Undergraduate Degrees

BA History of Art with Gallery and Museum Studies ( V3P1 )

UCAS Course Code:: V3P1
Duration:: 3 years
Attendance:: Full Time
Award:: Degree of Bachelor of Arts
School of Study:: Art History and World Art Studies
Brochure:: World Art Studies and Museology Undergraduate Brochure (PDF)
Typical A-Level Offer:: AAB-BBB including at least one humanities essay-based subject

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This degree allows you to study the history of art alongside the ways in which art has been displayed in galleries and museums from the Renaissance through to the present day. While becoming familiarised with major issues and themes in the history of art, you will also be introduced to diverse forms of curatorial practice and display, as well as important issues such as exhibition design, audience development and the public role of museums. Alongside modules on the analysis of visual and material culture, you will be introduced to the history of museums and galleries, and to contemporary gallery theory and practice. This degree therefore offers both art-historical breadth, and a solid foundation for those seeking a career in the arts sector, providing both understanding of the history and theory behind museums and hands-on training in curatorial and other museum professions. Employability is central to the programme, with exposure to museum practice and contact with professionals from across the sector highly prominent.

The School is based in the Sainsbury Centre for Visual Arts, an internationally-important gallery containing major art works, with its own professional curatorial staff and a busy exhibition programme, all adjacent to the area in which our students work. The degree in the History of Art with Gallery and Museum Studies takes advantage of this assemblage of expertise. It is taught by lecturers with a practical background in museum work as well as strong academic reputations. Much of the teaching takes place in our own galleries and in museums in the region and beyond. Placements are not a formal requirement of the course (though they are mandatory on our successful postgraduate programme), but we have a placement coordinator with links to local museums who is available to assist those students looking to add practical experience to their degree, as many do.

The Course

In each of the three years there are compulsory gallery and museum-specific modules which look at the history of museums, traditional curatorial practice, collecting activities, exhibition-making and contemporary gallery work. At the same time, students have the opportunity to develop their interests in art, in both western and non-western traditions as the degree takes full advantage of the core teaching in the History of Art and optional modules available to History of Art students may also be taken by those studying for this degree.

The course encourages a rich mix of research and interpretative skills, with a knowledge of the practicalities of galleries and museums as working environments in the public domain. Teaching is undertaken by staff with significant experience of curatorial work in the British Museum, university museums and contemporary galleries in the UK and internationally. Outside specialists also provide focussed lectures and seminars in support of particular modules.

The Course Structure

The degree combines teaching in small seminar groups with lecture modules, giving great flexibility and allowing you to put together a programme of study which reflects your own particular interests. A spine of core modules running through the first and second years is designed to develop your understanding of the history of art as well as key terms and debates in its analysis, whilst acquainting you with both the history of museums and galleries and contemporary forms of curatorial practice. Relevant modules are taught on-site at the Sainsbury Centre for Visual Arts, the Norwich Castle Museum, and museums and galleries in London.

During the first year, lecture modules examine artistic techniques, materials and identities, as well as key themes and methods of interpretation in the history of art. A dedicated seminar module will introduce you to museum and gallery studies. You will also choose two optional seminar modules from a range which addresses art and architecture in diverse cultures and periods.

The second-year lecture modules focus on issues of visual display which will help you to understand the practices of museums and galleries, before exploring different methodological approaches to art-historical analysis from the eighteenth century through to the most up-to-date theories. A dedicated seminar module will familiarise you with contemporary museums and galleries. Optional modules in the second year allow you to develop your pre-existing interests, or to engage with cultures and art forms which may be new to you.

Third-year teaching is entirely through small-group seminar modules which involve the advanced and in-depth study of particular cultures and art forms. One of these modules explores contemporary curatorial practice. As in the first and second years, other modules can be chosen according to your own interests. The 9,000-word dissertation, on a topic of your own choice relating to the history of art and museums, and supervised by at least one member of the faculty, represents an important part of the final year and introduces you to the skills of academic enquiry, research and writing needed for postgraduate study.

Why choose us Our teaching received a 96% satisfaction rate in both the 2012 National Student Survey and the 2013 Guardian University Guide league table.

Our students are able to study a wider range of artistic cultures, periods and forms than in any other art history department in the UK. The School is particularly renowned for its broad approach to art, encompassing ancient, medieval, Renaissance, baroque, modern and contemporary European art, American art, African art, Asian art and Pacific art. Staff, students and researchers in the School are interested in the history of art, as well as archaeology, anthropology, cultural heritage, and museum studies.We engage with all forms of visual and material creativity from oil painting, sculpture and drawing through to architecture, photography, video and installation art. We teach small groups of students in a friendly, supportive and open environment, supported by great facilities. This is why the Guardian University Guide consistently ranks us among the top departments in the UK for student satisfaction with teaching and feedback, for staff-student ratio and for the quality of student resources.

