phd creative writing germany

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International Programmes 2023/2024

International PhD Programme (IPP) Literary and Cultural Studies International PhD Programme Literary and Cultural Studies

Justus liebig university giessen • gießen.

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Courses are held in English (75%) and German (25%). Each participant can choose to write his or her dissertation in the language agreed upon with his or her supervisor.

The deadline for applications is 1 February every year. In some cases - for example, if the applicant will not finish her/his degree until after 1 February - it is possible to extend the deadline to 1 May after consulting the IPP.

The International PhD Programme (IPP) "Literary and Cultural Studies" at Justus Liebig University Giessen offers a clearly structured and research-oriented, three-year doctoral programme focusing on four research areas:

• Literary and Cultural Theory
• Genre Theory
• Literary and Cultural Historiography
• Comparative and Interdisciplinary Issues

Participating departments include English and American Studies, German Studies, Romance Studies, Slavic Studies, Comparative Literary Studies and Theatre Studies.

The IPP curriculum grants postgraduate students the opportunity to develop their academic profile in a wide range of courses designed specifically for (international) PhD students in the fields of literary and cultural studies. Core modules, seminars, workshops and Master's classes with renowned scholars from all over the world acquaint postgraduate students with state-of-the-art concepts, theories, methodologies and approaches. At the same time, IPP members are encouraged to pursue independent research from an early stage in their academic careers onwards. International Summer Schools and Conferences organised within the framework of an expansive international network with high-ranking universities from around the world integrate IPP members into national and international academic communities. The languages of instruction are German and English.

IPP members benefit from the programme's close integration into academic structures at Justus Liebig University (JLU). The IPP and the Graduate Centre for the Study of Culture (GCSC) jointly organise parts of their programmes. Additionally, IPP members are welcome to join junior research groups at the Giessen Graduate Centre for the Humanities (GGK) and to publish in the GGK/GCSC's online review journal KULT_online. IPP members not only find support in developing an international academic profile, but may acquire additional academic and practical qualifications that pave their way to academic as well as non-academic job markets. The GGK/GCSC Career Service offers chances to strategically plan life after the dissertation even while pursuing your degree and to facilitate the transition from postgraduate studies into the professional world. The GCSC Teaching Centre assists PhD students in acquiring valuable didactic skills, which are relevant in academic teaching as well as in many non-academic professions, and supports PhD candidates in elaborating their own teaching portfolios. Multi-track supervision and mentoring structures encompass professorial supervisors, postdoctoral mentors and peer-group coaching. Our international participants benefit from tutorials and language courses especially designed to pave their way to involvement in the German academic community. Social and cultural activities, such as excursions or theatre visits, complete our programme and facilitate strong bonds with peers.

Set in an intellectually stimulating and international context, the IPP provides extensive supervision and mentoring structures. The programme offers multi-track supervision and mentoring systems revolving around professorial supervisors, postdoctoral mentors, and peer-group coaching. The mentors provide advice not only on the dissertation, but also on scholarships, on applying for conferences, writing articles and similar activities.

The IPP offers a rich and promising environment for pursuing your PhD and guarantees support and guidance in all matters relating to your PhD throughout the three years of membership. Personal supervision is complemented by participation in our curriculum: regular colloquia with fellow PhD students, professors and post-docs allow an ongoing discussion of one's own project, as well as those of others, from an early state of inception to the submission of the PhD thesis.

Master's classes and workshops with high-ranking academics from around the world offer PhD students the chance to present their projects to specialists in the field, to benefit from their feedback, and to establish valuable international contacts. A broad spectrum of courses conveys essential skills e.g. in time management, in writing styles and techniques, in the handling of software tools for publishing, and managing bibliographies.

• International guest lecturers
• Study trips
• Projects with partners in Germany and abroad
• Language training provided

An internship is not part of the programme.

Approx. 795 EUR

Graduate scholarship of the Justus Liebig University / Graduiertenstipendien der Justus-Liebig-Universität

Students wishing to apply to the IPP "Literary and Cultural Studies" must hold a university degree in Literary Studies (e.g. German Studies, English/American Studies, Romance Studies, Slavic Studies, Comparative Literary Studies, Theatre Studies) with a GPA (average/final grade) well above average. Applicants should either hold a "Diplom", "Magister", "Erstes Staatsexamen" or Master's degree if obtained in Germany or a university degree equivalent to the German Master of Arts with thesis if obtained abroad. Furthermore, sound knowledge in either English or German is required.

For most disciplinary areas, the language of the dissertation and the dissertation defence is either German or English. The PhD Committee may accept the language of your respective discipline (i.e., French, Italian, Spanish, Portuguese) as well.

Even if the language of the dissertation is other than German, basic skills in German need to be acquired in the course of your studies. The IPP offers courses and training in German, English, and French. We would warmly advise you, however, to acquire a basic knowledge of German before coming to Giessen.

Prof Dr Dr h c Ansgar Nünning International PhD Programme (IPP) "Literary and Cultural Studies" Giessen Graduate School for the Humanities (GGK) Justus Liebig University Giessen Otto-Behaghel-Str. 12 35394 Giessen Germany

Halls of residence and private accommodation: www.uni-giessen.de/acc

IPP members can make use of the Career Service at the Graduate Centre, e.g., workshops, preparatory courses, and consultations.

• Specialist counselling

Justus Liebig University Giessen

Founded in 1607, Justus Liebig University Giessen is one of Germany's top research universities. It is not only rich in tradition but also highly innovative. Another unique feature is JLU Giessen's extraordinarily broad range of subjects. Additionally, JLU Giessen's 26,500 students and its ever-growing student community substantially contribute to making Giessen the city with the highest student ratio of all university towns in Germany. This singles out JLU Giessen as a key player in the region. However, with 40% international doctoral students, an international student community of around 11%, high-profile international partnerships, and two top-class international research facilities funded by Germany's nationwide Excellence Strategy, JLU is also a very active and highly attractive networking partner worldwide. Internationalisation is at the heart of JLU's institutional self-concept, and its internationalisation strategy with the motto "future through internationalisation" is a critical success factor for research and teaching as well as the personal development of its members. Excellent basic research combined with socially relevant application, the exploitation of interdisciplinary synergies, support for outstanding next-generation scholars, first-class university teaching, and an explicit international orientation define JLU Giessen in the fifth century of its existence, making it fit for the future.

University location

With around 92,000 inhabitants, Giessen is Germany's most student-dominated city and its two universities with their "extra population" of 40,000 students provide a unique college-town atmosphere. The city centre offers plenty of diversion for students, including film theatres (with student concession tickets), the municipal theatre with its experimental studios, swimming pools and sports and workout facilities, and a wide variety of pubs, restaurants (continental and ethnic), and night life venues. Therefore, you can add lots of flavour to your studies. The great thing about Giessen is that it's an easy place to navigate and, when the mood takes you, to escape into the picturesque surrounding countryside or the metropolis of Frankfurt am Main, which is about 60 kilometres away.

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Higher Education Compass

Creative writing & texts full time, bachelor of arts.

Bachelor Degree

7 semesters

Standard period of study (amount)

No information

Overview and admission

undergraduate

Admission semester

Summer and Winter Semester

Area of study

Literary Writing

Digital media are changing the way we read, write and publish texts: We are flooded with information and stories and at the same time have ever new possibilities to publish texts and to reach many readers immediately. In the B.A. degree in Creative Writing and Texts you learn how to develop texts for a wide variety of formats and contexts. In addition to artistic-literary texts and books, you write blog posts, podcasts, TV series scripts, song lyrics, advertising messages, concepts and PR texts, among other things.

Admission modus

Selection procedure / qualifying examination

Admission requirements (Link)

Admission requirements

- Submission of a letter of motivation (300 - 500 words): show us your passion and motivation for writing! Why do you want to study Creative Writing and Texts? Where do you see yourself in the future? - Submission of one or more self-written artistic texts or excerpts (maximum of 1,500 words) - Submission of a non-fictional text (maximum of 1,500 words) - Submission of an uncommented reading list with 10 books and texts that were or are particularly important to you

Tuition fee

690.00 EUR / Month

Fees (Link)

EU/EEA students (incl. Switzerland, the Western Balkans and Ukraine); Non-EU/EEA students pay per semester (EUR 4140/semester)

Languages of instruction

Main language.

Deutscher Akademischer Austauschdienst e.V. Kennedyallee 50 53175 Bonn

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Faculty of Social Sciences

• Doctoral Studies
• International Relations
• Research & Postgraduates
• Research & Postgraduates
• AG Creative Writing

Da die Arbeitssprache der DocAG Englisch ist, ist auch die folgende Beschreibung auf Englisch verfasst:

General goals

This group provides a confident and inspiring atmosphere to exchange and share ongoing experiences concerning the writing process during the PhD phase. To maintain this sheltered working context, we place value on being a small group of maximum seven members. The capacity isnot reached by now, but as members go back and forth for fieldwork, our group stays dynamic. If anyone feels passionate about our working group, please do not hesitate to contact us nonetheless.

We believe in writing as ability and skill that can be learned and practiced regularly. We experiment with different writing styles and use various strategies from creative to academic writing in order to reflect on our own writing practices and enhance our writing skills.  As Laurel Richardson (2000) has put it, we „consider writing as a method of inquiry, a way of finding out about yourself and your topic […]. Writing is also a way of ‘knowing’–a method of discovery and analysis“. We see writing as a strategy, as a method of inquiry that is both creative and critical. 'Writing-as-Inquiry' has emerged as a particular research methodology within the Social Sciences. Writing can be seen as a research practice of foregrounding and investigating how researchers construct knowledge about people, themselves, and the world by writing. It also provides insights into why we are interested in specific research questions. From this perspective, knowledge is understood to be constructed through more personal and embodied aspects of meaning-making. It is also informing views on learning, and in particular, notions of reflective practice. Besides our regular meetings, where we practice different writing styles and discuss our experiences, we want to invite professionals to support us improving our writing and communication skills. This will encourage us to discover new and innovative ways of dealing with the thinking-writing process as a key skill during the PhD Phase.

Our goals are:

• Providing a safe, inspiring space to circulate texts and discuss them
• Supporting each other in the writing process (e.g. writers block)
• Sharingwriting strategies
• Experiencing the writing process as a fruitful scientific method

Working Method

We meet regularly every two weeks for four to five hours, depending on the needs of our team members. We read texts about writing styles; we discuss our own writings that have to be circulated to the other group members at least four days beforehand and everyone is asked to contribute with constructive comments.

Members and working title of  the dissertation:

Meltem acartürk.

