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This course aims to provide you with an insight into some of the current research in nanoscience and an understanding of the underlying nanophysics. The field of nanoscience is multidisciplinary covering materials science, photonics, chemistry and biology amongst other disciplines. It is not possible to cover all aspects of this field in a single course. Therefore, topics have been chosen based upon their importance and to enable us to exploit research ongoing at the University of Southampton to give a real feel for the cutting edge.

This course aims to provide you with an insight into some of the current research in nanoscience and an understanding of the underlying nanophysics. The field of nanoscience is multidisciplinary covering materials science, photonics, chemistry and biology amongst other disciplines. It is not possible to cover all aspects of this field in a single course. Therefore, topics have been chosen based upon their importance and to enable us to exploit research ongoing at the University of Southampton to give a real feel for the cutting edge.

Napoleon Bonaparte (1769-1821) may have been a tyrant in life but he proved to be a surprisingly malleable figure after death. This module traces the emergence in France and Britain of Napoleon’s reputation, whether as tyrant, martial hero, saviour of the French nation or destroyer of French liberty. Napoleon was a superb publicist and we will see that during his life time – before and after the seizure of state power in 1799 and the coronation as emperor in 1804 – he carefully cultivated an image of himself as both authoritarian and a ‘man of the people’.

In reading the memoirs of Napoleonic soldiers, and in considering British caricature and other sources published during the revolutionary and Napoleonic wars, we will attempt to prise apart Napoleon’s self-presentation from the attitudes of others. Furthermore, through an encounter with Napoleon’s own correspondence and personal effects we will try to disentangle the private man from the public figure, and ask how defeat and exile at the hands of the British may have changed him.

Most of all, we will examine how a cult of Napoleon was created and reshaped in subsequent contexts, focusing in particular on its instrumentalization in political and historical writings. Because Napoleon could represent the populism and liberty of the revolution without the anarchy of the Terror; reconciliation with the Catholic Church without clerical reaction; and order and hierarchy without a return to the despotism of the ‘old regime’ he was an appealing figure to a whole array of monarchists, liberals and republicans in France over the entire 19th century. That is why the liberal July Monarchy (1830-1848) did so much to make the Napoleonic cult official by completing the Arc de Triomphe in his honour (1836) and by re-interring his remains in the mausoleum at Les Invalides in 1840.

In the process of tracing the Napoleonic cult through these years to the early 20th century, you will see how difficult it has been in France to disentangle the memory and status of the general from that of the revolution; and you will come to understand how Napoleon’s reputation as a ‘great man’ could survive the catastrophic defeats of 1814-15. In historicising the cult of Napoleon in this way, you will grasp the importance for historical practice of seeing the past and present in a continual dialogue where the former is mobilised in a struggle to master the latter.

Napoleon Bonaparte (1769-1821) may have been a tyrant in life but he proved to be a surprisingly malleable figure after death. This module traces the emergence in France and Britain of Napoleon’s reputation, whether as tyrant, martial hero, saviour of the French nation or destroyer of French liberty. Napoleon was a superb publicist and we will see that during his life time – before and after the seizure of state power in 1799 and the coronation as emperor in 1804 – he carefully cultivated an image of himself as both authoritarian and a ‘man of the people’.

In reading the memoirs of Napoleonic soldiers, and in considering British caricature and other sources published during the revolutionary and Napoleonic wars, we will attempt to prise apart Napoleon’s self-presentation from the attitudes of others. Furthermore, through an encounter with Napoleon’s own correspondence and personal effects we will try to disentangle the private man from the public figure, and ask how defeat and exile at the hands of the British may have changed him.

Most of all, we will examine how a cult of Napoleon was created and reshaped in subsequent contexts, focusing in particular on its instrumentalization in political and historical writings. Because Napoleon could represent the populism and liberty of the revolution without the anarchy of the Terror; reconciliation with the Catholic Church without clerical reaction; and order and hierarchy without a return to the despotism of the ‘old regime’ he was an appealing figure to a whole array of monarchists, liberals and republicans in France over the entire 19th century. That is why the liberal July Monarchy (1830-1848) did so much to make the Napoleonic cult official by completing the Arc de Triomphe in his honour (1836) and by re-interring his remains in the mausoleum at Les Invalides in 1840.

In the process of tracing the Napoleonic cult through these years to the early 20th century, you will see how difficult it has been in France to disentangle the memory and status of the general from that of the revolution; and you will come to understand how Napoleon’s reputation as a ‘great man’ could survive the catastrophic defeats of 1814-15. In historicising the cult of Napoleon in this way, you will grasp the importance for historical practice of seeing the past and present in a continual dialogue where the former is mobilised in a struggle to master the latter.

Writing is inherently an interdisciplinary art. From novelists to poets to narrative non-fiction writers, writers tend to delve into fields that are not their own. Ian McEwan shadows neurologists for several years as he was researching Saturday; Hilary Mantel writes about Thomas Cromwell in her Wolf Hall trilogy; Seamus Heaney wrote about the “Troubles” in countless poems. In narrative non-fiction, this is almost exclusively the case. Truman Capote spent years researching four murders in a small town in Kansas for In Cold Blood. Antony Beevor delves into World War II to bring Stalingrad to life. Susan Sontag explores the art of the camera in On Photography.

