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This module explores the Russian Revolution, assessing the 1880s up until the eve of the First World War. We will look closely at the old regime, considering the political culture of the autocracy and the dynamics behind tsarist rule. It will consider the personality of the tsar, Nicholas II, and his key advisors. But the module will depart from traditional perspectives quite frequently: we will look closely too at wider society – the development of key questions around the peasantry, the working class and also non-Russian identities in the empire. The development of political radicalism will be surveyed from the late nineteenth century through to the Revolution of 1905, as well as the mobilization of the forces of counter-revolution, thinking too about the impact of Russia’s first revolution. The last weeks of the module will explore the era of politics and parliament, the wider crisis in tsarist power in this period, the mobilization of conservative opinion, and the pre-war atmosphere of anxiety. Primary sources are key to the special subject, which will use different genres of sources, including literature, film and the visual arts, to understand historical change. Key to the module are the rich historiographical debates concerning the revolution, and the module will start by looking at some of the more recent developments in the ‘imperial turn’ to help us understand old regime Russia.

This module explores the Russian Revolution, assessing the 1880s up until the eve of the First World War. We will look closely at the old regime, considering the political culture of the autocracy and the dynamics behind tsarist rule. It will consider the personality of the tsar, Nicholas II, and his key advisors. But the module will depart from traditional perspectives quite frequently: we will look closely too at wider society – the development of key questions around the peasantry, the working class and also non-Russian identities in the empire. The development of political radicalism will be surveyed from the late nineteenth century through to the Revolution of 1905, as well as the mobilization of the forces of counter-revolution, thinking too about the impact of Russia’s first revolution. The last weeks of the module will explore the era of politics and parliament, the wider crisis in tsarist power in this period, the mobilization of conservative opinion, and the pre-war atmosphere of anxiety. Primary sources are key to the special subject, which will use different genres of sources, including literature, film and the visual arts, to understand historical change. Key to the module are the rich historiographical debates concerning the revolution, and the module will start by looking at some of the more recent developments in the ‘imperial turn’ to help us understand old regime Russia.

This module explores the Russian Revolution, following a chronology from 1914 until 1924. Part two explores the turmoil of the First World War, the Revolutions of 1917 and then the Civil War period (c. 1917-21). It will look closely at the First World War period (1914-17) and integrate recent literature into its study. We will then turn to the Revolutions of 1917 – the role of the opposition, the abdication of the tsar, the uncertain era of Provisional Government and the Bolshevik seizure of power in October 1917. Then we survey developments during the tumultuous Civil War era and consider how this critically impacted upon the development of the Bolshevik party. The chronology ends with an exploration of the political culture of the early Soviet state, concluding with the death of Lenin, and the culture-building around the Bolshevik party. The module will consider a wide variety of different source materials during seminars and focus on the role of culture in the construction of the revolutionary project throughout Russia’s early twentieth century. It will end with consideration of the Revolution’s contested legacy: what has the Russian Revolution done for us?

This module explores the Russian Revolution, following a chronology from 1914 until 1924. Part two explores the turmoil of the First World War, the Revolutions of 1917 and then the Civil War period (c. 1917-21). It will look closely at the First World War period (1914-17) and integrate recent literature into its study. We will then turn to the Revolutions of 1917 – the role of the opposition, the abdication of the tsar, the uncertain era of Provisional Government and the Bolshevik seizure of power in October 1917. Then we survey developments during the tumultuous Civil War era and consider how this critically impacted upon the development of the Bolshevik party. The chronology ends with an exploration of the political culture of the early Soviet state, concluding with the death of Lenin, and the culture-building around the Bolshevik party. The module will consider a wide variety of different source materials during seminars and focus on the role of culture in the construction of the revolutionary project throughout Russia’s early twentieth century. It will end with consideration of the Revolution’s contested legacy: what has the Russian Revolution done for us?

To introduce the theoretical underpinnings of the democratic state; to outline theoretical and practical changes and challenges to the democratic state both today and in the future; to draw links between theoretical ideas about the democratic state and democratic politics in action.

To introduce the theoretical underpinnings of the democratic state; to outline theoretical and practical changes and challenges to the democratic state both today and in the future; to draw links between theoretical ideas about the democratic state and democratic politics in action.

To introduce the theoretical underpinnings of the democratic state; to outline theoretical and practical changes and challenges to the democratic state both today and in the future; to draw links between theoretical ideas about the democratic state and democratic politics in action.

