Module and Essay Titles (and link)
|
Student
|
| Arthurian Literature Q33207 |
| Is there a core moral code to all Arthurian narrative? |
Hurnell, Amy |
| Chaucer and his Legacy Q33216 |
| ‘Myn auctor shal I folwen, if I konne’ (Troilus and Criseyde, II.49) An analysis of the relationship between originality and authority in Geoffrey Chaucer’s Troilus and Criseyde and Robert Henryson’s Testament of Cresseid. |
Hirsch, Bernard |
| Class, Culture and Criticism in Postwar Britain Q33334 |
| Who or what was on trial in The Trial of Lady Chatterley’s Lover? |
Boulton, Daniel |
| The Art of being Working Class. |
Diston, Clare |
| A Class Act: Identity and the Problem of Form. |
Waters, Michael |
| Cognitive Poetics Q33104 |
| Reading Personalities: The Usefulness of Cognitive Grammar. |
Brooks, Jack |
| Contemporary Performance: Theatre, History, Place Q33514 |
| ‘An audience not only goes to the theatre; it does to the particular part of the city where the theatre is located, and the memories and associations of that part of the city help to provide a reception context for any performances seen there.’ Evaluate this statement in relation to at least two different sites used for dramatic performance during the contemporary period. |
Waters, Michael |
| Beginning Creative Writing Q31701 |
| Creative Writing Portfolio |
Adams, Emily |
| Detective Fiction Q33371 |
| Why do we read detective stories? |
Finnerty, Paul |
| Roth suggests that ‘detective fiction is always engaged in a veiled form of colonial discourse.’ Taking this statement as your starting point, analyse the part played by colonialism and colonial relationships, and/or relationships between foreign and domestic more generally, in the texts you have studied. |
Lightwalla, Abbas |
| The theme of narrative and narrator in detective fiction. |
Lightwalla, Abbas |
| Dissertation in English Studies Q33407 |
| Viewpoint in Motion: The Importance of Viewpoint in Jack Kerouac’s On The Road. |
Brooks, Jack |
| Circling the Self: the short story innovations of Katherine Mansfield and Virginia Woolf. |
Feenstra, Harriett |
| Dramatic Discourse Q33110 |
| ‘Please remember that I’m a doctor’: How Dr. Prentice linguistically flouts the conventions of doctor-patient and job interview contexts in an extract from Joe Orton’s What the Butler Saw. |
Lydford, Emily |
| Early Modern Love Q33352 |
| Explore the relation between love and writing in the light of two or more texts. |
Holton, Simon |
| Enduring Realism: History and Politics in the Twentieth Century British Novel Q33368 |
| Work and Industry in Anna of the Five Towns. |
Jones, Elizabeth |
| English Place-Names Q33220 |
| English Place-names. |
Rajala, Heikki |
| James Joyce: Revolutions of the Word Q33374 |
| Reading as Playing: 'Wandering Rocks' as 'Labyrinth-Spiel' |
Katoch, Anirudh Singh |
| ‘See ourselves as others see us’: A study of Gerty MacDowell. |
Ross, Eleanor |
| Jonathan Swift Q33339 |
| An essay on scatology and Swift. |
Mycroft, Harry |
| Language Development Q33113 |
| Do mothers and fathers differ in their speech styles when speaking to their children? Are there speaker gender effects on parents’ language behaviour? |
Hill, Elizabeth |
| Literature of British India Q33353 |
| Choice and Hybridity in Colonial India: The pursuit for empowerment in social relationships. |
Massucco, Jessica |
| In ‘Can the Subaltern Speak?’, Spivak offers the sentence ‘White men are saving the brown women from brown men’ as one interpretation of the relationship between colonizer and colonized. How far does this sentence reflect the representations of British dealings with India in the texts you have studied? |
Ross, Eleanor |
| Modern Irish Literature and Drama Q33602 |
| “Nationality (if this is not really a useful fiction like many others which the scalpels of present-day scientists have put paid to) must find its basic reason for being in something that surpasses, that transcends and that informs changeable entities such as blood or human speech.” Consider the various ways in which Irish literature has both advanced and critiqued the construction of a national identity and culture. |
Hayes, Lucy |
| Modern Urban Fictions Q33346 |
| Peter Brooker observes that during the twentieth century the alienated character of metropolitan life ‘appeared to spell the end of community.’ How do modern urban fictions engage with issues of community, belonging, and social relationships? |
Briers, Katy |