Dance like Nobody is Tagging You: The Influence of Online Social Networks on Public Socializing Practices in Berlins German-Turkish Club Cultures

Marija Grujic

Serbian Nationalism and Internally Displaced Persons (IDPs) from Kosovo—the Intersection of Religious, Gender and National Identities

Mirjam Tutzer

Contested Agency in Development. Colonial Legacies and Gendered Implications in Kenya

Kristina Nottbohm

Feminism and Multiculturalism. Debates About an Influential Contradiction. A Comparison Between Germany and France

Veronika Ott

Contested Knowledge: Representations and Interventions in Trafficking in Women and Migrant Prostitution

Marija Grujic ( [email protected] )

Kristina Nottbohm ( [email protected] )

• AG Democracy
• AG Discourse Analysis
• AG Ethics and (self-)reflexivity in qualitative research
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Best Universities for Creative Writing in Europe

Updated: February 29, 2024

• Art & Design
• Computer Science
• Engineering
• Environmental Science
• Liberal Arts & Social Sciences
• Mathematics

Below is a list of best universities in Europe ranked based on their research performance in Creative Writing. A graph of 1.17M citations received by 136K academic papers made by 486 universities in Europe was used to calculate publications' ratings, which then were adjusted for release dates and added to final scores.

We don't distinguish between undergraduate and graduate programs nor do we adjust for current majors offered. You can find information about granted degrees on a university page but always double-check with the university website.

Please note that our approach to subject rankings is based on scientific outputs and heavily biased on art-related topics towards institutions with computer science research profiles.

1. University of Oxford

For Creative Writing

2. University College London

3. University of Cambridge

4. King's College London

5. University of Manchester

6. University of Edinburgh

7. University of Exeter

8. University of Sheffield

9. University of Birmingham

10. University of Nottingham

11. University of Leeds

12. University of Bristol

13. Lancaster University

14. Durham University

15. University of York

16. University of Warwick

17. University of Glasgow

18. University of Amsterdam

19. Cardiff University

20. University of Sussex

21. University of London

22. London School of Economics and Political Science

23. Catholic University of Leuven

24. Aarhus University

25. University of Southampton

26. Queen Mary University of London

27. University of Oslo

28. University of St Andrews

29. Lund University

30. Royal Holloway, University of London

31. University of Liverpool

32. University of Helsinki

33. Newcastle University

34. University of Copenhagen

35. Umea University

36. Loughborough University

37. University of Leicester

38. Radboud University

39. Trinity College Dublin, University of Dublin

40. University College Dublin

41. University of East Anglia

42. University of Kent

43. Stockholm University

44. Utrecht University

45. University of Reading

46. University of Gothenburg

47. Goldsmiths, University of London

48. Birkbeck, University of London

49. Leiden University

50. Queen's University Belfast

51. Complutense University of Madrid

52. Free University of Berlin

53. Keele University

54. University of Strathclyde

55. Manchester Metropolitan University

56. Free University Amsterdam

57. University of Tampere

58. University of Aberdeen

59. Ulster University

60. Aalborg University

61. University of Bergen

62. University of Warsaw

63. University of Bath

64. University of Groningen

65. Sapienza University of Rome

66. University of Liege

67. Northumbria University

68. University of Southern Denmark

69. University of Lisbon

70. University of Jyvaskyla

71. Autonomous University of Barcelona

72. University of Portsmouth

73. University of Surrey

74. University of Vienna

75. University of Stirling

76. University of Padua

77. Brunel University London

78. Linkoping University

79. University of Granada

80. University of Turin

81. University of Hull

82. Norwegian University of Science and Technology

83. Adam Mickiewicz University

84. Nottingham Trent University

85. Teesside University

86. Ghent University

87. University of Minho

88. Maastricht University

89. Goethe University of Frankfurt am Main

90. University of Florence

91. University of Milan

92. De Montfort University

93. SOAS, University of London

94. Uppsala University

95. Bournemouth University

96. Oxford Brookes University

97. University of Bologna

98. University of the West of England

99. University of Plymouth

100. University of Essex

Art & Design subfields in Europe

Universität der Künste Berlin

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Creative Writing for the Stage

This study programme focuses on three areas: creative writing for the stage, dramatic practice and analytical dramaturgy. After two years of basic study and an intermediate examination students in the programme continue with a further two years of advanced study in which audio drama and screenplays are also covered. Graduates of the programme are awarded a university qualification equivalent to a Master´s degree. Workshops with acclaimed authors and directors as well as collaborative projects with other departments and professional theatres supplement the seminars. The programme aims to attract the greatest possible diversity and prospective students representing different cultures, generations and personalities. They are encouraged to apply. Applications are accepted every two years in the autumn and require the submission of a scene written by the candidate, two texts following specific guidelines and an analysis. In recent years eight students were accepted from an average of 170 submissions.

International Office

Information about international academic exchange for students, teachers and employees of the UdK Berlin, as well as information for international applicants applying for a Bachelor or Masters programme at the UdK Berlin.

Student Advisory Service and Psychological Counselling

We offer advice, help and support to students, applicants, parents and others, on all questions regarding the application process and the studies.

Information on application

Application

Szenisches Schreiben

Study and Examination Regulations [in German]

Studienordnung (Lesefassung)

Prüfungsordnung (Lesefassung)

Upcoming application period:

15 September - 15 October 2023 for summer semester 2024

Applications can only be created in the application portal within the deadline.

Application portal

You have questions about your studies? Ask us!

Open StudyGuide

• You can contact us via phone: +49 30 3185 1480
• Information on opening hours (telephone and InfoPoint) can be found on the StudyGuide website https://www.udk-berlin.de/en/service/studyguide/

• Schools & departments

Creative Writing PhD

Awards: PhD

Study modes: Full-time, Part-time

Funding opportunities

Programme website: Creative Writing

Upcoming Introduction to Postgraduate Study and Research events

Join us online on the 19th June or 26th June to learn more about studying and researching at Edinburgh.

Choose your event and register

Research profile

The PhD in Creative Writing offers committed and talented writers the opportunity to study Creative Writing at the highest level.

Supported by an expert supervisory team you will work independently towards the production of a substantial, publishable piece of creative writing, accompanied by a sustained exercise in critical study.

The academic staff you will be working with are all active researchers or authors, including well-published and prize-winning writers of poetry, prose, fiction and drama. They include:

• Dr Jane Alexander - Fiction
• Dr Lynda Clark - Fiction
• Dr Patrick Errington - Poetry
• Dr Miriam Gamble - Poetry
• Dr Alan Gillis - Poetry
• Nicola McCartney - Drama
• Dr Jane McKie - Poetry
• Dr Allyson Stack - Fiction
• Kim Sherwood - Fiction
• Alice Thompson - Fiction

Find out more about the programme and our team

Training and support

We encourage you to share your research and learn from the work of others through a programme of seminars and visiting speakers.

We have an in-house Writer-in-Residence, annual writing prizes, and a range of opportunities to learn from experts in the publishing industry.

We also offer access to opportunities provided by the Sottish Graduate School for Arts & Humanities.

Our postgraduate journal, Forum, is a valuable conduit for research findings and provides an opportunity to gain editorial experience.

• Forum: postgraduate journal of culture and the arts

A UNESCO World City of Literature, Edinburgh is a remarkable place to study, write, publish, discuss and perform prose, poetry and drama.

Take a PhD with us and you will be based in the School of Literatures, Languages and Cultures (LLC) in the historic centre of this world-leading festival city.

Our buildings are close to:

• National Library of Scotland (where collections include the Bute Collection of early modern English drama and the John Murray Archive)
• Edinburgh Central Library
• Scottish Poetry Library
• Scottish Storytelling Centre
• Writers’ Museum
• Traverse Theatre

We have strong links with the Edinburgh International Book Festival, which annually welcomes around 1,000 authors to our literary city.

There are lots of opportunities to write and share your work, from Forum to The Selkie, which was founded by Creative Writing students in 2018 to showcase work by people who self-identify as underrepresented.

Around the city, you’ll find library readings and bookshop launches, spoken word gigs, cabaret nights and poetry slams, including events run by celebrated publishing outlets, from Canongate and Polygon / Birlinn to Luath Press, 404 Ink, Taproot Press and Mariscat.

You will have access to the University’s many literary treasures, which include:

• William Drummond library
• Lewis Grassic Gibbon library
• Hugh MacDiarmid library
• Norman MacCaig library
• W.H. Auden collection
• Corson collection
• works by and about Sir Walter Scott
• Ramage collection of poetry pamphlets

The Centre for Research Collections also holds a truly exceptional collection of early Shakespeare quartos and other early modern printed plays. These have been put together by the 19th century Shakespearean James Halliwell-Phillipps, the correspondence of Thomas and Jane Welsh Carlyle (the focus of one of the major editorial projects in Victorian studies of the last half-century), and the extensive Laing collection of medieval and early modern manuscripts.

You will also have access to letters and papers by - and relating to - authors including:

• Christopher Isherwood
• Rudyard Kipling
• John Middleton Murry
• Walter de la Mare
• George Mackay Brown
• Compton Mackenzie

Many of the University's Special Collections are digitised and available online from our excellent Resource Centre, Computing Labs, and dedicated PhD study space in the School of Literatures, Languages and Cultures (LLC).

Look inside the PhD study space in LLC

Entry requirements

These entry requirements are for the 2024/25 academic year and requirements for future academic years may differ. Entry requirements for the 2025/26 academic year will be published on 1 Oct 2024.

A UK masters degree, or its international equivalent, in creative writing, normally with distinction.

We may also consider your application if you have equivalent qualifications or experience. For additional information please refer to the pre-application guidance in the 'How to apply' section.

International qualifications

Check whether your international qualifications meet our general entry requirements:

• Entry requirements by country
• English language requirements

Regardless of your nationality or country of residence, you must demonstrate a level of English language competency at a level that will enable you to succeed in your studies.

English language tests

We accept the following English language qualifications at the grades specified:

• IELTS Academic: total 7.0 with at least 6.5 in each component. We do not accept IELTS One Skill Retake to meet our English language requirements.
• TOEFL-iBT (including Home Edition): total 100 with at least 23 in each component. We do not accept TOEFL MyBest Score to meet our English language requirements.
• C1 Advanced ( CAE ) / C2 Proficiency ( CPE ): total 185 with at least 176 in each component.
• Trinity ISE : ISE III with passes in all four components.
• PTE Academic: total 70 with at least 62 in each component.