This module will offer you the chance to explore the world of narrative non-fiction, allowing you to research a field that you wish to investigate – be it art, medicine, history, biology or current events. At the same time, you will learn both how to conduct research (through documents, observations, interviews, etc.) as well as the fundamental techniques of telling a true story. You will also look at memoir, especially as it engages with the outside world.

The module will consist of lectures that address techniques in narrative non-fiction as well as the structure and techniques in particular narrative non-fiction texts, while also including talks from lecturers in different disciplines who write about their work for an audience outside their own field. The seminars will consist of workshops in which student work is critiqued, interlaced with discussions of issues in creative non-fiction such how to tell a story that creates characters, places and suspense without straying from the truth, when to use first person, the role of the writer as character, and whether it is ever acceptable to alter details to construct a story.

The module is aimed at both MA Creative Writing and MA English students who might have an interest in writing about their own subject for a non-specialist audience. The skills required for writing creative non-fiction is helpful in any mode of creative writing and in any field, so this module will help you to develop as a writer whatever your plans and ambitions may be.
While you will practice non –fiction writing during the term, the assessment may, upon consultation with the module convenor, be made into a fictional piece or a series of poems – recognizing the interdisciplinary quality of creative writing.

Writing is inherently an interdisciplinary art. From novelists to poets to narrative non-fiction writers, writers tend to delve into fields that are not their own. Ian McEwan shadows neurologists for several years as he was researching Saturday; Hilary Mantel writes about Thomas Cromwell in her Wolf Hall trilogy; Seamus Heaney wrote about the “Troubles” in countless poems. In narrative non-fiction, this is almost exclusively the case. Truman Capote spent years researching four murders in a small town in Kansas for In Cold Blood. Antony Beevor delves into World War II to bring Stalingrad to life. Susan Sontag explores the art of the camera in On Photography.

This module will offer you the chance to explore the world of narrative non-fiction, allowing you to research a field that you wish to investigate – be it art, medicine, history, biology or current events. At the same time, you will learn both how to conduct research (through documents, observations, interviews, etc.) as well as the fundamental techniques of telling a true story. You will also look at memoir, especially as it engages with the outside world.

The module will consist of lectures that address techniques in narrative non-fiction as well as the structure and techniques in particular narrative non-fiction texts, while also including talks from lecturers in different disciplines who write about their work for an audience outside their own field. The seminars will consist of workshops in which student work is critiqued, interlaced with discussions of issues in creative non-fiction such how to tell a story that creates characters, places and suspense without straying from the truth, when to use first person, the role of the writer as character, and whether it is ever acceptable to alter details to construct a story.

The module is aimed at both MA Creative Writing and MA English students who might have an interest in writing about their own subject for a non-specialist audience. The skills required for writing creative non-fiction is helpful in any mode of creative writing and in any field, so this module will help you to develop as a writer whatever your plans and ambitions may be.
While you will practice non –fiction writing during the term, the assessment may, upon consultation with the module convenor, be made into a fictional piece or a series of poems – recognizing the interdisciplinary quality of creative writing.

This module investigates how cultural narratives have been produced, disseminated and consumed across national boundaries since the mid-twentieth century. Through examination of a range of narrative forms, including fiction, essay, memoir, film and photography produced by artists and thinkers from across the world, the module seeks to deepen your understanding of transnational models of hybridity, migration, cultural translation and ideas of place and displacement. Throughout, we will engage closely with critical approaches that consider the implications of class, race, gender, disability and other forms of identity, and the role of centres and peripheries in their formation.

This module investigates how cultural narratives have been produced, disseminated and consumed across national boundaries since the mid-twentieth century. Through examination of a range of narrative forms, including fiction, essay, memoir, film and photography produced by artists and thinkers from across the world, the module seeks to deepen your understanding of transnational models of hybridity, migration, cultural translation and ideas of place and displacement. Throughout, we will engage closely with critical approaches that consider the implications of class, race, gender, disability and other forms of identity, and the role of centres and peripheries in their formation.

This module investigates how cultural narratives have been produced, disseminated and consumed across national boundaries since the mid-twentieth century. Through examination of a range of narrative forms, including fiction, essay, memoir, film and photography produced by artists and thinkers from across the world, the module seeks to deepen your understanding of transnational models of hybridity, migration, cultural translation and ideas of place and displacement. Throughout, we will engage closely with critical approaches that consider the implications of class, race, gender, disability and other forms of identity, and the role of centres and peripheries in their formation.

This module investigates how cultural narratives have been produced, disseminated and consumed across national boundaries since the mid-twentieth century. Through examination of a range of narrative forms, including fiction, essay, memoir, film and photography produced by artists and thinkers from across the world, the module seeks to deepen your understanding of transnational models of hybridity, migration, cultural translation and ideas of place and displacement. Throughout, we will engage closely with critical approaches that consider the implications of class, race, gender, disability and other forms of identity, and the role of centres and peripheries in their formation.