| Out of an experience of the cities came an experience of the future' (Raymond Williams). How have modern urban fictions connected representations of the city with an articulation of utopian politics? |
Jones, Kirsty |
| Nadine Gordimer and J. M. Coetzee Q33373 |
| Both Gordimer and Coetzee have been preoccupied, throughout their careers, with the responsibility of the novelist. From your reading of the novels, how would you say their ideas about responsibility differ? |
Matthews, Hamish |
| Names and Identities Q33224 |
| An analysis of the personal names in an extract from a 14th-century fiscal document. |
Hayes, Lucy |
| An analysis of the personal names in an extract from a 14th-century fiscal document. |
Hill, Elizabeth |
| Oscar Wilde: Literature, Consumerism, and the Commodification of Culture Q33382 |
| Will Self’s Dorian had been described as ‘a homage, a parody and a critical commentary’. How precisely does the work engage with Wilde’s original? |
Gingell, Alexander |
| Outlaws, Ghosts and Heroes: Iceland and its Medieval Literature Q33225 |
| The Life of an Icelandic Outlaw: A Comparative Analysis of Gislá saga and Grettis saga. |
Hirsch, Bernard |
| Performance: Theory into practice Q33503 |
| A critical reflection on the use of masks in our production of Dylan Thomas’ Under Milk Wood. |
Kiernan, Sorcha Maria |
| Performing Memory in Twentieth Century Theatre Q33502 |
| In History and Memory, Le Goff writes that ‘collective memory is […] an instrument and an objective of power.’ To what extent is collective memory shown to be both an instrument and an objective of power in Anouilh’s Antigone and Arthur Miller’s The Crucible with regards to both script and performance? |
Nuttall, Louise |
| Playwriting Q33509 |
| Playwriting. |
Herzberg, Jenni |
| Poetry in the Age of Modernism Q33341 |
| H.D. Temporizes: How far does H.D. succeed in capturing 'an intellectual and emotional complex in an instant of time'? |
Katoch, Anirudh Singh |
| Hand-Grenade as Conceptual Vorticist Weapon: Cohesion and Fragmentation in BLAST 1 within Manifesto - 1 and Part 1 of Manifesto - 2 |
Katoch, Anirudh Singh |
| The Importance and Interest of H.D. as a female Modernist poet. |
Nuttall, Louise |
| How do poets in the Age of Modernism respond to the political realities of their present moment? A cognitive analysis of ‘Leda and the Swan’ W. B. Yeats. |
Tewkesbury, Ruth |
| Riotous Performance Q33512 |
| ‘To tell stories of Holy Ireland’ : Symbol, structure and the truthful macrocosm of the Dublin Riots, 1907-2006. |
Lewis, James |
| Sex and Society 1675-1775 Q33338 |
| ‘There are no ‘underclothing excitements’ in Fanny Burney’s novels, which is one reason why the burgeoning novel-reading class took to them so warmly. The novel, she proved, could be decent and amusing…’ [Claire Harman, Fanny Burney: a Biography (London: HarperCollins, 2000), p.96.] Using this comment as a starting point, explore the treatment of ‘vice’ in Eveline and Fanny Hill. |
Robson, Vanessa |
| Sociolinguistics Q33103 |
| Is the Brown and Levinson (1987) Model of Politeness as useful and influential as originally claimed? An assessment of the revised Brown and Levinson (1987) Model. |
Gilks, Kate |
| Cosmopolitan Man: Discussion and Analysis of Gender in Male Writing for Cosmopolitan Magazine. |
Rusling, Annette |
| Stylistics Q33112 |
| The Growing Absurdity of the South African Apartheid: Transitivity in Christopher Van Wyk’s ‘In Detention’. |
Brooks, Jack |
| The Gothic Q33364 |
| Discuss the intersection of monstrous appearance, moral action and pride in The Strange Case of Dr. Jekyll and Mr. Hyde and Let The Right One In. |
Mycroft, Harry |
| The ‘Ungendered’ Form in Lewis’ The Monk and Lindqvist’s Let The Right One In. |
Harrison, David |
| The Psychology of Second Language Acquisition Q33114 |
| Second Language Acquisition. |
Jaspal, Avneet |
| Cross Linguistic Influence of an L3 on L1 and L2. |
Lammiman, Katharine |
| Theatre Industry and Theatre Art Q33515 |
| A Critical Analysis of Michael Quinn’s ‘Celebrity and the Semiotics of Acting’. |
Fordham, Elizabeth |
| Write a critical analysis of Michael Quinn’s, ‘Celebrity and the Semiotics of Acting.’ |
Hurnell, Amy |
| Presentation: Self-Evaluation. |
Hurnell, Amy |
| Twentieth Century Plays Q33508 |
| What Brecht did for the theatre was to heighten the spectator’s participation, but in an intellectual way, whereas Artaud had specifically rejected intellectual approaches in favour of theatre as ‘a means of inducing trances.’ Discuss. |
Jones, Elizabeth |