Your English language qualification must be no more than three and a half years old from the start date of the programme you are applying to study, unless you are using IELTS , TOEFL, Trinity ISE or PTE , in which case it must be no more than two years old.

Degrees taught and assessed in English

We also accept an undergraduate or postgraduate degree that has been taught and assessed in English in a majority English speaking country, as defined by UK Visas and Immigration:

• UKVI list of majority English speaking countries

We also accept a degree that has been taught and assessed in English from a university on our list of approved universities in non-majority English speaking countries (non-MESC).

• Approved universities in non-MESC

If you are not a national of a majority English speaking country, then your degree must be no more than five years old* at the beginning of your programme of study. (*Revised 05 March 2024 to extend degree validity to five years.)

Find out more about our language requirements:

• Fees and costs

Read our general information on tuition fees and studying costs:

Scholarships and funding

Featured funding.

There are a number of scholarship schemes available to eligible candidates on this PhD programme, including awards from the Arts and Humanities Research Council.

Please be advised that many scholarships have more than one application stage, and early deadlines.

• Find out more about scholarships in literatures, languages and cultures

Other funding opportunities

Search for scholarships and funding opportunities:

• Search for funding

Further information

• Phone: +44 (0)131 650 4086
• Contact: [email protected]
• School of Literatures, Languages & Cultures
• 50 George Square
• Central Campus
• Programme: Creative Writing
• School: Literatures, Languages & Cultures
• College: Arts, Humanities & Social Sciences

This programme is not currently accepting applications. Applications for the next intake usually open in October.

Start date: September

Awards: PhD (36 mth FT, 72 mth PT)

Application deadlines

Due to high demand, the school operates a number of selection deadlines. We will make a small number of offers to the most outstanding candidates on an ongoing basis, but hold the majority of applications until the next published selection deadline when we will offer a proportion of the places available to applicants selected through a competitive process.

Deadlines for applicants applying to study in 2024/25:

• How to apply
• Pre-application guidance

Before you formally apply for this PhD, you should look at the pre-application information and guidance on the programme website.

This will help you decide if this programme is right for you, and help us gain a clearer picture of what you hope to achieve.

The guidance details the writing samples you should send us as part of your application (either fiction or poetry, along with a shorter sample of your academic writing).

It will also give you practical advice for writing your project summary – one of the most important parts of your application.

Find out more about the general application process for postgraduate programmes:

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• Online Learning

Creative Writing degrees in Germany in 2024

Filmmaking - Berlin BA

Macromedia University of Applied Sciences Germany

Want to see postgraduate courses? See postgraduate degrees in Creative Writing in Germany

Don't meet the entry requirements for these courses? Learn more about pathway programme options .

Creative Writing Degrees in Germany

If you love to write, then pursuing a higher education in creative writing will give you a fantastic opportunity to expand on your writing skills and pursue a career in writing. Genres such as poetry, fiction, non-fiction and writing for stage and TV can be covered in your studies and you will be able to build up a body of work and a writing style all of your own.

Graduates of degrees in creative writing can go on to become published novelists, creators of screenplays for TV & film, work in video game story creation, work in journalism and much more.

Your degree will be delivered in a mixture of modes, including lectures, tutorials, seminars and group projects. Depending on your course, you may also have the option to take part in a work placement. Modules you study could include:

• Fundamental writing techniques
• Writing for screen (TV & Film)
• Research for writing
• Writing for children and adults
• Studying writing genres

Germany is an excellent choice for international students, and boasts high quality education opportunities across its public and private universities. The country is renowned for its forward thinking and modern facilities, and has a strong reputation for academic research, making it a top choice for international students interested in a postgraduate programme, specifically doctorate degrees. With the opportunity to study for a very small price and work alongside your studies, Germany can offer any student an amazing study abroad experience.

Sign up to StudyLink.com, the home of quality study abroad advice.

Other Undergraduate Creative Arts, Design & Communication courses in Germany

• Acting degrees
• Interaction Design degrees
• Innovation and Design degrees
• Sound Design degrees
• Lighting Design degrees
• Performance degrees
• Theatre degrees
• Animation degrees
• Illustration degrees
• Video Game Design and Development degrees
• Photography degrees
• Design degrees
• Digital Media degrees
• Product Design degrees
• Music degrees
• Graphic Design degrees
• Film degrees

International study advice

Find out more about the range of subjects that you can study at institutions around the world with our subject guides.

Read StudyLink's suggestions on your first steps when deciding where to study abroad, with helpful tips to make your decision easier.

International students finding it difficult to meet conditions of eligibility criteria can choose to enrol in pre-masters courses before applying for a masters degree programme.

Find out more about English language tests, your options and what is required as an overseas student.

Read more about studying abroad, and how it can boost your future career prospects.

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• Current Students
• Faculty/Staff
• University of Denver
• College of Arts, Humanities & Social Sciences
• English & Literary Arts

English and Literary Arts - Creative Writing

College: AHSS

Back to Academic Programs

• Learn more about the English & Literary Arts Department

As one of the top creative writing doctoral programs in the country, we offer motivated poetry and fiction writers the chance to refine their creative work while building a portfolio of literary criticism and scholarly writing. Our workshops integrate contemporary literature with creative exploration. In addition to poetry and fiction, we offer workshops and literature courses in areas such as nonfiction, travel writing, oral literature and narratology.

Our PhD is a theoretical doctorate: an experience that builds creative thinking alongside critical reading and research. Writers go on to publish novels, poetry collections and critical literary works. They hold tenure track positions at notable universities, edit long-standing journals and are represented by major presses. 

Learn more about the program .

Our Program Offers:

A small community of engaged writers selected from a highly competitive pool of applicants. We accept six or seven writers per year, totaling about 20 writers in the program at a time.

Creative dissertation options that allow writers to spend time working toward a book-length manuscript of publishable quality as part of their time in the program.

Teaching opportunities in creative writing workshops and literature courses as part of the Graduate Teaching Assistant Professional Development Sequence.

Editing opportunities with the Denver Quarterly , a premier journal for American and international poetry, fiction, reviews, essays and cross-genre works.

A core group of actively publishing creative writing faculty, as well as a dedicated group of literary faculty who specialize in areas such as African American literature, Latin@/x literature, Native American literature and Digital Humanities.

Explore contemporary and historical literatures while refining your own creative voice.

Are you ready to learn more about the Creative Writing concentration at DU?

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Degree Requirements

• Students in the Creative Writing concentration will complete 90 graduate-level quarter hours. 
• 48 of these hours will be in formal classes (excluding tutorials, independent study and independent research courses).
• Non-coursework includes comprehensive exams, dissertation proposal and prospectus, a dissertation of publishable quality that makes a significant contribution to its field, and an oral defense.

See the DU Graduate Bulletin  for full requirements. 

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Graham Foust

Associate Professor

Joanna Howard

Assistant Professor

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Professor and Phipps Chair

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King's College London

Creative writing research phd.

Key information

The PhD in Creative Writing at King’s is a practice-led course, incorporating taught elements and aspects of professional development. It is designed to cater for talented, committed writers who are looking to complete a book-length creative work for publication and sustain a long-term career in writing.

Key Benefits

Our unique programme offers students:

• a varied, structured framework for the development of their creative work, with regular feedback from experienced author-lecturers in the department through supervision and workshops
• purposeful engagement with professionals from the publishing and performance industries throughout the course, building potential routes to publication
• valuable teaching experience in creative writing at HE-level through our Graduate Teaching Assistantship scheme
• practical experience in public engagement, through curating and chairing public literary events at King’s
• a community of fellow writers and collaborative projects

English Department

We have over 100 doctoral students from all over the world working on a wide range of projects. Together with our community of postdoctoral fellows, our early career researchers both organise and participate in our thriving seminar and conference culture.

The English department is home to award-winning novelists, poets, essayists, biographers, non-fiction authors, and literary critics, who supervise creative projects at doctoral level within their specialisms.

Works by our staff have won or been shortlisted for a number of literary accolades, including: the T.S. Eliot Prize, the Forward Prize, the Man Booker Prize, the Sunday Times Young Writer of the Year, the Costa First Novel Award, the Costa Poetry Award, the Somerset Maugham Award, the Commonwealth Book Prize, the Biographers’ Club / Slightly Foxed First Biography Prize, the U.S. National Book Critics Circle Award, the CWA Gold Dagger Award, the European Union Prize for Literature, the RSL Encore Award, the Los Angeles Times Book Award, the E.M. Forster Award from the American Academy of Letters, le Prix du Roman Fnac, le Prix du Roman Etranger, the Kiriyama Prize, the Republic of Consciousness Prize, the Royal Society of Literature’s Encore Award, and the OCM Bocas Prize for Caribbean Literature. Many of the creative writing staff are Fellows of the Royal Society of Literature.

Their most recent publications are:

Benjamin Wood

The Young Accomplice (Penguin Viking, 2022) – fiction

A Station on the Path to Somewhere Better (Scribner, 2018) – fiction

Edmund Gordon

The Invention of Angela Carter (Chatto & Windus, 2016) – creative non-fiction

Loop of Jade (Chatto & Windus, 2015) – poetry

Anthony Joseph

Sonnets for Albert (Bloomsbury Publishing, 2022) – poetry

The Frequency of Magic (Peepal Tree Press, 2019) – fiction

Lara Feigel

The Group (John Murray Press, 2020) – fiction

Free Woman: Life, Liberation and Doris Lessing (Bloomsbury, 2018) – creative non-fiction

Homing: On Pigeons, Dwellings, and Why We Return (John Murray Press, 2019) – creative non-fiction

Daughters of the Labyrinth (Corsair, 2021) – fiction

Beethoven Variations: Poems on a Life (Chatto & Windus, 2020) – poetry

Emerald (Chatto & Windus, 2018) – poetry

Andrew O'Hagan

Mayflies (Faber & Faber, 2020) – fiction

The Secret Life: Three True Stories (Faber & Faber, 2017) – creative non-fiction

*may vary according to research leave and availability.

King's Alumni

The list of King’s alumni not only features many acclaimed contemporary authors—Michael Morpurgo, Alain de Botton, Hanif Kureishi, Marina Lewycka, Susan Hill, Lawrence Norfolk, Ross Raisin, Alexander Masters, Anita Brookner, and Helen Cresswell—it also includes major figures in literature, such as Maureen Duffy, Arthur C Clarke, Thomas Hardy, Christopher Isherwood, BS Johnson, John Keats, W. Somerset Maugham, and Virginia Woolf.

Course Detail

Our postgraduate writing students are given a supportive environment in which to enhance their technique, to explore the depths of their ideas, to sustain their creative motivation, and to prepare them for the demands of the writer’s life beyond the College.