The School has a long-standing international reputation for excellence; ranked 1st in the UK for world-leading research in the latest Research Assessment Exercise, we are one of the most important and highly-rated History of Art departments in the UK. Our graduates go on to high profile posts in such prestigious institutions as the British Museum, V&A, Tate and Metropolitan Museum of Art in New York, as well as leading History of Art departments, publishers and the commercial art world.

The School of Art History and World Art Studies is based in Norman Foster’s world-famous Sainsbury Centre for Visual Arts, an icon of modern design, which contains an astounding art collection with major internationally-renowned works by artists such as Francis Bacon, Edgar Degas, Jacob Epstein, Henry Moore and Pablo Picasso. Students work in close proximity to this collection, “perhaps the greatest resource of its type on any British campus” according to the Times Good University Guide.

95% of our History of Art graduates (and 88% of the School’s BA graduates overall) go on to work and/or postgraduate study within 6 months of graduating. We are therefore the highest-rated department in England (and joint first in the UK) for History of Art graduate prospects
100% of our History of Art graduates (and 97% of the School’s BA graduates overall) said they thought staff had made the subject interesting. This figure was matched by just one other History of Art department in England
Almost 90% of the School’s BA graduates said that they had received the advice and support they needed to do well in their studies, a figure exceeded by just two other History of Art departments in the UK. This is probably because – as the survey reveals – our students get more lectures, seminars, tutorials and general contact time with academic staff than students at many other leading History of Art departments in the UK
96% of our History of Art graduates said they had been provided with the IT resources they needed for their studies, a figure matched by just one other History of Art department in the UK
Finally, 94% of the School’s BA graduates overall said they were highly satisfied with the quality of their degree course, continuing our tradition of providing a first-class university education in History of Art as well as Archaeology, Anthropology, and Museum and Gallery Studies.

Compulsory Study (80 credits)

Students must study the following modules for 80 credits:

Name	Code	Credits
FORM AND FUNCTION	ART-1L08	20
Most art objects, artefacts and buildings are designed to serve a set of purposes. These may be straightforward and practical or very complex, elusive and difficult to account for. Drawing on a range of case studies from a broad geographical and chronological spectrum, this compulsory lecture module examines how use and function helps to explain why art objects, artefacts and buildings look the way they do. Building on this, the module then considers whether meaning is rooted in original, intended functions or in later changes in use or somewhere else entirely.
INTRODUCTION TO GALLERY AND MUSEUM STUDIES	ART-1Z12	20
This module introduces some of the key concepts and tenets underpinning galleries and museums. The first half of the module reviews the history of galleries and museums and examines the ways in which society impacts upon the structure and objectives of institutions that display art and objects. The second half of the module considers the reverse process: the ways in which museums and galleries engage visitors with their activities and their displays.
LEARNING FROM OBJECTS	ART-1S03	20
The aim of this module is to convey some of the basic principles, methods and problems involved in studying artefacts and art objects, be they small or large, two or three-dimensional. The module draws on the visual and architectural resources of Norwich and the Sainsbury Collection. It is taught by a series of lectures, group discussions and presentations.
MAKERS AND MAKING	ART-1L05	20
A compulsory lecture programme which will serve as an introduction, first to the materials and processes of artistic creation, their physical and working properties and their social and symbolic meanings. Then it will look at the activities of artists, architects and artisans across time and space, their working roles, their changing status, their cultural representation and the myths which surround them.

Option A Study (40 credits)

Students will select 40 credits from the following modules:

Name	Code	Credits
ART AND MYTH IN INDIA	ART-1Z30	20
This module introduces students to the cultural heritage of India by establishing the links between the mythic narratives of the key religions, Buddhism and Hinduism, and their related artistic forms, sculpture, architecture and painting. The module traces the key debates on the emergence of the Buddhist emblems at the Sanchi stupa, a burial mound and site of pilgrimage in central India. Gaining familiarity with the core philosophical concepts of Hinduism, we will then assess how Hindu divinities become manifest through artistic practices and architectural forms, such as at the temple complexes of Elephanta and Khajuraho. The module will continue with debates on the mythology of the Devi (great goddess), and conclude with an analysis of anthropological and sociological approaches to the art and performative cultural traditions of rural and tribal communities in India.
EARLY ISLAM: TYPES, DYNAMICS AND DIFFUSION	ART-1Z04	20
This module provides an introduction to the architecture and arts of early Islam. It examines the beginnings of a new faith and state and the evolution of a new art and new architectural paradigms. The historical focus will be on the Umayyad and Abbasid periods, ranging across Asia, into Africa and west to southern Spain. Types, their evolution, variation and diffusion - in architecture, sculpture, mosaic, painting, textiles, books, silver plate, ceramics - will be introduced and interpreted. The theme of the module will be ongoing cultural formation and reformation through invention and the appropriation, assimilation and transformation of visual and material traditions across time.
FORM AND FUNCTION	ART-1L08	20
Most art objects, artefacts and buildings are designed to serve a set of purposes. These may be straightforward and practical or very complex, elusive and difficult to account for. Drawing on a range of case studies from a broad geographical and chronological spectrum, this compulsory lecture module examines how use and function helps to explain why art objects, artefacts and buildings look the way they do. Building on this, the module then considers whether meaning is rooted in original, intended functions or in later changes in use or somewhere else entirely.
INTRODUCTION TO ANTHROPOLOGY	ART-1P62	20
This unit presents an overview of the history of anthropological thought and practice in the twentieth century. It will examine various anthropological approaches in chronological order, exemplifying each of the approaches by means of key monographs. This unit is compulsory for V0L0 students and complements ART-1P61.
INTRODUCTION TO ARCHAEOLOGY	ART-1P61	20
As a wide-ranging introduction to archaeology, this unit examines the theory and methodology of the discipline and its interrelationships with anthropology. Case studies are drawn from around the world. This unit is compulsory for V0L0 students and complements ART-1P62.
INTRODUCTION TO ART HISTORY	ART-1A09	20
This module provides an introduction to the academic study of art history by looking at how writers primarily in the European tradition have sought to analyse, record and evaluate works of art. We will examine texts from ancient Rome to the 20th century, and consider how accounts of artists�� lives, descriptions of art works and attempts to trace a historical development of art have all informed the way that art historians think about their subject. In this seminar, we will also consider the problems of relating texts to visual art and ask what themes are relevant to art historians today.
INTRODUCTION TO GALLERY AND MUSEUM STUDIES	ART-1Z12	20
This module introduces some of the key concepts and tenets underpinning galleries and museums. The first half of the module reviews the history of galleries and museums and examines the ways in which society impacts upon the structure and objectives of institutions that display art and objects. The second half of the module considers the reverse process: the ways in which museums and galleries engage visitors with their activities and their displays.
INTRODUCTION TO MODERNISM, RUSSIA C. 1910-1932	ART-1P52	20
This unit introduces some of the key concepts of modernism (such as 'abstraction','construction' and 'primitivism') by examining a range of material produced in Russia in the early part of the 20th century - painting, sculpture and architecture, and also design, photography and photomontage. The unit examines the work of Natalya Goncharova, Kazimir Malevich, Vladimir Tatlin and Aleksandr Rodchenko amongst others.
LEARNING FROM OBJECTS	ART-1S03	20
The aim of this module is to convey some of the basic principles, methods and problems involved in studying artefacts and art objects, be they small or large, two or three-dimensional. The module draws on the visual and architectural resources of Norwich and the Sainsbury Collection. It is taught by a series of lectures, group discussions and presentations.
MAKERS AND MAKING	ART-1L05	20
A compulsory lecture programme which will serve as an introduction, first to the materials and processes of artistic creation, their physical and working properties and their social and symbolic meanings. Then it will look at the activities of artists, architects and artisans across time and space, their working roles, their changing status, their cultural representation and the myths which surround them.
RENAISSANCE PAINTING AND CULTURAL EXCHANGES IN EUROPE	ART-1Z18	20
This module explores the various ways in which patrons and painters negotiated and exchanged ideas, values and conventions of practice across Western Europe in the course of the fifteenth century. In particular, we will examine cultural links between the territories ruled by the Dukes of Burgundy in Northern France and Low Countries and the republics and courts of the Italian peninsular. The focus will be on the visual analysis and comparative interpretation of painted images and on the reading and discussion of primary written sources.
THE ARTS OF EMPIRE: SPAIN 1580-1665	ART-1Z20	20
In 1580, when the Spanish and Portuguese crowns were united, the Hispanic peninsula became the centre of a wide-reaching Empire, spread across Europe, Asia, Africa and the Americas. This module considers the impact that this imperial venture had on art production and art consumption in Spain itself. In terms of artists, we will consider works by, amongst others, El Greco, Peter Paul Rubens, Francisco de Zurbaran and Diego de Velaquez. But we also focus on ecclesiastical and royal patrons and collectors to explore how art was used at the centre of the first great European colonial Empire.

