasy(sussexfolktalecentre.org), the TheoryResearch Group(theoryresearchgroup.blogspot.com) andThresholds, the online short story forum(www.chi.ac.uk/shortstoryforum)

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We run a series of competitive, paidinternships for graduates. We have hadinternships at Penguin, Myriad Publishing,Chawton House Library, a research centrefor 18th Century Women’s Writing, and atthe international journal Short Fiction inTheory and Practice. We also haveopportunities for students to study abroadthrough the Erasmus scheme in Europe, orthrough our link with Thompson RiversUniversity in British Columbia, Canada.

Our students go on to careers in teaching(after taking a PGCE), publishing, journalism,arts event management, universityadministration, heritage and tourism,accountancy, working with charities,consultancy, teaching English as a foreignlanguage, and graphic design. Many of ourstudents choose to continue in highereducation, and we offer programmes at MAlevel in Creative Writing, and at PhD level inCritical Studies, and also in Creative Writing.

“I found the English course at Chichesterinspiring and the staff extremelypassionate. I was apprehensive beforestarting, that I would struggleacademically, especially as I was the firstin my family to undertake a degree butthe staff were so supportive and this onlyhelped boost my confidence enabling meto walk straight into a job aftergraduating”.

Charlene Alloway, BA Hons English

Our employability pledge

We understand the importanceof ensuring that you have theknowledge, skills and experienceto compete successfully intoday’s challenging jobs market.

In addition to the work placements andsector-specific employability and enterprisemodules that many of you will haveembedded in your course, we havedeveloped a student and graduate internshipscheme.

Our commitment is to make sure thatstudents and graduates from all disciplineswho register on the programme, andsuccessfully complete the necessarypreparation, have the opportunity to applyfor carefully matched internships. *

This programme aims to ensure that you willgraduate with:• a focused high-quality CV• interview and selection centre

preparation• the ability to identify and articulate

transferable skills• experience of a recruitment process• substantive relevant work experience • workplace skills

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As part of the programme we aim to:• provide a free matching service to

identify the needs and aspirations of bothgraduates and employers

• identify and promote short-term studentemployment opportunities with a focuson specific sectors

• ensure that there is a range ofopportunities to be provided includinginternships both short and long induration.

• sign-posting Chichester graduates toother universities’ internship schemes intheir home area, where available.

* Gaining an internship is the result of acompetitive interview process with theprospective employer so an internshipcannot be guaranteed. The programme isintended to provide a progressive workexperience package tailored both to yourcourse and your career aspirations ongraduation.

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The following module is specifically gearedtowards supporting the employability ofour graduates.

Professional WritingThe principal aim of this module is toequip Level three students with higherorder skills in expository, technical,academic and professional writing.Students will learn how to specify andidentify audience and purpose and selectfrom a range of relevant discourse modes.With a focus on transferable andemployability skills, students will attain asound knowledge of the functions ofwritten communication appropriate to arange of professional environments.

Students will examine and produceparticular varieties of writing not thoughtof as creative, that is, technical,professional, academic, non-fiction writing.They will identify generic features, anddiscuss their distinctiveness, determiningsuch factors as the relationship betweenaudience and purpose, or the importanceof point of view. They will develop highlevels of competence in the writingprocess of such text types as executivesummaries, reports and case studies,typical of a wide range of professionalenvironments.

About Us

Our English and Creative Writing lecturerscontinue with their teaching duties whilewriting award-winning literature and literarycriticism.

Senior Lecturer Dr Jessica de Mellowstudied for her BA and PhD in EnglishLiterature at the University of Cardiff, whereshe began her teaching career. She joined thedepartment at Chichester in 1994 to take upa full-time post teaching English.

Jessica leads courses in Victorian literature,twentieth-century literature and women'swritings, and coordinates modules at allthree Levels of the BA English and BA andEnglish and Creative Writing degrees. Herresearch and teaching interests include theVictorian fin de siecle, women's writings,modernist poetry, Romantic poetry andGothic fiction. Her own fiction has beenpublished in British and European magazines,and her work has been adapted by BBCRadio Four.

Senior Lecturer Dr Hugh Dunkerleycame to Chichester in 1989, after doing anMA in Creative Writing at the University ofLancaster. Since then he has taught on avariety of courses, both creative and critical.He currently teaches on second and thirdyear undergraduate courses as well ascontributing to the MA in Creative Writingand also runs a third year option entitledReinventing Nature: Contemporary Poetryand the Environment, which looks at thegrowing area of ecocriticism.

Ecocriticism is the study of representationsof nature in literature, and is based on theassumption that we live and write in a more-than-human world. His teaching reflects hisresearch interests. His chapbook of poetry,Walking to the Fire Tower (Redbeck Press),came out in 1997. A second collection, Fast(Pighog Press) was published in 2007. A fullcollection entitled Hare was published byCinnamon Press in 2010. In addition to this,he also writes articles on contemporarypoetry as well as reviewing for variousmagazines such as The London Magazineand Envoi. He is currently leading an initiativeto embed sustainability in the curriculum atChichester.