At King's we know that writing well requires self-discipline and an ability to work productively in isolation; but we also appreciate that postgraduate writers thrive when they are part of a community of fellow authors, an environment of constructive criticism and shared endeavour.

That is why we offer our PhD students the guidance of knowledgeable and experienced practitioners. They will have frequent opportunities to interact and collaborate with peers and forge lasting connections within London’s writing industry.

Students will be expected to attend the quarterly Thesis Workshop, and also to take an active part in curating literary events at King’s, including the Poetry And… quarterly reading series. They will be invited to apply for positions teaching undergraduate creative writing modules as part of the Department’s Graduate Teaching Assistantship (GTA) scheme.

After three years (full-time) or six years (part-time), students are expected to submit either:

• a novel or short story collection
• a poetry collection
• a full-length work of creative non-fiction

In addition, they are also required to submit an essay (up to 15,000 words) that examines their practical approach to the conception, development, and revision of their project, and which explores how their creative work was informed by research (archival, book-based, or experiential).

• How to apply
• Fees or Funding

Many of our incoming students apply for AHRC funding via the London Arts and Humanities Partnership. Please see their website ( www.lahp.ac.uk ) for more detail of deadlines, application procedure and awards available. Also the ‘Student Funding’ section of the Prospectus will give you more information on other scholarships available from King’s.

UK Tuition Fees 2023/24

Full time tuition fees:

£5,820 per year (MPhil/PhD, Creative Writing)

Part time tuition fees:

£2,910 per year (MPhil/PhD, Creative Writing)

International Tuition Fees 2023/24

£22,900 per year (MPhil/PhD, Creative Writing)

£11,450 per year (MPhil/PhD, Creative Writing)

UK Tuition Fees 2024/25

£6,168 per year (MPhil/PhD, Creative Writing)

£3,084 per year (MPhil/PhD, Creative Writing)

International Tuition Fees 2024/25

£24,786 per year (MPhil/PhD, Creative Writing)

£12,393 per year (MPhil/PhD, Creative Writing)

These tuition fees may be subject to additional increases in subsequent years of study, in line with King’s terms and conditions.

• Study environment

Base campus

Strand Campus

Located on the north bank of the River Thames, the Strand Campus houses King's College London's arts and sciences faculties.

PhD in Creative Writing students are taught through one-to-one sessions with an appointed supervisor in their chosen specialism (fiction, creative non-fiction, or poetry) as well as through quarterly thesis workshops. They are also appointed a second supervisor whose role is to offer an additional perspective on the work being produced.

We place great emphasis on pastoral care and are a friendly and welcoming department in the heart of London. Our home in the Virginia Woolf Building offers many spaces for postgraduate students to work and socialise. Studying in London means students have access to a huge range of libraries from the Maughan Library at King’s to the Senate House Library at the University of London and the British Library.

Our PhD Creative Writing students are taught exclusively by practicing, published writers of international reputation. These include:

Benjamin Wood (Senior Lecturer in Creative Writing)

Supervises projects in fiction.

Edmund Gordon (Senior Lecturer in Creative Writing)

Supervises projects in fiction and creative non-fiction.

Sarah Howe (Lecturer in Poetry)

Supervises projects in poetry.

Anthony Joseph (Lecturer in Creative Writing)

Supervises projects in poetry and fiction.

Jon Day (Senior Lecturer in English)

Supervises projects in creative non-fiction and fiction

Lara Feigel (Professor of Modern Literature)

Supervises projects in creative non-fiction and fiction.

Ruth Padel (Professor Emerita of Poetry)

Andrew O’Hagan (Visiting Professor)

*Teaching staff may vary according to research leave and availability.

Our programme also incorporates the following taught components:

Thesis Workshop

A termly writing seminar for the discussion and appraisal of works-in-progress. These are taught on a rotational basis by all members of the creative writing staff, so that students get the benefit of hearing a range of voices and opinions on their work throughout the course.

The Writing Life

A suite of exclusive guest talks and masterclasses from leading authors, publishers, and editors, in which students receive guidance from people working at the top level of the writing industry and learn about the various demands of maintaining a career as a writer.

Recent speakers have included Amit Chaudhuri, Chris Power, Rebecca Watson, Mendez, Frances Leviston, Joanna Biggs, Joe Dunthorne, Francesca Wade, Kishani Widyaratna, Jacques Testard and Leo Robson.

Other elements of professional development are included in the degree:

Agents-in-Residence

Candidates in fiction or creative-nonfiction will meet and discuss their work in one-to-one sessions with invited literary agents, who are appointed to yearly residencies. These sessions offer writers a different overview of the development of their project: not solely from the standpoint of authorial technique, but with a view towards the positioning of their writing within a competitive and selective industry. Poetry candidates will meet and discuss their work with invited editors from internationally recognised poetry journals and presses.

Undergraduate Teaching

Through our Graduate Teaching Assistant (GTA) training scheme, our PhD students can apply to lead undergraduate creative writing workshops in fiction, creative non-fiction, and/or poetry, enabling them to acquire valuable HE-level teaching experience that will benefit them long after graduation.

Reading Series

Our students are required to participate in the curation of literary events at King’s. They are also responsible for curating Poetry And… , a quarterly reading in which leading poets illuminate the powerful connections between poetry and other disciplines. Students will develop skills in public engagement by chairing discussions and may also perform excerpts of their own writing.

Postgraduate Training

There is a range of induction events and training provided for students by the Centre for Doctoral Studies, the Faculty of Arts and Humanities and the English Department. A significant number of our students are AHRC-funded through the London Arts and Humanities Partnership (LAHP) which also provides doctoral training to all students. All students take the ‘Doctoral Seminar’ in their first year. This is a series of informal, staff-led seminars on research skills in which students can share and gain feedback on their own work. We run a series of ‘Skills Lunches’, which are informal lunch meetings with staff, covering specific topics, including Upgrading, Attending Conferences, Applying for Funding and Post-Doctoral Awards, etc. Topics for these sessions are generally suggested by the students themselves, so are particularly responsive to student needs. We have an Early Career Staff Mentor who runs more formal workshops of varying kinds, particularly connected to career development and the professions.

Through our Graduate Teaching Assistantship Scheme, doctoral students can apply to teach in the department (usually in their second year of study) and are trained and supported as they do so.

• Entry requirements

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• List of Universities

2716 Study programs

Study English Literature in Germany: 15 Universities with 18 English Degree Programs

All important info for international students in germany (2024/2025).

English Literature is a rich field that delves into the vast array of written works in the English language. This discipline encompasses the study of prose, poetry, drama, and narrative texts, ranging from classic to contemporary literature. Students explore themes, literary techniques, historical contexts, and the diverse voices that have shaped English literature over centuries. The field includes literary criticism, theory, and analysis, encouraging a deep appreciation of texts and their cultural significance. Students develop critical thinking, analytical writing, and creative interpretation skills. Career paths include education, writing, publishing, and academia, ideal for those with a passion for storytelling and a love of the written word.

Study Programs in English

Universities

Universities in International Rankings

€ 0 (18 programs for EU citizens, 16 programs for Non-EU citizens)

€ 1,500 per semester (18 programs for EU citizens, 2 programs for Non-EU citizens)

Winter Semester

between May 31 and September 30

Summer Semester

Top-ranked German Universities in English Literature

public University

No. of Students: approx. 36,000 students

Program Fees: € 0 (per semester)

No. of Students: approx. 38,000 students

No. of Students: approx. 37,000 students

No. of Students: approx. 27,000 students

Program Fees: € 0 - € 1,500 (per semester)

Tuition Fees

3 english degree programs for english literature in germany.

University of Göttingen Göttingen

English: language, literatures and cultures.

Trier University Trier

Anglophone literatures and media.

Johannes Gutenberg University Mainz Mainz

English literature and culture, application deadlines.

Winter Semester 2024/2025

Summer Semester 2025

Winter Semester 2025/2026

Open Programs

16 programs

Application Modes

Application process.

Heinrich Heine University Düsseldorf Düsseldorf

Comparative studies in english and american language, literature and culture.

Universität Regensburg Regensburg

British literature and cultural studies (british studies).

Freie Universität Berlin Berlin

English studies: literature, language, culture.

TOEFL Scores

Cambridge Levels

6 (1 program )

80 (1 program )

B2 First (FCE) (2 programs )

8 (1 program )

110 (1 program )

C2 Proficiency (CPE) (6 programs )

Kiel University Kiel

English and american literature, cultures, and media.

University of Potsdam Potsdam

Anglophone modernities in literature and culture, english language, linguistics and literature.

4-6 semesters

→ View all programs with online courses

Master of Arts

Bachelor of Arts

Winter intake

Summer intake

Winter & Summer intake

List of all German Universities offering English-taught Study Programs in English Literature

Freie Universität Berlin

Program Fees: € 0

M.A. (Master of Arts)

Goethe University Frankfurt

Heinrich Heine University Düsseldorf

Humboldt-Universität zu Berlin

Johannes Gutenberg University Mainz

B.A. (Bachelor of Arts)

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Ph.D. Creative Writing

Ph.d. in creative writing.

A rigorous program that combines creative writing and literary studies, the Ph.D. in Creative Writing prepares graduates for both scholarly and creative publication and teaching. With faculty guidance, students admitted to the Ph.D. program may tailor their programs to their goals and interests.

The creative writing faculty at KU has been widely published and anthologized, winning both critical and popular acclaim. Faculty awards include such distinctions as the Nebula Award, Hugo Award, Osborn Award, Shelley Memorial Award, Gertrude Stein Award, the Kenyon Review Prize, the Kentucky Center Gold Medallion, and the Pushcart Prize.

Regarding admission to both our doctoral and MFA creative writing programs, we will prioritize applicants who are interested in engaging with multiple faculty members to practice writing across genres and forms, from speculative fiction and realism to poetry and playwriting/screenwriting, etc.

The University of Kansas' Graduate Program in Creative Writing also offers an  M.F.A degree .

Opportunities

A GTA appointment includes a tuition waiver for ten semesters plus a competitive stipend. In the first year, GTA appointees teach English 101 (first year composition) and English 102 (a required reading and writing course). Creative Writing Ph.D. students may have the opportunity to teach an introductory course in creative writing after passing the doctoral examination, and opportunities are available for a limited number of advanced GTAs to teach in the summer.

Department Resources

• Graduate Admissions
• Graduate Contacts
• Master of Fine Arts (M.F.A.)