Compulsory Study (60 credits)

Students must study the following modules for 60 credits:

Name	Code	Credits
CATEGORIES AND CONCEPTS	ART-2L06	20
This compulsory lecture module examines how artefacts are approached in the different disciplines of archaeology, anthropology and art history. This examination is conducted by exploring the histories of the various disciplines in order to reveal how they have developed their procedures and conceptual tools.
CONTEMPORARY GALLERY AND MUSEUM STUDIES	ART-2Z13	20
The issues facing galleries and museums in contemporary times are many: issues to do with the status of collections, their display, questions of finance and audiences, acquisitions and in certain circumstances disposal and repatriation in the case of objects from overseas. This module examines these questions in detail, focusing on a number of case studies to provide a detailed understanding.
VISUAL DISPLAY	ART-2L05	20
This module examines the variety of ways in which visual displays operate - displays such as, for example, public rituals and art exhibitions. It investigates the many factors influencing how we are presented with and respond to artefacts and art objects. To do this, the module is structured around a series of historical and contemporary case studies drawn from around the world. The central aim is to promote and develop a critical awareness of the issues and complexities surrounding past and present visual displays.

Option A Study (40 credits)

Students will select 40 credits from the following modules:

Name	Code	Credits
ARCHAEOLOGICAL FIELD METHODS	ART-2Q14	20
THIS MODULE IS COMPULSORY FOR VOLO/VOLX STUDENTS. The aim of this module is to provide students interested in archaeology with a good grounding in field practice. This predominantly practical module will be taught mostly at the offices of Norfolk Archaeology Unit and you will have the opportunity to gain experience of archaeological fieldwork on an archaeological excavation or survey. You will learn what happens to the material that is amassed from archaeological fieldwork and how archaeologists build up a picture of how people lived in the past from the things they left behind.
ART AND ARCHITECTURE IN VENICE	ART-2V08	20
The module prepares for the study of Venetian art and architecture undertaken in Venice for ten days in the co-requisite unit ART-2V10.
ARTS OF THE BOOK & DISPLAY OF LITERACY IN THE 1ST MILLENNIUM	ART-2Q01	20
Literacy and writing were among the most enduring legacies of the Roman world. This unit will look at how script was used, particularly in conjunction with images in Late Antiquity and the early Middle Ages. It will consider the birth and evolution of the codex, the modern book and the development of new traditions of writing, illustration and decoration, in the book and in other media, in both religious and secular contexts. Issues considered will include manufacture, materials, scribes and scriptoria, text and image, the illuminated initial letter and the display of literacy.
CATEGORIES AND CONCEPTS	ART-2L06	20
This compulsory lecture module examines how artefacts are approached in the different disciplines of archaeology, anthropology and art history. This examination is conducted by exploring the histories of the various disciplines in order to reveal how they have developed their procedures and conceptual tools.
CONCEALING AND REVEALING: ANCESTORS, SPIRITS AND KINGS	ART-2Z38	20
This module investigates what is represented in African art objects. Sometimes what is revealed by objects when in use is secondary in importance to what is concealed. The external agencies which motivate and empower objects may often lie in the domain of spirits. Kings themselves are often also regarded as spirits. How does that come through in the regalia kings wear, the places they live in and their decorative schemes? The module examines figural sculpture, the arts of divination and masquerade, shrines and funerary monuments. African Islam and Christianity are examined as further arenas for artistic and architectural expression. The final sessions look at the body as a site of artistic intervention and particularly at how it comes to articulate the complexities of identity in contemporary contexts.
CONTEMPORARY GALLERY AND MUSEUM STUDIES	ART-2Z13	20
The issues facing galleries and museums in contemporary times are many: issues to do with the status of collections, their display, questions of finance and audiences, acquisitions and in certain circumstances disposal and repatriation in the case of objects from overseas. This module examines these questions in detail, focusing on a number of case studies to provide a detailed understanding.
DISPLAYING THE PAST	ART-2Z30	20
Most, if not all, art galleries and museums are inherently engaged with the past. The choices they make about what to display, and how to display it, have been influential in shaping the interpretation of both distant and more recent periods and cultures. How have museums and galleries used the past to make statements about their own societies - consciously or not? This module will use both historical and present-day case studies to explore this question and related issues. Although the module focuses in particular on antiquities and the ancient world, the range of potential topics is broad.
ERASMUS SEMESTER ABROAD	ART-2E01	60
A semester abroad at an approved university within the Erasmus network.
ERASMUS SEMESTER ABROAD	ART-2E02	60
A semester abroad at an approved university within the Erasmus network.
ERASMUS YEAR ABROAD	ART-2E0Y	120
A study year abroad at an approved university within the Erasmus network.
FIELDWORK, ART AND ARCHITECTURE IN VENICE	ART-2V10	20
The study of Venetian art and architecture undertaken in Venice for ten days following preparation in the co-requisite module ART-2V08. As a guide, at current figures we expect the trip to cost in the region of 800 pounds.