The Supernatural has always had a privileged place in audiovisual culture. Earliest films manifested ghosts through double exposures and the ‘Pepper’s Ghost’ special effect, at the same time that the mediums of film and sound recording were thought to have the ability to capture aspects of the paranormal that were not immediately apparent (Ruffles, 2004). Although a product of developments in science and technology, writers and audiences alike have throughout its existence noted the eerie, spectral nature of a medium that brings physical beings to life in light and shadow. As noted by Sconce (2000), the close relationship between the Supernatural and electronic media has been intimate to the point where disintricating the two can be difficult. The two have also developed side by side: recording technologies are exploited by investigators of the Supernatural, while ideas and visions of the Supernatural have been both defined by and manifested in audiovisual culture. Horror films, in particular, have developed certain ways for depicting, and giving a direct feeling of, the Supernatural, which allows for a distinctive range of ideas about the subject to be presented. But the Supernatural also appears in films from animation to art cinema and films with religious themes. These depictions can be understood as displacements or metaphors for engaging with other ideas. For example, ghosts can often be construed as manifesting a return of unfinished business, as examples of hauntology or a Freudian ‘Return of the Repressed’. They can also embody taboo or unacceptable ideas, suggest political allegories, or function as a means for solving intractable situations.

The central concern of this module is with the Supernatural as a metaphor, as a theory, and as an unanswerable enigma. Rather than considering Supernatural beings in their more obvious form, such as vampires and werewolves, the module will be more interested in the ethereal and ephemeral (ghosts, demons and possession, and spiritualism). The module will address the Supernatural in terms of culture and history but focus particularly on film and related audiovisual culture. This will also include television, music and video games, all of which intersect significantly with film and all of which continue the Supernatural as both a representation and an embodiment.

The Supernatural has always had a privileged place in audiovisual culture. Earliest films manifested ghosts through double exposures and the ‘Pepper’s Ghost’ special effect, at the same time that the mediums of film and sound recording were thought to have the ability to capture aspects of the paranormal that were not immediately apparent (Ruffles, 2004). Although a product of developments in science and technology, writers and audiences alike have throughout its existence noted the eerie, spectral nature of a medium that brings physical beings to life in light and shadow. As noted by Sconce (2000), the close relationship between the Supernatural and electronic media has been intimate to the point where disintricating the two can be difficult. The two have also developed side by side: recording technologies are exploited by investigators of the Supernatural, while ideas and visions of the Supernatural have been both defined by and manifested in audiovisual culture. Horror films, in particular, have developed certain ways for depicting, and giving a direct feeling of, the Supernatural, which allows for a distinctive range of ideas about the subject to be presented. But the Supernatural also appears in films from animation to art cinema and films with religious themes. These depictions can be understood as displacements or metaphors for engaging with other ideas. For example, ghosts can often be construed as manifesting a return of unfinished business, as examples of hauntology or a Freudian ‘Return of the Repressed’. They can also embody taboo or unacceptable ideas, suggest political allegories, or function as a means for solving intractable situations.

The central concern of this module is with the Supernatural as a metaphor, as a theory, and as an unanswerable enigma. Rather than considering Supernatural beings in their more obvious form, such as vampires and werewolves, the module will be more interested in the ethereal and ephemeral (ghosts, demons and possession, and spiritualism). The module will address the Supernatural in terms of culture and history but focus particularly on film and related audiovisual culture. This will also include television, music and video games, all of which intersect significantly with film and all of which continue the Supernatural as both a representation and an embodiment.

The Supernatural has always had a privileged place in audiovisual culture. Earliest films manifested ghosts through double exposures and the ‘Pepper’s Ghost’ special effect, at the same time that the mediums of film and sound recording were thought to have the ability to capture aspects of the paranormal that were not immediately apparent (Ruffles, 2004). Although a product of developments in science and technology, writers and audiences alike have throughout its existence noted the eerie, spectral nature of a medium that brings physical beings to life in light and shadow. As noted by Sconce (2000), the close relationship between the Supernatural and electronic media has been intimate to the point where disintricating the two can be difficult. The two have also developed side by side: recording technologies are exploited by investigators of the Supernatural, while ideas and visions of the Supernatural have been both defined by and manifested in audiovisual culture. Horror films, in particular, have developed certain ways for depicting, and giving a direct feeling of, the Supernatural, which allows for a distinctive range of ideas about the subject to be presented. But the Supernatural also appears in films from animation to art cinema and films with religious themes. These depictions can be understood as displacements or metaphors for engaging with other ideas. For example, ghosts can often be construed as manifesting a return of unfinished business, as examples of hauntology or a Freudian ‘Return of the Repressed’. They can also embody taboo or unacceptable ideas, suggest political allegories, or function as a means for solving intractable situations.

The central concern of this module is with the Supernatural as a metaphor, as a theory, and as an unanswerable enigma. Rather than considering Supernatural beings in their more obvious form, such as vampires and werewolves, the module will be more interested in the ethereal and ephemeral (ghosts, demons and possession, and spiritualism). The module will address the Supernatural in terms of culture and history but focus particularly on film and related audiovisual culture. This will also include television, music and video games, all of which intersect significantly with film and all of which continue the Supernatural as both a representation and an embodiment.