Affiliated Programs

• LandLocked Literary Magazine
• The Project on the History of Black Writing
• Center for the Study of Science Fiction
• Ad-Hoc African/Americanists and Affiliates

Degree Requirements

• At least 24 hours of credit in appropriate formal graduate courses beyond the M.A. or M.F.A. At least 15 hours (in addition to ENGL 800 if not taken for the M.A.) of this course work must be taken from among courses offered by the Department of English at the 700-level and above. English 997 and 999 credits cannot be included among the 24 hours. Students may petition to take up to 6 hours outside the Department.
• ENGL 800: Methods, Theory, and Professionalism (counts toward the 24 required credit hours).
• The ENGL 801/ENGL 802 pedagogy sequence (counts toward the 24 required credit hours).
• Two seminars (courses numbered 900 or above) offered by the Department of English at the University of Kansas, beyond the M.A. or M.F.A. ENGL 998 does not fulfill this requirement.
• ENGL 999, Dissertation (at least 12 hours).

If the M.A. or M.F.A. was completed in KU’s Department of English, a doctoral student may petition the DGS to have up to 12 hours of the coursework taken in the English Department reduced toward the Ph.D.

For Doctoral students,  the university requires completion of a course in responsible scholarship . For the English department, this would be ENGL 800, 780, or the equivalent). In addition, the Department requires reading knowledge of one approved foreign language: Old English, French, German, Spanish, Italian, Russian, Japanese, Greek, Latin, or Hebrew. Upon successful petition, a candidate may substitute reading knowledge of another language or research skill that is studied at the University or is demonstrably appropriate to the candidate’s program of study.

Doctoral students must fulfill the requirement  before  they take their doctoral examination, or be enrolled in a reading course the same semester as the exam. Students are permitted three attempts at passing each foreign language or research skill. Three methods of demonstrating reading knowledge for all approved languages except Old English are acceptable:

• Presenting 16 hours, four semesters, or the equivalent of undergraduate credit, earned with an average of C or better.
• Passing a graduate reading course at the University of Kansas or peer institution (e.g., French 100, German 100, etc.) with a grade of C or higher. In the past, some of these reading courses have been given by correspondence; check with the Division of Continuing Education for availability.
• Passing a translation examination given by a designated member of the English Department faculty or by the appropriate foreign language department at KU. The exam is graded pass/fail and requires the student to translate as much as possible of a representative text in the foreign language in a one-hour period, using a bilingual dictionary.
• Passing a translation examination given by the appropriate foreign language department at the M.A.-granting institution. Successful completion must be reflected either on the M.A. transcript or by a letter from the degree-granting department.

To fulfill the language requirement using Old English, students must successfully complete ENGL 710 (Introduction to Old English) and ENGL 712 (Beowulf).

Post-Coursework Ph.D. students must submit, with their committee chair(s), an annual review form to the DGS and Graduate Committee.

Doctoral students must take their doctoral examination within three semesters (excluding summers) of the end of the semester in which they took their final required course. If a student has an Incomplete, the timeline is not postponed until the Incomplete is resolved. For example, a student completing doctoral course work in Spring 2018 will need to schedule their doctoral exam no later than the end of Fall semester 2019. Delays may be granted by petition to the Graduate Director in highly unusual circumstances. Failure to take the exam within this time limit without an approved delay will result in the student’s falling out of good standing. For details on the consequences of falling out of good standing, see “Falling Out of Good Standing,” in General Department Policies and Best Practices.

A student may not take their doctoral exam until the university’s Research Skills and Responsible Scholarship requirement is fulfilled (ENGL 800 or equivalent and reading knowledge of one foreign language or equivalent).

Requirements for Doctoral Exams

Reading Lists: 

All students are required to submit three reading lists, based on the requirements below, to their committee for approval. The doctoral exam will be held on a date at least twelve weeks after the approval from the whole committee is received. To facilitate quick committee approval, students may copy the graduate program coordinator on the email to the committee that contains the final version of the lists. Committee members may then respond to the email in lieu of signing a printed copy. Students should work with their committee chair and graduate program coordinator to schedule the exam at the same time as they finalize the lists.

During the two-hour oral examination (plus an additional 15-30 minutes for a break and committee deliberation), a student will be tested on their comprehension of a literary period or movement, including multiple genres and groups of authors within that period or movement. In addition, the student will be tested on two of the following six areas of study:

• An adjacent or parallel literary period or movement,
• An author or group of related authors,
• Criticism and literary theory,
• Composition theory, and
• English language.

No title from any field list may appear on either of the other two lists. See Best Practices section for more details on these six areas. See below for a description of the Review of the Dissertation Proposal (RDP), which the candidate takes the semester after passing the doctoral exam. 

While many students confer with the DGS as they begin the process of developing their lists, they are also required to submit a copy of their final exam list to the DGS. Most lists will be left intact, but the DGS might request that overly long lists be condensed, or extremely short lists be expanded.

Review of Literature

The purpose of the Review of Literature is to develop and demonstrate an advanced awareness of the critical landscape for each list. The student will write an overview of the defining attributes of the field, identifying two or three broad questions that animate scholarly discussion, while using specific noteworthy texts from their list ( but not all texts on the list ) as examples.

The review also must accomplish the following:

• consider the historical context of major issues, debates, and trends that factor into the emergence of the field
• offer a historical overview of scholarship in the field that connects the present to the past
• note recent trends and emergent lines of inquiry
• propose questions about (develop critiques of, and/or identify gaps in) the field and how they might be pursued in future study (but not actually proposing or referencing a dissertation project)

For example, for a literary period, the student might include an overview of primary formal and thematic elements, of the relationship between literary and social/historical developments, of prominent movements, (etc.), as well as of recent critical debates and topics.

For a genre list, the Review of Literature might include major theories of its constitution and significance, while outlining the evolution of these theories over time.

For a Rhetoric and Composition list, the review would give an overview of major historical developments, research, theories, methods, debates, and trends of scholarship in the field.

For an English Language Studies (ELS) list, the review would give an overview of the subfields that make up ELS, the various methodological approaches to language study, the type of sources used, and major aims and goals of ELS. The review also usually involves a focus on one subfield of particular interest to the student (such as stylistics, sociolinguistics, or World/Postcolonial Englishes).

Students are encouraged to divide reviews into smaller sections that enhance clarity and organization. Students are not expected to interact with every text on their lists.

The review of literature might be used to prepare students for identifying the most important texts in the field, along with why those texts are important to the field, for the oral exam. It is recommended for students to have completed reading the bulk of (if not all) texts on their lists before writing the ROL.

The Reviews of Literature will not be produced in an exam context, but in the manner of papers that are researched and developed in consultation with all advisors/committee members,  with final drafts being distributed within a reasonable time for all members to review and approve in advance of the 3-week deadline . While the Review of Literature generally is not the focus of the oral examination, it is frequently used as a point of departure for questions and discussion during the oral examination.

Doctoral Exam Committee

Exam committees typically consist of 3 faculty members from the department—one of whom serves as the Committee Chair—plus a Graduate Studies Representative.  University policy dictates the composition of exam committees . Students may petition for an exception for several committee member situations, with the exception of  the Graduate Studies Representative .

If a student wants to have as a committee member a person outside the university, or a person who is not in a full-time tenure-track professorship at KU, the student must contact the Graduate Secretary as early as possible. Applications for special graduate faculty status must be reviewed by the College and Graduate Studies. Requests for exam/defense approval will not be approved unless all committee members currently hold either regular or special graduate faculty status

Remote participation of committee members via technology

Students with committee members who plan to attend the defense via remote technology must be aware of  college policy on teleconferencing/remote participation of committee members .

A majority of committee members must be physically present for an examination to commence; for doctoral oral examinations this requirement is 2 of the 4 members, for master’s oral examinations the requirement is 2 of the 3 members. In addition, it is required that the student being examined, the chair of the committee, and the Graduate Studies Representative all be physically present at the examination or defense. Mediated attendance by the student, chair and Grad Studies Rep is prohibited.

The recommended time between completion of coursework and the doctoral examination is two semesters.

Final exam lists need to be approved and signed by the committee at least 12 weeks prior to the prospective exam date. This includes summers/summer semesters. The lists should then be submitted to the Graduate Program Coordinator. Reviews of Literature need to be approved and signed by the committee at least 3 weeks prior to the exam date. Failure to meet this deadline will result in rescheduling the exam. No further changes to lists or Reviews of Literature will be allowed after official approval. The three-week deadline is the faculty deadline--the last date for them to confirm receipt of the ROLs and confer approval--not necessarily the student deadline for submitting the documents to the faculty. Please keep that timing in mind and allow your committee adequate time to review the materials and provide feedback.

Students taking the Doctoral Exam are allowed to bring their text lists, the approved Reviews of Literature, scratch paper, a writing utensil, and notes/writing for an approximately 5-minute introductory statement to the exam. (This statement does not need to lay out ideas or any aspect of the dissertation project.)

Each portion of the oral examination must be deemed passing before the student can proceed to the Review of the Dissertation Proposal. If a majority of the committee judges that the student has not answered adequately on one of the three areas of the exam, the student must repeat that portion in a separate oral exam of one hour, to be taken as expeditiously as possible.  Failure in two areas constitutes failure of the exam and requires a retake of the whole.  The doctoral examining committee will render a judgment of Satisfactory or Unsatisfactory on the entire examination. A student who fails the exam twice may, upon successful petition to the Graduate Committee, take it a third and final time.

Students cannot bring snacks, drinks, treats, or gifts for committee members to the exam. Professors should avoid the appearance of favoritism that may occur if they bring treats to some student exams but not others.

The doctoral oral examination has the following purposes:

• To establish goals, tone, and direction for the pursuit of the Ph.D. in English for the Department and for individual programs of study;
• To make clear the kinds of knowledge and skills that, in the opinion of the Department, all well-prepared holders of the degree should have attained;
• To provide a means for the Department to assess each candidate’s control of such knowledge and skills in order to certify that the candidate is prepared to write a significant dissertation and enter the profession; and
• To enable the Department to recommend to the candidate areas of strength or weakness that should be addressed.

In consultation with the Graduate Director, a student will ask a member of the Department’s graduate faculty (preferably their advisor) to be the chairperson of the examining committee. The choice of examination committee chair is very important, for that person’s role is to assist the candidate in designing the examination structure, preparing the Review of Literature (see below), negotiating reading lists and clarifying their purposes, and generally following procedures here outlined. The other three English Department members of the committee will be chosen in consultation with the committee chair. (At some point an additional examiner from outside the Department, who serves as the Graduate School representative, will be invited to join the committee). Any unresolved problems in negotiation between a candidate and their committee should be brought to the attention of the Graduate Director, who may choose to involve the Graduate Committee. A student may request a substitution in, or a faculty member may ask to be dismissed from, the membership of the examining committee. Such requests must be approved, in writing, by the faculty member leaving the committee and by the Graduate Director.