IMAGE, WORD AND MODERNITY IN BRITAIN, c.1800-1918	ART-2Z17	20
In this module, we will examine the interaction between the visual and the verbal in British culture during the nineteenth century, looking at images and/or texts produced by William Blake, the Pre-Raphaelite circle, Algernon Swinburne, Edward Burne-Jones, the English social realists, James McNeill Whistler, Aubrey Beardsley and Oscar Wilde, Walter Sickert, the Bloomsbury group and artists/poets of the First World War. In turn, we will consider the ways in which art historians, poets, novelists, literary critics and theorists have considered the often-vexed relationship between image and word. Thus, while largely chronological in form the course requires students to engage with the theoretical and critical literature on image/word relations, and considers issues such as the title, the calligram, ekphrasis, visual humour and the aesthetics of texts.
INDIGENOUS ARTS AND INDIGENOUS PEOPLES	ART-2Z28	20
This module begins by analysing what is meant by Indigenous arts and peoples. In particular, we shall consider the link between the anthropology of art and Indigenous identity. The module continues by examining issues related to the interpretation of indigenous arts in wide-ranging geographic and cultural contexts from North America, to India and Australia. It then questions Indigenous peoples' engagement with notions of ethnicity and heritage, as well as the formation of an 'Indigenous media' through film-making. The module aims to foster an inter-disciplinary approach.
INTRODUCTION TO JAPANESE ART AND ARCHAEOLOGY	ART-2Z36	20
Building on the Japanese holdings of the Sainsbury Centre for Visual Arts, the module will survey major developments in ceramics, lacquer, metallurgy, sculpture, architecture, painting and photography. Cross-cutting themes will include links between ancient and modern, with northeast Asia and beyond, connoisseurship, collecting and exhibiting Japan's artistic and archaeological heritage. The course offers students a comprehensive introduction to the fascinating art and archaeology of the Japanese archipelago, from Heian to Edo, from Okinawa to Hoddaido, and from the stone age to the contemporary.
MATERIAL WORLDS	ART-2X89	20
Recent research in archaeology and anthropology has begun to reframe questions posed by the study of material culture. This module introduces some contemporary archaeological and anthropological perspectives on art and material culture. Case studies are drawn from around the world. This module is compulsory for V0L0 and V0LX students. It is taught jointly by an archaeologist and an anthropologist.
NORTH AMERICA /AUSTRALASIA COMPULSORY YEAR ABROAD	ART-2AOY	120
Year abroad in North America or Australasia. Reserved for students on V354U1 and VOLXU1.
THE ANTHROPOLOGICAL HISTORY OF THE BLACK ATLANTIC	ART-2Z29	20
This module is an interdisciplinary approach to the cultural history of the African Diaspora to the Americas, mainly Latin America and the Caribbean. It follows a chronological sequence from the rise of slave trade, the formation of creolized societies, and the fight for freedom to the contemporary discussions around African heritage in the Americas. Drawn from the most updated and authoritative scholarship on the connections between West Africa and the Americas, the course aims to discuss the dynamics of transposed cultures and the reconstruction of meanings about ancestorhood, ethnicity, heritage, gender relations and religious authority in the context of the formation of new socialities.
VISUAL AND VERBAL IN MEDIEVAL CULTURE	ART-2X90	20
The focus of this module is two-fold. Its interdisciplinary range encourages students to consider the potential of both verbal and visual forms of representation, meanwhile developing a sense of the variety of medieval culture. Some sessions address medieval modes of thought and representation, such as narratives, discourses and allegories; others focus on major objects such as the Bayeux Tapestry and the Song of Roland. The module is co-taught by faculty from ART and LIT. No previous experience of medieval studies is required.
VISUAL DISPLAY	ART-2L05	20
This module examines the variety of ways in which visual displays operate - displays such as, for example, public rituals and art exhibitions. It investigates the many factors influencing how we are presented with and respond to artefacts and art objects. To do this, the module is structured around a series of historical and contemporary case studies drawn from around the world. The central aim is to promote and develop a critical awareness of the issues and complexities surrounding past and present visual displays.
WORLD ARCHITECTURE? RETHINKING THE 'BAROQUE' THROUGH JESUIT CHURCHES	ART-2Z25	20
A recent exhibition at the Victoria and Albert Museum proposed that the 'Baroque' style was a world-wide phenomenon, the first of its kind. But is that really so? And what issues and problems arise when art-historical enquiries are structured by a (putatively) global notion of style? If we are to study global phenomena, is style in fact a helpful art-historical category at all? To test such questions, this module focuses on one type of building, churches, erected in great numbers for one of the first truly global institutions, the Jesuit order. From the middle of the sixteenth century and for the following two hundred years, this order of Roman Catholic missionaries presided over the building and decoration of churches in places as diverse as Rome, Venice, Antwerp, Paris, Munich, Madrid, Lima, Beijing and Goa. Moreover, for art historians in the early twentieth century, the Jesuits were closely associated with the coming of the 'Baroque'; this is what makes them into an ideal case-study for addressing the above questions. The module thus investigates the relationship between style, architecture, agency and institutional patronage but on a truly global scale.