Senior Lecturer in English, Dr RobertDuggan, studied for a PhD at theUniversity of Kent and has previously taughtEnglish at Keele University, the University ofSalford and the University of Manchester.Robert runs a level three special topic onPostmodern British Fiction and is interestedin supervising postgraduate research in theareas of contemporary British and Irishfiction. His monograph The Grotesque inContemporary British Fiction was published byManchester University Press in 2013.

Emeritus Professor Vicki Feaver is oneof Britain's leading poets. She has writtenthree collections of poetry: Close Relatives(Secker, 1981), The Handless Maiden (Cape,1994) and The Book of Blood (Cape 2006),which was shortlisted for the Forward Prize.She has read and taught at festivals all over

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the world. Her work is represented in manyanthologies of contemporary poetry, and aselection is included in the Penguin ModernPoets series. She has also published essayson the process of writing and on twentiethcentury women poets.

Professor Bill Gray (BA, MA, BD, ThM,PhD) is Professor of Literary History andHermeneutics. He studied literature,philosophy and theology at the universitiesof Oxford, Edinburgh and Princeton, and haspublished articles and chapters in all of theseareas, as well as books on C.S. Lewis andRobert Louis Stevenson. His third yearmodule 'Other Worlds: Fantasy Literaturefor Children of All Ages' explores the originsof fantasy literature especially in GermanRomanticism, and its development into laterexamples of fantasy writing by GeorgeMacDonald, Lewis Carroll, J.R.R. Tolkien andC.S. Lewis, as well by contemporary writerssuch as J.K. Rowling and Philip Pullman. Billhas recently published two books: Fantasy,Myth and the Measure of Truth: Tales ofPullman, Lewis, Tolkien, MacDonald andHoffmann (for details and reviews seePalgrave Macmillan) and Death and Fantasy:Essays on Philip Pullman, C.S. Lewis,GeorgeMacDonald and R.L. Stevenson (seeCambridge Scholars Publishing Titles in Printor Amazon books). Bill's latest book isFantasy and Life: Essays on GeorgeMacDonald, Philip Pullman, C.S. Lewis,J.R.R.Tolkien and R.L. Stevenson.

Professor Alison MacLeod, is Professorof Contemporary Fiction. She joined theEnglish Department in 1990. Since then, shehas contributed to an exciting range ofmodules, work which has taken her from thefulsome Victorian novels of Hardy, Eliot andthe Brontes to the lean postmodern thrillersof Auster and Ackroyd. She has explored

the Gothic creations of Edgar Allan Poe andthe 'new' Gothic' of writers like PatrickMcGrath, Ian McEwan and A.M. Homes. Shealso enjoys the Modernist experiments ofVirginia Woolf and D.H. Lawrence, as wellas the flamboyance and craft of writers likeAngela Carter and Jeanette Winterson. Sheis keenly interested in 21st-century fictionand its developments.

Professor MacLeod now teaches primarilyon the creative writing programme withinEnglish Studies. Her speciality is fiction,though, like all her colleagues in creativewriting at the University, she teaches acrossa range of genres. We have been runningcreative writing modules at the BA level foralmost thirty years, and have, in the process,established a strong reputation in the area,as well as a genuine community of writers.

She is also one of the team of writers whodeliver Chichester 's MA in Creative Writing,co-teaching the module, 'Metaphor & theImagination'. Her publications include TheWave Theory of Angels, Five Modern Tales ofAttraction and Unexploded, all published byHamish Hamilton and Penguin.

Research Associate, Dr Isla Duncan,MA (Hons), PGCE, M. Phil., Ph. D.(Strathclyde University, Glasgow). DrDuncan’s research interests include:Canadian Literature; ContemporaryWomen's Writings; Applied Linguistics, andInstitutional Discourse. She has had articlespublished in Canadian Literature and BritishJournal for Canadian Studies. In 2012 shepublished Alice Munro’s Narrative Art(Palgrave Macmillan).

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Stephen Mollett is a Senior Lecturer inEnglish and Creative Writing. He readEnglish Literature at Cambridge and formore than a decade has been an AssociateLecturer at Chichester on the creativewriting programme. From 2004 to 2008, hewas a Royal Literary Fellow, helping studentsof any subject improve their writing. He hastutored at the Arvon Foundation in Devon,where he was also Centre Director for twoyears. He has written for the stage, for radioand for television. Recently he has writtenfive episodes of Doctors for BBC 1.

Stephanie Norgate is Reader in CreativeWriting. Her other role is as co-ordinator ofour very successful MA in Creative Writing.Her writing and teaching interests are:poetry, contemporary and past, translatingpoetry, contemporary stage drama, radiodrama and creative writing. In 2001, shereceived an Arts Council England writer’saward. Her writing credits include poetry,radio plays and plays produced on theLondon and Edinburgh Fringe. Her latestpoetry collection is The Blue Den (BloodaxeBooks).