Reading Lists

Copies of some approved reading lists and Reviews of Literature are available from the Graduate Secretary and can be found on the U: drive if you are using a computer on campus. Despite the goal of fairness and equity, some unavoidable unevenness and disparity will appear in the length of these lists. It remains, however, the responsibility of the examining committee, and especially the student’s chair, to aim toward consonance with the most rigorous standards and expectations and to insure that areas of study are not unduly narrow.

To facilitate quick committee approval, students may copy the graduate secretary on the email to the committee that contains the final version of the lists and reviews of literature. Committee members may then respond to the email in lieu of signing a printed copy.

Comprehension of a literary period (e.g., British literature of the 18th century; Romanticism; US literature of the 19th century; Modernism) entails sufficient intellectual grasp of both the important primary works of and secondary works on the period or movement to indicate a student’s ability to teach the period or movement and undertake respectable scholarship on it.

Comprehension of an author or group of related authors (e.g., Donne, the Brontës, the Bloomsbury Group, the Black Mountain Poets) entails knowledge, both primary and secondary, of a figure or figures whose writing has generated a significant body of interrelated biographical, historical, and critical scholarship.

Comprehension of one of several genres (the short story, the lyric poem, the epistolary novel). To demonstrate comprehension of a genre, a student should possess sufficient depth and breadth of knowledge, both primary and secondary, of the genre to explain its formal characteristics and account for its historical development.

Comprehension of criticism and literary theory entails a grasp of fundamental conceptual problems inherent in a major school of literary study (e.g., historicist, psychoanalytic, feminist, poststructuralist, etc.). To demonstrate comprehension of that school of criticism and literary theory, a student should be able to discuss changes in its conventions and standards of interpretation and evaluation of literature from its beginning to the present. Students will be expected to possess sufficient depth and breadth of theoretical knowledge to bring appropriate texts and issues to bear on questions of literary study.

Comprehension of composition theory entails an intellectual grasp of fundamental concepts, issues, and theories pertaining to the study of writing. To demonstrate comprehension of composition theory, students should be able to discuss traditional and current issues from a variety of perspectives, as well as the field’s historical development from classical rhetoric to the present.

Comprehension of the broad field of English language studies entails a grasp of the field’s theoretical concepts and current issues, as well as a familiarity with significant works within given subareas. Such subareas will normally involve formal structures (syntax, etc.) and history of the English language, along with other subareas such as social linguistics, discourse analysis, lexicography, etc. Areas of emphasis and specific sets of topics will be arranged through consultation with relevant faculty.

Ph.D. candidates must be continuously enrolled in Dissertation hours each Fall and Spring semester from the time they pass the doctoral examination until successful completion of the final oral examination (defense of dissertation).

• Students enroll for a minimum of 6 hours each Fall and Spring semester until the total of post-doctoral exam Dissertation hours is 18. One hour each semester must be ENGL 999. In order to more quickly reach the 18-hour minimum, and to be sooner eligible for GRAships, it is highly recommended that students enroll in 9 hours of Dissertation in the Spring and Fall semesters. 
• Once a student has accumulated 18 post-doctoral exam  hours, each subsequent enrollment will be for a number of hours agreed upon as appropriate between the student and their advisor, the minimal enrollment each semester being 1 hour of ENGL 999.
• A student must be enrolled in at least one hour of credit at KU during the semester they graduate. Although doctoral students must be enrolled in ENGL 999 while working on their dissertations, per current CLAS regulations, there is no absolute minimum number of ENGL 999 hours required for graduation.
• Students who live and work outside the Lawrence area may, under current University regulations, have their fees assessed at the Field Work rate, which is somewhat lower than the on-campus rate. Students must petition the College Office of Graduate Affairs before campus fees will be waived.

Please also refer to  the COGA policy on post-exam enrollment  or the  Graduate School’s policy .

As soon as possible following successful completion of the doctoral exam, the candidate should establish their three-person core dissertation committee, and then expeditiously proceed to the preparation of a dissertation proposal.  Within the semester following completion of the doctoral exam , the student will present to their core dissertation committee a written narrative of approximately  10-15 pages , not including bibliography, of the dissertation proposal. While the exam schedule is always contingent on student progress, in the first two weeks of the semester in which they intend to take the review , students will work with their committee chair and the graduate program coordinator to schedule the 90-minute RDP. Copies of this proposal must be submitted to the members of the dissertation committee and Graduate Program Coordinator no later than  three weeks prior  to the scheduled examination date.

In the proposal, students will be expected to define: the guiding question or set of questions; a basic thesis (or hypothesis); how the works to be studied or the creative writing produced relate to that (hypo)thesis; the theoretical/methodological model to be followed; the overall formal divisions of the dissertation; and how the study will be situated in the context of prior scholarship (i.e., its importance to the field). The narrative section should be followed by a bibliography demonstrating that the candidate is conversant with the basic theoretical and critical works pertinent to the study. For creative writing students, the proposal may serve as a draft of the critical introduction to the creative dissertation. Students are expected to consult with their projected dissertation committee concerning the preparation of the proposal.

The review will focus on the proposal, although it could also entail determining whether or not the candidate’s knowledge of the field is adequate to begin the composition process. The examination will be graded pass/fail. If it is failed, the committee will suggest areas of weakness to be addressed by the candidate, who will rewrite the proposal and retake the review  by the end of the following semester . If the candidate abandons the entire dissertation project for another, a new RDP will be taken. (For such a step to be taken, the change would need to be drastic, such as a move to a new field or topic. A change in thesis or the addition or subtraction of one or even several works to be examined would not necessitate a new proposal and defense.)  If the student fails to complete the Review of the Dissertation Proposal within a year of the completion of the doctoral exams, they will have fallen out of departmental good standing.  For details on the consequences of falling out of good standing, see “Falling Out of Good Standing,” in General Department Policies and Best Practices.

After passing the Review of the Dissertation Proposal, the student should forward one signed copy of the proposal to the Graduate Program Coordinator. The RDP may last no longer than 90 minutes.

Students cannot bring snacks, drinks, treats, or gifts for committee members to the review. Professors should avoid the appearance of favoritism that may occur if they bring treats to some student exams but not others.

The Graduate Catalog states that the doctoral candidate “must present a dissertation showing the planning, conduct and results of original research, and scholarly creativity.” While most Ph.D. candidates in the Department of English write dissertations of a traditional, research-oriented nature, a creative writing candidate may elect to do a creative-writing dissertation involving fiction, poetry, drama or nonfiction prose.  Such a dissertation must also contain a substantial section of scholarly research related to the creative writing.  The precise nature of the scholarly research component should be determined by the candidate in consultation with the dissertation committee and the Graduate Director. Candidates wishing to undertake such a dissertation must complete all Departmental requirements demanded for the research-oriented Ph.D. degree.

Scholarly Research Component (SRC)

The Scholarly Research Component (SRC) of the creative-writing dissertation is a separate section of the dissertation than the creative work. It involves substantial research and is written in the style of academic prose. It should be 15-20 pages and should cite at least 20 sources, some of which should be primary texts, and many of which should be from the peer-reviewed secondary literature. The topic must relate, in some way, to the topic, themes, ideas, or style of the creative portion of the dissertation; this relation should be stated in the Dissertation Proposal, which should include a section describing the student’s plans for the SRC. The SRC may be based on a seminar paper or other work the student has completed prior to the dissertation; but the research should be augmented, and the writing revised, per these guidelines. The SRC is a part of the dissertation, and as such will be included in the dissertation defense.

The SRC may take two general forms:

1.) An article, publishable in a peer-reviewed journal or collection, on a specific topic related to an author, movement, theoretical issue, taxonomic issue, etc. that has bearing on the creative portion. The quality of this article should be high enough that the manuscript could be submitted to a peer-reviewed publication, with a plausible chance of acceptance.

2.) A survey . This survey may take several different forms:

• A survey of a particular aspect of the genre of the creative portion of the dissertation (stylistic, national, historical, etc.)
• An introduction to the creative portion of the dissertation that explores the influences on, and the theoretical or philosophical foundations or implications of the creative work
• An exploration of a particular technical problem or craft issue that is salient in the creative portion of the dissertation
• If the creative portion of the dissertation includes the results of research (e.g., historical novel, documentary poetry, research-based creative nonfiction), a descriptive overview of the research undertaken already for the dissertation itself
• A combination of the above, with the prior approval of the student’s dissertation director.

The dissertation committee will consist of at least four members—two “core” English faculty members, a third faculty member (usually from English), and one faculty member from a different department who serves as the Graduate Studies representative. The committee may include (with the Graduate Director’s approval) members from other departments and, with the approval of the University’s Graduate Council, members from outside the University. If a student wants to have a committee member from outside the university, or a person who is not in a full-time tenure-track professorship at KU, the student must contact the Graduate Secretary as early as possible. Applications for special graduate faculty status must be reviewed by the College and the Office of Graduate Studies. Requests for defense approval will not be approved unless all committee members currently hold either regular or special graduate faculty status.

The candidate’s preferences as to the membership of the dissertation committee will be carefully considered; the final decision, however, rests with the Department and with the Office of Graduate Studies. All dissertation committees must get approval from the Director of Graduate Studies before scheduling the final oral exam (defense). Furthermore, any changes in the make-up of the dissertation committee from the Review of the Dissertation Proposal committee must be approved by the Director of Graduate Studies.

Once the dissertation proposal has passed and the writing of the dissertation begins, membership of the dissertation committee should remain constant. However, under extraordinary circumstances, a student may request a substitution in, or a faculty member may ask to be dismissed from, the membership of the dissertation committee. Such requests must be approved, in writing, by the faculty member leaving the committee and by the Graduate Director.

If a student does not make progress during the dissertation-writing stage, and accumulates more than one “Limited Progress” and/or “No Progress” grade on their transcript, they will fall out of good standing in the department. For details on the consequences of falling out of good standing, see “Falling Out of Good Standing,” in General Department Policies and Best Practices

Final Oral Exam (Dissertation Defense)

When the dissertation has been tentatively accepted by the dissertation committee (not including the Graduate Studies Representative), the final oral examination will be held, on the recommendation of the Department. While the exam schedule is always contingent on student progress, in the first two weeks of the semester in which they intend to defend the dissertation, students should work with their committee chair and graduate program coordinator to schedule it.