Free Choice Study (20 credits)

Students will select modules worth 20 credits from the course catalogue with the approval of their School

Compulsory Study (90 credits)

Students must study the following modules for 90 credits:

Name	Code	Credits
DISSERTATION IN THE HISTORY OF ART WITH GALLERY AND MUSEUM STUDIES	ART-3G2Y	40
ART students on this module undertake a research project in consultation with an appropriate member of ART Faculty, leading to a 9,000 word dissertation
GALLERIES AND MUSEUMS PRACTICE	ART-3Y22	30
Galleries and museums as public bodies have a range of legal, administrative and curatorial responsibilities placed upon them. This module looks at the mechanisms that are in place to respond to these demands, looking at conservation and curation, at educational practice, governance and funding challenges. THIS MODULE IS NOT AVAILABLE IN 2011/12.
WORLD ART: ISSUES AND DEBATES	ART-3L01	20
In this compulsory third-year lecture course the frameworks of world art are addressed. The wider issues of European boundaries, the movement and trade of objects across frontiers, national identities, globalisation and cultural hybridity are also discussed.

Option A Study (30 credits)

Students will select 30 credits from the following modules:

Name	Code	Credits
ART OF ANCIENT MESOPOTAMIA	ART-3Y34	30
Ancient Mesopotamia is recognisable today by two of its most impressive and powerful cultures; the Sumerians and the Assyrians. Situated between the Euphrates and the Tigris Rivers, Mesopotamia remained largely autonomous for nearly 3000 years, during which time its power and influence over neighbouring regions ebbed and waned. At the heart of Mesopotamian society was competence and skill in a broad range of arts and crafts, but it is most famous for being the world's first literate society. Along with writing, the glue of Mesopotamian society was cultic practice and religious belief, most visibly attested in the art of temples and burials. At all periods art was fundamental to Mesopotamian culture; it coloured their rituals and beliefs, it was integral to their writing system, and was used in both politics and warfare. This module will explore the significance of artistic practice in the development of Mesopotamian society.
ARTS OF THE PACIFIC: AGENCY OF REPRESENTATION	ART-3Y26	30
Representations are not unconditional or without engagement. In this module, representation is not merely understood as praxis, but as praxis with agency. Following Alfred Gell's notion of the agency of art, we will consider representation as a process that not merely describes, displays and communicates, it also does. Clues to its agency lie in the processes from which it emanates and in which it eventuates. We will discuss contemporary views on the Pacific by particularly focusing on the role of visual and material culture in these representations. The aim of this module is to promote a critical awareness of what artefacts socially do in the Pacific, to understand how they materialise relationships, are condensations of knowledge and how people use these forms to engage with their life worlds.
DISSERTATION IN ART HISTORY AND HISTORY	ART-3H0Y	40
An interdisciplinary project on some topic concerned with the relationship between history and art history. The subject of the dissertation must be approved by the module organiser. The dissertation should be 9,000 words in length and should be completed in the second semester of this double module.
DISSERTATION IN ART HISTORY AND LITERATURE	ART-3P0Y	40
RESERVED FOR STUDENTS ON THE VQ32U1 COURSE. An interdisciplinary project on some topic concerned with the relationship between literature and the other arts. The subject of the project must be approved by the module organiser. The project should be 9,000 words in length and should be completed in the second semester of this double unit.
DISSERTATION IN FILM STUDIES AND ART HISTORY	ART-3D3Y	40
ART students on this module undertake a research project on a topic related to their specialised interests, in consultation with an appropriate member of ART Faculty, leading to a 9-10,000 word dissertation.
DISSERTATION IN THE HISTORY OF ART WITH GALLERY AND MUSEUM STUDIES	ART-3G2Y	40
ART students on this module undertake a research project in consultation with an appropriate member of ART Faculty, leading to a 9,000 word dissertation
DISSERTATION IN WORLD ART STUDIES	ART-3D2Y	40
ART students on this module undertake a research project on a topic related to their specialised interests, in consultation with an appropriate member of ART Faculty, leading to a 9,000 word dissertation.
GALLERIES AND MUSEUMS PRACTICE	ART-3Y22	30
Galleries and museums as public bodies have a range of legal, administrative and curatorial responsibilities placed upon them. This module looks at the mechanisms that are in place to respond to these demands, looking at conservation and curation, at educational practice, governance and funding challenges. THIS MODULE IS NOT AVAILABLE IN 2011/12.
INVASION AND INVENTION: ART IN ENGLAND 1020-1135	ART-3X02	30
