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This module examines the foreign, occupation and racial policies of the Nazi regime, along with experiences on the Home Front during the Second World War, resistance and the collapse of the regime.

Since the mid-nineteenth century, new modes of transport and communication, commerce and violence, have remade the world. As empires expanded and contracted, and as the relationships between states and individuals were repeatedly reconfigured and tested, ways of conceptualising how literature relates to the world changed, too.

In Worlding English we move beyond the Western canon in order to engage with the newly global dimensions of literature in English. The concept of world literature originates in the nineteenth century, and this module tracks the history of literature in English as a global phenomenon forward from this beginning through the twentieth and twenty-first centuries. This period witnessed not only the rise of British Empire, industrialization, and the birth of new resource regimes including coal and oil, but also the emergence of the Anthropocene, decolonization, and global war. This module explores theoretical methodologies for worlding English, while scrutinizing English’s ambitions to universality, exposing its internal fissures and gaps, and its indebtedness to non-Western ‘peripheries’. Texts come from diverse contexts but are linked by their self-consciousness about how race, culture, politics, economics, gender, and ecology shape the worldly positions of authors and their work.

Since the mid-nineteenth century, new modes of transport and communication, commerce and violence, have remade the world. As empires expanded and contracted, and as the relationships between states and individuals were repeatedly reconfigured and tested, ways of conceptualising how literature relates to the world changed, too.

In Worlding English we move beyond the Western canon in order to engage with the newly global dimensions of literature in English. The concept of world literature originates in the nineteenth century, and this module tracks the history of literature in English as a global phenomenon forward from this beginning through the twentieth and twenty-first centuries. This period witnessed not only the rise of British Empire, industrialization, and the birth of new resource regimes including coal and oil, but also the emergence of the Anthropocene, decolonization, and global war. This module explores theoretical methodologies for worlding English, while scrutinizing English’s ambitions to universality, exposing its internal fissures and gaps, and its indebtedness to non-Western ‘peripheries’. Texts come from diverse contexts but are linked by their self-consciousness about how race, culture, politics, economics, gender, and ecology shape the worldly positions of authors and their work.

Since the mid-nineteenth century, new modes of transport and communication, commerce and violence, have remade the world. As empires expanded and contracted, and as the relationships between states and individuals were repeatedly reconfigured and tested, ways of conceptualising how literature relates to the world changed, too.

In Worlding English we move beyond the Western canon in order to engage with the newly global dimensions of literature in English. The concept of world literature originates in the nineteenth century, and this module tracks the history of literature in English as a global phenomenon forward from this beginning through the twentieth and twenty-first centuries. This period witnessed not only the rise of British Empire, industrialization, and the birth of new resource regimes including coal and oil, but also the emergence of the Anthropocene, decolonization, and global war. This module explores theoretical methodologies for worlding English, while scrutinizing English’s ambitions to universality, exposing its internal fissures and gaps, and its indebtedness to non-Western ‘peripheries’. Texts come from diverse contexts but are linked by their self-consciousness about how race, culture, politics, economics, gender, and ecology shape the worldly positions of authors and their work.

This module gives students a chance to compose for jazz and jazz influenced ensembles.

This module will embrace the rich tradition of jazz writing and its conventions as heard in the works of the great jazz composers, such as Duke Ellington, Herbie Hancock and Wayne Shorter. The module will explore contemporary approaches from artists as developed by composers such as Gil Evans, Kenny Wheeler and Maria Schneider.

We will also look at how crossover composers such as Jacob Collier, Louis Cole and Snarky Puppy have integrated jazz composition techniques into their music too.

This module gives students a chance to compose for jazz and jazz influenced ensembles.

This module will embrace the rich tradition of jazz writing and its conventions as heard in the works of the great jazz composers, such as Duke Ellington, Herbie Hancock and Wayne Shorter. The module will explore contemporary approaches from artists as developed by composers such as Gil Evans, Kenny Wheeler and Maria Schneider.

We will also look at how crossover composers such as Jacob Collier, Louis Cole and Snarky Puppy have integrated jazz composition techniques into their music too.

This module gives students a chance to compose for jazz and jazz influenced ensembles.

This module will embrace the rich tradition of jazz writing and its conventions as heard in the works of the great jazz composers, such as Duke Ellington, Herbie Hancock and Wayne Shorter. The module will explore contemporary approaches from artists as developed by composers such as Gil Evans, Kenny Wheeler and Maria Schneider.

We will also look at how crossover composers such as Jacob Collier, Louis Cole and Snarky Puppy have integrated jazz composition techniques into their music too.

This module gives students a chance to compose for jazz and jazz influenced ensembles.

This module will embrace the rich tradition of jazz writing and its conventions as heard in the works of the great jazz composers, such as Duke Ellington, Herbie Hancock and Wayne Shorter. The module will explore contemporary approaches from artists as developed by composers such as Gil Evans, Kenny Wheeler and Maria Schneider.

We will also look at how crossover composers such as Jacob Collier, Louis Cole and Snarky Puppy have integrated jazz composition techniques into their music too.

In this module, you will explore some of the social, cultural and political forces that transformed the medieval and early modern worlds. This was a period of momentous change characterised by invasion, political upheaval, religious conflict and a rapidly globalising world. International developments like the Renaissance, the Reformation and the Enlightenment shaped the way individuals and societies engaged with each other and the wider world. Our focus is on the transformations that took place in the British Isles and the emerging overseas empire. But there are opportunities to range further afield and consider this period of transformation from other European or global perspectives. You will explore themes such as: political upheaval; kingship and diplomacy; exploration, commerce and empire; religion and reform; violence, warfare and conflict; art, architecture and literature. In doing so, you will consider to what extent developments in this period laid the foundations for the world we live in today.

Historians have become interested in ‘ordinary people’ in recent years. Why? This module explores this question through looking at case-studies of women’s, men’s and children’s histories in nineteenth- and twentieth-century Britain, and at varieties of ‘ordinary sources’. We examine how a focus on ‘the ordinary’ maps onto, and complicates, other historically-shifting identities – race, ethnicity, class, gender, age, ability, region, and religious faith – and the implications. Claire Langhamer has asked, ‘Who do we mean when we refer to ordinary people and who did the people we study mean?’, and we will also consider this key question through tracing the roots of the historiographical turn to ‘the ordinary’, drawing on the wide-ranging expertise in the histories of modern Britain we have at Southampton.