Although the dissertation committee is responsible for certification of the candidate, any member of the graduate faculty may be present at the examination and participate in the questioning, and one examiner—the Graduate Studies Representative—must be from outside the Department. The Graduate Secretary can help students locate an appropriate Grad Studies Rep. The examination normally lasts no more than two hours. It is the obligation of the candidate to advise the Graduate Director that they plan to take the oral examination; this must be done at least one month before the date proposed for the examination.

At least three calendar weeks prior to the defense date, the student will submit the final draft of the dissertation to all the committee members (including the GSR) and inform the Graduate Program Coordinator. Failure to meet this deadline will necessitate rescheduling the defense.  The final oral examination for the Ph.D. in English is, essentially, a defense of the dissertation. When it is passed, the dissertation itself is graded by the dissertation director, in consultation with the student’s committee; the student’s performance in the final examination (defense) is graded by the entire five-person committee

Students cannot bring snacks, drinks, treats, or gifts for committee members to the defense. Professors should avoid the appearance of favoritism that may occur if they bring treats to some student defenses but not others

These sets of attributes are adapted from the Graduate Learner Outcomes that are a part of our Assessment portfolio. “Honors” should only be given to dissertations that are rated “Outstanding” in all or most of the following categories:

• Significant and innovative plot/structure/idea/focus. The writer clearly places plot/structure/idea/focus in context.
• Thorough knowledge of literary traditions. Clear/flexible vision of the creative work produced in relation to those literary traditions.
• Introduction/Afterword is clear, concise, and insightful. A detailed discussion of the implications of the project and future writing projects exists.
• The creative dissertation reveals the doctoral candidate’s comprehensive understanding of poetics and/or aesthetic approach. The application of the aesthetic approach is innovative and convincing.
• The creative dissertation represents original and sophisticated creative work.
• The creative dissertation demonstrates thematic and/or aesthetic unity.

After much discussion about whether the “honors” designation assigned after the dissertation defense should be for the written product only, for the defense/discussion only, for both together, weighted equally, or eradicated altogether, the department voted to accept the Graduate Committee recommendation that “honors” only apply to the written dissertation. "Honors" will be given to dissertations that are rated "Outstanding" in all or most of the categories on the dissertation rubric.

Normally, the dissertation will present the results of the writer’s own research, carried on under the direction of the dissertation committee. This means that the candidate should be in regular contact with all members of the committee during the dissertation research and writing process, providing multiple drafts of chapters, or sections of chapters, according to the arrangements made between the student and each faculty member. Though accepted primarily for its scholarly merit rather than for its rhetorical qualities, the dissertation must be stylistically competent. The Department has accepted the MLA Handbook as the authority in matters of style. The writer may wish to consult also  the Chicago Manual of Style  and Kate L. Turabian’s  A Manual for Writers of Dissertations, Theses, and Term Papers .

Naturally, both the student and the dissertation committee have responsibilities and obligations to each other concerning the submitting and returning of materials. The student should plan on working steadily on the dissertation; if they do so, they should expect from the dissertation committee a reasonably quick reading and assessment of material submitted.

Students preparing their dissertation should be showing chapters to their committee members as they go along, for feedback and revision suggestions. They should also meet periodically with committee members to assess their progress. Prior to scheduling a defense, the student is encouraged to ask committee members whether they feel that the student is ready to defend the dissertation. Ideally, the student should hold the defense only when they have consulted with committee members sufficiently to feel confident that they have revised the dissertation successfully to meet the expectations of all committee members.

Students should expect that they will need to revise each chapter at least once. This means that all chapters (including introduction and conclusion) are shown to committee members once, revised, then shown to committee members again in revised form to assess whether further revisions are needed, prior to the submitting of the final dissertation as a whole. It is not unusual for further revisions to be required and necessary after the second draft of a chapter; students should not therefore simply assume that a second draft is necessarily “final” and passing work.

If a substantial amount of work still needs to be completed or revised at the point that the dissertation defense is scheduled, such a defense date should be regarded as tentative, pending the successful completion, revision, and receipt of feedback on all work. Several weeks prior to the defense, students should consult closely with their dissertation director and committee members about whether the dissertation as a whole is in a final and defensible stage. A project is ready for defense when it is coherent, cohesive, well researched, engages in sophisticated analysis (in its entirety or in the critical introduction of creative dissertations), and makes a significant contribution to the field. In other words, it passes each of the categories laid out in the Dissertation Rubric.

If the dissertation has not clearly reached a final stage, the student and dissertation director are advised to reschedule the defense.

Prior Publication of the Doctoral Dissertation

Portions of the material written by the doctoral candidate may appear in article form before completion of the dissertation. Prior publication does not ensure the acceptance of the dissertation by the dissertation committee. Final acceptance of the dissertation is subject to the approval of the dissertation committee. Previously published material by other authors included in the dissertation must be properly documented.

Each student beyond the master’s degree should confer regularly with the Graduate Director regarding their progress toward the doctoral examination and the doctorate.

Doctoral students may take graduate courses outside the English Department if, in their opinion and that of the Graduate Director, acting on behalf of the Graduate Committee, those courses will be of value to them. Their taking such courses will not, of course, absolve them of the responsibility for meeting all the normal departmental and Graduate School requirements.

Doctoral students in creative writing are strongly encouraged to take formal literature classes in addition to forms classes. Formal literature classes, by providing training in literary analysis, theory, and/or literary history, will help to prepare students for doctoral exams (and future teaching at the college level).

FALL SEMESTER            

• GTAs take 2 courses (801 + one), teach 2 courses; GRAs take 3 courses.
• Visit assigned advisor once a month to update on progress & perceptions. 1st-year advisors can assist with selecting classes for the Spring semester, solidifying and articulating a field of specialization, advice about publishing, conferences, professionalization issues, etc.

SPRING SEMESTER

• GTAs take 2 courses (780/800/880 + one), teach 2 courses. GTAs also take ENGL 802 for 1 credit hour. GRAs take 3 courses.
• Visit assigned advisor or DGS once during the semester; discuss best advisor choices for Year 2.

SUMMER SEMESTER

• Enroll in Summer Institute if topic and/or methodology matches interests.
• Consider conferences suited to your field and schedule; choose a local one for attendance in Year 2 and draft an Abstract for a conference paper (preferably with ideas/materials/ writing drawn from a seminar paper).  Even if abstract is not accepted, you can attend the conference without the pressure of presenting.
• Attend at least one conference to familiarize yourself with procedure, network with other grad students and scholars in your field, AND/OR present a paper.

FALL SEMESTER

• Take 2 courses, teach 2 courses.
• Visit advisor in person at least once during the semester.

WINTER BREAK

• Begin revising one of your seminar papers/independent study projects/creative pieces for submission to a journal; research the journals most suited to placement of your piece.
• Begin thinking about fields and texts for comprehensive examinations.
• Choose an advisor to supervise you through the doctoral examination process.
• Visit assigned 1st-year advisor in person at least once during the semester (at least to formally request doctoral exam supervision OR to notify that you are changing advisors).
• Summer teaching, if eligible.
• Continue revising paper/creative writing for submission to a journal.
• Begin reading for comprehensive exams.
• Attend one conference and present a paper. Apply for one-time funding for out-of-state travel  from Graduate Studies .
• Teach 2 courses; take 997 (exam prep).
• Finalize comps list by end of September; begin drafting rationales.
• Circulate the draft of your article/creative piece to your advisor, other faculty in the field, and/or advanced grad students in the field for suggestions.
• Revise article/creative piece with feedback from readers.
• Teach 2 courses; take 997 or 999 (dissertation hours). Enroll in 999 if you plan to take your comps this semester, even if you don’t take them until the last day of classes.
• Take comps sometime between January and May.
• Summer teaching, if available.
• Submit article/creative work for publication.
• Continuous enrollment after completing doctoral exam (full policy on p. 20)
• Research deadlines for grant applications—note deadlines come early in the year.
• Attend one conference and present a paper.
• Teach 2 courses, take 999.
• Compose dissertation proposal by November.
• Schedule Review of Dissertation Proposal (RDP—formerly DPR).
• Apply for at least one grant or fellowship, such as a departmental-level GRAship or dissertation fellowship. (Winning a full-year, non-teaching fellowship can cut down your years-to-degree to 5 ½, or even 5 years.)
• Conduct research for and draft at least 1 dissertation chapter.
• Conduct research and complete a draft of at least 1 dissertation chapter.
• Revise & resubmit journal article, if necessary.
• Attend 1st round of job market meetings with Job Placement Advisor (JPA) to start drafting materials and thinking about the process.
• Research and complete a draft of at least 1 dissertation chapter, if teaching (1-2 chapters if not).
• Visit dissertation chair  and  committee members in person at least once during the semester.
• Research and complete a draft of at least 1 dissertation chapter (1-2 chapters if not teaching).
• Apply for a departmental grant or fellowship, or, if already held, try applying for one from outside the department, such as those offered by KU’s Hall Center for the Humanities or the Office of Graduate Studies. For  a monthly list of funding opportunities , visit the Graduate Studies website.
• Research and complete a draft of at least 1 dissertation chapter.
• Attend job market meetings with JPA in earnest.
• Apply for external grants, research fellowships, postdoctoral positions with fall deadlines (previous fellowship applications, your dissertation proposal, and subsequent writing should provide a frame so that much of the application can be filled out with the “cut & paste” function).
• Research and complete a draft of at least 1 dissertation chapter (1-2 if not teaching).
• Visit dissertation chair and committee members in person at least once during the semester.
• Polish dissertation chapters.
• Apply for grants and fellowships with spring deadlines.
• Defend dissertation.

Creative Writing Faculty

• Associate Professor

• Professor of English & Environmental Studies

• Assistant Professor

Graduate Student Handbook

PhD in Creative Writing

Program overview.

The PhD in Creative Writing and Literature is a four-year course of study. Following two years of course work that includes workshop, forms classes, pedagogical training, and literature, students take exams in two areas, one that examines texts through the lens of craft and another that examines them through the lens of literary history and theory. Recent examples of the genre area include Comic Fiction, History of the Love Lyric, and Fantasy; recent examples of the scholarly area include History of the Novel, 20th Century American Poetry, and Modern & Contemporary British Fiction. In the first two years, students take three courses per semester; the teaching load throughout the program is one class per semester. Every PhD student has the opportunity to teach creative writing, with many also teaching literature classes. Most students are funded by teaching, with two or three at a time funded by editorial work at  The Cincinnati Review or Acre Books, and others funded in their dissertation year by college- or university-level fellowships. Fifth-year support, while not guaranteed, has generally been available to interested students in the form of student lecturerships, which carry a 2-2 load. The Creative Writing PhD at the University of Cincinnati has maintained over the last decade more than a 75% placement rate into full-time academic jobs for its doctoral graduates. Two-thirds of these positions are tenure-track.