England was invaded twice during the 11th century, by Danes and Normans. Despite the resulting upheavals the period was one of the most productive of art and architecture that the country has ever experienced. Major and complex new buildings appeared at a remarkable rate and were elaborately decorated and furnished. Dozens of new libraries were created and stocked with manuscripts. How did historical circumstances and cultural activity interact in this environment? We shall explore this question through artefacts such as the Bayeux tapestry, Canterbury Cathedral and the Tower of London. In effect we shall be using '1066 and all that' to examine the relationship between art and history.
MANGAMANIA AND JAPAN	HUM-3J01	30
This module explores the world of Japanese manga, its history, genres, authors, audiences, and its global success including film and anime adaptations. Since the 1990s, this visual medium has opened up to the West. Famous artists like Tezuka Osamu, Urasawa Naoki, Ikeda Riyoko and Aoike Yasuko have been translated into many languages. In this module we shall explore the function of manga in Japanese postwar history and society and analyse manga genres for different target groups (girls�� and boys�� manga, boys�� love, rorikon and yaoi). Special consideration is given to traditional gender roles in Japan (sarar��man and OL) and their erosion, which entails new trends, topics and visual styles. We then scrutinise the depiction of recent economic and demographic changes in Japanese society (ageing, fr��t��, otaku), the popularity of robotic heroes, as well as the development of time travel narratives and the attitudes towards death. The aim of the module is to understand the core elements of Japanese manga addiction and the reasons for the current mangamania in the West. All sources and texts will be in English. No Japanese language proficiency is required. The module will have a three hour seminar and a separate screening
N AMERICA/ AUSTRALASIA EXCHANGE PROGRAMME DISSERTATION	ART-3A1Y	40
A project on some aspect of the exchange between cultures. The subject of the project must be approved by the module organiser. The project should be 9,000 words in length.
SPACES OF CONTEMPORARY ART	ART-3Y33	30
This module takes as its point of departure the proposition that the experiences of space described in David Harvey's The Condition of Postmodernity provide a useful means of addressing contemporary art. The module begins with an examination of the contemporary spaces of display, including large temporary exhibitions (the Venice Biennale etc.) and the relatively new institutes which perhaps dominate the work they present (Tate Modern, the Bilbao Guggenheim etc.). We will then turn to look at the ways artists have negotiated these spaces, embracing them through installation work, exploiting them to provide arenas for participation, or resisting them with site-specific displays. We will also consider alternatives which circumvent these spaces through the use of digital technologies.
TRANSPORTED SUBJECTS: BRITISH ART AND GLOBAL ENCOUNTER IN THE EIGHTEENTH AND NINETEENTH CENTURIES	ART-3Y17	30
Structured as a geographical tour in which the particular issues and artworks provoked in British subjects by the West Indies, North America, the Pacific, Asia and Africa are addressed and thematically interlinked, this course explores the ways in which 'British' visual culture was transformed by global contact. Analysing the works of artists such as John Singleton Copley, Sir Joshua Reynolds, JMW Turner and William Holman Hunt in a range of media including painting, sculpture and photography, we will consider issues such as the problems involved in representing slaves, the Gothic visual effects of American independence in Britain, the distinctive forms of British oriental imagery, and the ways in which art registered revised conceptions of 'home' (Britain itself, both our departure point and our final destination) in the face of imperial and global experience.
VISUAL KNOWLEDGE AND EARLY MODERN GLOBALIZATION (1450-1650)	ART-3Y19	30
Cross-cultural encounters and new forms and uses of visual imagery overlapped in intriguing ways in the early modern period. A range of practices and interests��from trade to collecting, and from natural philosophy to religion��brought Europeans into new relations with topography, flora and fauna, people, rituals, costumes and objects from unfamiliar locales. Focusing on the Mediterranean and Atlantic contexts, this module explores how encounters were mediated by diverse forms of visual imagery (ethnographic, still life, scientific), representational practices (naturalism, drawing, cartography, print), and systems of classification (memory, morphology, collections).
WORLD ART: ISSUES AND DEBATES	ART-3L01	20
In this compulsory third-year lecture course the frameworks of world art are addressed. The wider issues of European boundaries, the movement and trade of objects across frontiers, national identities, globalisation and cultural hybridity are also discussed.
WORLD ART: ISSUES AND DEBATES	ART-3L03	30
This module is a 30-credit version of ART-3L01, 'WORLD ART: ISSUES AND DEBATES. It may only be taken by non-ART and visiting students.