Dr Benjamin Noys is Reader in English.His research traverses the field of criticaltheory, and particularly its intersections withcultural production. He is currently workingon the question of negativity incontemporary theory, and particularly itsimplications for political practice. His futurework is focused on temporality, forms ofvalue, and the anthropology of the subject.He also has a critical interest in avant-gardeaesthetics and the problem of transgressionin art, theory, and cultural politics.

He is also a corresponding editor ofHistorical Materialism, and a member of theEditorial boards of Film-Philosophy and S.Dr Noys also directs the Theory ResearchGroup an interdisciplinary group devoted topresenting work in contemporary theory, atthe.

Dr Fiona Price is Senior Lecturer inEnglish. She has written extensively oneighteenth-century women's writing andaesthetics. She is currently working on amonograph on the politics of the historicalnovel in the decades before Sir WalterScott's Waverley (1814), and editing aspecial issue of the journal Women's Writing(entitled 'Romantic Women Writers and theFictions of History'). Her edition of thehistorical novel Jane Porter's The ScottishChiefs (1810) has been published byBroadview; she is also editor of SarahGreen's Private History of the Court ofEngland (1808; Pickering and Chatto, 2011).Fiona is a founding member of the SouthCoast Eighteenth-Century and RomanticResearch Group which aims to provide adynamic research environment for staff andpostgraduates working in the longeighteenth-century. She has recently beenawarded the prestigious position of anAndrew Mellon Foundation Fellow at theHuntington Library California.

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Dr. Duncan Salkeld is Reader in English.He is author of Madness and Drama in theAge of Shakespeare (Manchester UniversityPress, 1993), and several articles onShakespeare and Renaissance drama. Hisrecent publications include ShakespeareAmong the Courtesans: Prostitution, Literature,and Drama, 1500-1650 (Ashgate).

Dr. Salkeld’s teaching and research interestsinclude Shakespeare, Renaissance drama,early modern prosecutions and legalrecords, and textual scholarship. Dr. Salkeldgives regular conference papers at Britishuniversities, and has organized a ShakespeareStudy Day at the University for local A-Leveland Access students. He is currentlypreparing books on courtesans, Shakespeareand micro-history.

After completing her MA at LancasterUniversity, Senior Lecturer KarenStevens began teaching at the University ofChichester on a variety of creative writingmodules. Children’s fiction andcontemporary short fiction are of specificinterest to her. Her short stories have beenpublished in The Big Issue (1995), Pulp Net(2004), Londonart.co.uk on-line gallery(2005), and the anthologies Water Babies(Panurge New Fiction, 1995), Mouth Ogres(Oxmarket Press, 2001), Spoonface andOther Stories (Fish Publishing, 2004),Dreaming Beasts (Krebs and Snopes, 2005)and 'Overheard: stories to read aloud',published by Salt. She has also, editedWriting a First Novel: reflections on the journey(2013).

Karen is presently writing her first novelwhich was shortlisted for the British ArtsCouncil-funded ‘Adventures in FictionApprenticeships’ in 2007. She co-ordinatesthe second year BA Creative Writing: FictionToday module, and co-teaches on TheWriting Studio module on the MA inCreative Writing. Her special subject for thethird year BA is Children’s Fiction. She alsosupervises MA dissertations and BAdissertations.

Senior lecturer David Swann has anMA in Creative Writing from LancasterUniversity, which he passed with Distinction.From 1996 to 1997, he was Writer inResidence at H.M. Nottingham Prison. Henow teaches modules in Creative Writingand he also runs the popular Tongues andStrings literary cabaret with Hugh Dunkerley.Dave's short stories and poems have beenwidely published. Recent publicationsinclude: The Last Days of Johnny North(Elastic Press) and The Privilege of Rain(Waterloo Press), which was shortlisted forthe 2011 Ted Hughes Award for new work.His poem ‘The last days of the Lancashireboggarts’ was commended in the 2013National Poetry Competition.

Dr Stavroula Varella gained her BA HonsLinguistics and PhD at Sussex. Her researchinterests include, Historical Linguistics,Sociolinguistics, Language contact andLexicology. The modules she teaches oninclude: Language: Form and Function,Language: Variety and Change, Language andAuthority, Language into Literature andProfessional Writing.

The South Coast Eighteenth century andRomantics Research Group As well as its Roman walls and medievalcathedral, Chichester also boasts somesplendid examples of Georgian streets anddomestic architecture. Associated with thisrich heritage, SCERRG offers a wide range oflectures and events relating to all aspects ofeighteenth-century life and culture. For moreinformation, please contact Dr Fiona Price(f.price@chi.ac.uk)www.scerrg.org

Our other Research Centres

Charlotte Smith, the Chichesternovelist who inspired Jane Austen.

Theory Research GroupThe Theory Research Group (TRG) is aninterdisciplinary framework for debate andresearch in the field of 'theory'. It currentlyconsists of a series of open seminars held atthe University, and related events elsewhere.The aim of the seminars is to treat 'theory' asa site of productive disagreement and debate,and to engage theory with other discoursesand objects. Events and related material arepublicised through the blog:theoryresearchgroup.blogspot.com. Forfurther information please contact Dr Benjamin Noys: b.noys@chi.ac.uk.

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