Disclaimer

Whilst the University will make every effort to offer the modules listed, changes may sometimes be made arising from the annual monitoring, review and update of modules and regular (five-yearly) review of course programmes. Where this activity leads to significant (but not minor) changes to programmes and their constituent modules, there will normally be prior consultation of students and others. It is also possible that the University may not be able to offer a module for reasons outside of its control, such as the illness of a member of staff or sabbatical leave. Where this is the case, the University will endeavour to inform students.

Entry Requirements

A Level:: AAB-BBB including at least one humanities essay-based subject
International Baccalaureate:: 33-31 including at least one Higher Level humanities essay-based subject
Scottish Highers:: At least one Advanced Higher preferred in addition to Highers
Scottish Advanced Highers:: AAB-BBB including at least one humanities essay-based subject
Irish Leaving Certificate:: AAAABB-BBBBBB including at least one humanities essay-based subject
Access Course:: Please contact the university directly for further information
HND:: Please contact the university directly for further information
European Baccalaureate:: 80%-70% including at least one humanities essay-based subject

Students for whom English is a Foreign language

We welcome applications from students from all academic backgrounds. We require evidence of proficiency in English (including writing, speaking, listening and reading). Recognised English Language qualifications include:

IELTS: 6.5 overall (minimum 6.0 in Reading and Writing with no less than 5.5 in any component)
TOEFL: Internet-based score of 88 overall (minimum 20 in Reading and Speaking components, 19 in Writing component and 17 in Listening components.
PTE: 62 overall (minimum 55 in Reading and Writing components with no less than 51 in any component).

If you do not meet the University's entry requirements, our INTO Language Learning Centre offers a range of university preparation courses to help you develop the high level of academic and English skills necessary for successful undergraduate study.

Interviews

The majority of candidates will not be called for an interview. However, for some students an interview will be requested. These are normally quite informal and generally cover topics such as your current studies, reasons for choosing the course and your personal interests and extra-curricular activities.

Students will have the opportunity to meet with an academic individually on a Visit Day in order to gain a deeper insight into the course(s) you have applied for.

Gap Year

We welcome applications from students who have already taken or intend to take a gap year.

We also welcome applications for deferred entry, believing that a year between school and university can be of substantial benefit. You are advised to indicate your reason for wishing to defer entry and may wish to contact the appropriate Admissions Office directly to discuss this further.

Intakes

The School's annual intake is in September of each year.

Alternative Qualifications

If you have alternative qualifications that have not been mentioned above, then please contact university directly for further information.

GCSE Offer

Students are required to have GCSE Mathematics and GCSE English Language at Grade C or above.

Assessment

For the majority of candidates the most important factors in assessing the application will be past and future achievement in examinations, academic interest in the subject being applied for, personal interest and extra-curricular activities and the confidential reference.

We consider applicants as individuals and accept students from a very wide range of educational backgrounds and spend time considering your application in order to reach an informed decision relating to your application. Typical offers are indicated above. Please note, there may be additional subject entry requirements specific to individual degree courses.

Fees and Funding

University Fees and Financial Support: UK/EU Students

https://www.uea.ac.uk/study/undergraduate/finance

University Fees and Financial Support: International Students

The University will be charging International students £12,300.00 for all full time School of World Art Studies and Museology undergraduate programmes which start in 2013.

Please click to access further information about fees and funding for International students

Applications need to be made via the Universities Colleges and Admissions Services (UCAS), using the UCAS Apply option.

UCAS Apply is a secure online application system that allows you to apply for full-time Undergraduate courses at universities and colleges in the United Kingdom. It is made up of different sections that you need to complete. Your application does not have to be completed all at once. The system allows you to leave a section partially completed so you can return to it later and add to or edit any information you have entered. Once your application is complete, it must be sent to UCAS so that they can process it and send it to your chosen universities and colleges.

The UCAS code name and number for the University of East Anglia is EANGL E14.

Further Information

If you would like to discuss your individual circumstances with the Admissions Office prior to applying please do contact us:

Undergraduate Admissions Office (World Art Studies and Museology)
Tel: +44 (0)1603 591515
Email: admissions@uea.ac.uk

Please click here to register your details online via our Online Enquiry Form.

International candidates are also actively encouraged to access the University's International section of our website.