Application Information

• Exam Areas and Committee
• Doctoral Candidacy Form
• Foreign Language
• Exam Procedures
• Dissertations
• Applying for Fifth-Year Funding
• Working for The Cincinnati Review
• Teaching Opportunities
• All Creative Writing Graduate Courses
• Archive of Technique & Form Courses

The Art of Fellowship

Arts and literary fellows enable students to connect with their creative side—and each other

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Jesse Han is a fifth-year PhD candidate in astrophysics. Most of the time, you can find him studying “galactic fossils” to reconstruct the history of the Milky Way galaxy. When he’s not in the lab or observatory, though, chances are you’ll find Han dancing—swing dancing, to be specific. Han has entered Lindy Hop competitions up and down the East Coast. For the last year, though, he’s brought his  passion for jazz music and movement to the role of arts fellow at the Student Center at Harvard Griffin GSAS.  

“My philosophy is to do what you like to do—and a lot of it,” he says. “I love making people smile, particularly on the dance floor. So, I became an arts fellow.”

From dancing to painting, writing, knitting, and even cooking, the Student Center arts and literary fellows enable their peers at Harvard Griffin GSAS to take a break from their studies and engage their creative sides. Best of all, they create a welcoming atmosphere where students can express themselves free of judgment. 

The Joy of Expression

Han’s cohort, Arts Fellow Sudarshana Chanda, a sixth-year PhD candidate in history, wants students to veer out of their comfort zones and feel the freedom of trying something new at the events she organizes. “You're not handling a fragile lab specimen,” she says. “You're painting or knitting or dyeing fabric. It's okay to spill or make mistakes! I think people find that immensely liberating.” 

This year Chanda has organized workshops on indigo dyeing, block printing, and collage in collaboration with the Materials Lab in the basement of the Harvard Art Museum. She also fondly remembers the huge crowd that trudged through a cold January day to take part in a sushi event she helped organize with the Student Center food literacy fellows. “There’s real joy to be found in creative expression, even if it is something you never imagined you might be good at,” she says. The arts fellows also organize trips to local museums and as well as private gallery tours sometimes connected to heritage and celebratory months. 

It was at a knitting circle organized by the 2022-2023 arts fellows that Mahia Bashir began her journey to becoming a Student Center literary fellow. For the last year, the PhD student in history has helped students make art with words. To that end, she and her cohort, third-year comparative literature student Adam Koutajian, organized reading circles, poetry events, book clubs, and writing workshops throughout the past year to provide spaces for students to connect with, appreciate, and produce the written word. Along the way, the fellows also created opportunities for students to connect. 

“There are so many ways for students to interact through literary programming,” Bashir says. “Whether it’s a literary salon with the Pulitzer Prize-winning author Viet Thanh Nguyen, an excursion to a local bookstore, or simply sharing a poem that’s especially meaningful, we try to provide opportunities for readers and writers to engage with the words and the people they love.” 

Encounters with New Cultures

Koutajian’s passion for literature is matched by his enthusiasm for creating spaces where students can learn about new cultures. A highlight of the past year for him was the continuation of  International Poetry Night where students read poems in their native languages with the literary fellows providing English translations. “Listening to students recite poetry in their mother tongues is always a deeply moving experience,” he says.

The literary fellows’ work culminates each year with the publication of The Graduate Review . Marking the 30th anniversary of its founding in 1994, the journal features poems, short stories, and photographs produced by Harvard Griffin GSAS students. (Students can find writing and art from three decades of The Graduate Review on the third floor of Lehman Hall.) This year’s issue explores themes of identity and belonging, loss, introspection, and healing.

"We spent much of the spring semester working on the review,” Bashir says. “It has been a rewarding experience to read all the wonderful submissions and think about how they speak to each other. We are so grateful to our contributors who entrust their work to the review and very excited for the graduate community to engage with it."

The Student Center arts and literary fellows give students the opportunity to bring beauty into their lives—often with their own hands—whether on canvas, the dance floor, the page, or even in the kitchen. In doing so, they also facilitate encounters with works—and minds—from different periods, regions, and genres. As Mahia Bashir says simply, “We are trying to showcase the diversity of creative expression that our community has to offer.”

The literary fellows invite all members of the School’s community to join them for the Graduate Review issue  launch party on Wednesday, May 15 at 7:00 p.m. in Lehman Hall’s fireside room. Have a question for the Student Center fellows? Is there an event you’d like to see on campus? Want to learn more about student leadership?  Contact the Student Center !

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Giving Students Options for a Concept Paper in a Business Communications Course

The Communication Spotlight features innovative instructors who teach written, oral, digital/technological, kinetic, and visual communication modes.

Jennifer Hite received her BA majoring in Environmental Studies with a minor in Political Science from University of California at Santa Barbara, her MA in Communication Management from the Annenberg School of Communication at University of Southern California. She received a PhD in Organizational Behavior at UCI/The Paul Merage School of Business. Professor Hite has been an Instructor at the Annenberg School of Communication at USC, School of Business Administration at USC and UCI/The Paul Merage School of Business. She is a member of the Academy of Management, International Communication Association and the Society for Human Resources Management.

What is the assignment? 

Concept Paper: Project or Idea Pitch

Project overview: You can choose from one of two tracks for the assignment:

• Introduce a new product or
• Introduce an existing product to another country.

Track 1: Introduce a New Product

Students selecting this track will produce a concept paper and pitch that follow the requirements of the Stella Zhang New Venture Competition . By the end of the quarter, you’ll have a solid concept paper and pitch ready if you choose to compete.

Product selection, Track 1: The product must be a completely new product or a better version of an existing one that is affordable to most Americans. In addition,

• A new service or a digital product may not be used.
• If you’ve already submitted a concept paper for the New Venture Competition, you may not use the same idea or paper for MGMT 191W. However, we encourage you to use the original work you create for MGMT 191W for the competition.

Track 2: Introduce an Existing Product to Another Country

Students selecting this option will introduce an existing product to a country they are not familiar with. Here are the requirements for both the product and the country you choose.

Product selection, Track 2: The product must be an existing one that is affordable to the people in the country you’ll be introducing it to. In addition,

• It must be a consumer product ; that is, an item of common or daily use, typically bought by individuals for private consumption.
• It must be a product consumers can purchase in brick-and-mortar stores.
• Although the product you choose may already be available in the country, your goal is to find one that is not already easily available in the country .
• It cannot be a product consumers rent or that they must subscribe to, such as a meal service.
• It cannot be for commercial use only.

Country selection, Track 2 : The country you use for the report must be one you have never visited, are not from, do not have any cultural ties to, have any relatives from, or know very much about.

How does it work?

In just three pages, students must develop a complete pitch that’s designed to convince investors (Track 1) or their CEO (Track 2) to adopt their product or idea. They build a credible argument by using library resources and careful paragraph development. The paper requires them to carefully analyze the potential market characteristics as well as any competitors, and to use color to engage the reader. The skills they develop in this project are easily transportable to work assignments once they graduate.

What do students say?

“The Concept Paper was a very informative assignment. It was the combination of a research paper and a corporate pitch/report, which worked to mimic potential assignments I will have once I graduate and get a corporate job. I particularly liked that my research was catered towards a specific audience, which led to it being more refined and avoiding any unnecessary information.” – Student Response

Student Artifact: 

This paper, pitching a new product idea, engages the audience with color and in the first paragraph with an attention-getting opening. They use bullet points and numbered lists to draw the reader’s eye and to quickly summarize information. The analysis of the market potential establishes the reach of the product, backed by recent, credible research. In addition, the analysis of the product’s competitors focuses on the product’s advantages over others. The paper is concise, well-written, and well-researched.

Read the full paper here .

Why does this work?

By asking students to choose between two options for their concept paper – either introducing a new product or an old product to a new market – the assignment is essentially asking students to choose their purpose and their audience. This choice can prompt students to think about the relationship between purpose and audience and craft their writing accordingly.

Check out these resources for developing business writing assignments in your communication classes:

• Implementing Student Choice within an Assignment from University of Nebraska-Lincoln
• Business Writing Handout from UNC to help students understand typical expectations for business writing
• This particular assignment asked students to use figures in their writing. Your students might find this resource from the CEWC helpful for using tables and figures.

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‘What’s Next?’ for Anton Dela Cruz: From Creative Writing to Ethical Leadership at UVA Darden

By David Buie-Moltz

As the University of Virginia Darden School of Business prepares to graduate its Class of 2024, Anton Dela Cruz is set to move from a multifaceted career in operations to a strategic role in healthcare consulting. His time at Darden has fueled significant personal growth and a shift toward ethical leadership and community involvement.

Raised in Westchester, New York, Dela Cruz’s academic and professional journey is a testament to his resilience and adaptability. Initially enrolled in an engineering program at Cooper Union, he discovered a stronger pull toward the sciences and nature, leading him to study creative writing at SUNY Purchase. “I realized I was more interested in pure science and studying nature than the design process of engineering,” Dela Cruz explains.

He began an MFA in creative nonfiction at the University of South Carolina, where he shares he was the program’s only person of color and navigated coming out as queer. Although he left the program unfinished, it marked a significant chapter in his development. He then joined The Free Times , an alternative weekly in Columbia, South Carolina, where he managed ad production during a tumultuous change in ownership. “This experience tested our team but also brought us closer together. It made me think deeply about what it means to lead and make ethical business decisions,” he notes.

A turning point in Dela Cruz’s journey was when he listened to a Darden admissions podcast featuring Professor Ed Freeman , the renowned father of stakeholder theory. This encounter solidified Darden as the ideal platform for him to merge his ethical values with his career aspirations.

At Darden, Dela Cruz has excelled academically and as president of Pride at Darden , enhancing visibility and support for the LGBTQ+ community. Supported by the need-based AccessDarden and a merit scholarship, his Darden education has been integral to his professional formation.

His roles, ranging from IT-managed services to consulting in project management and executive coaching, have further shaped his leadership philosophy. “I was supercharged by a good boss and manager who made me feel like I could do the work,” he says.

Looking forward, Dela Cruz is eager to join Guidehouse’s Healthcare Segment. “The decisions made in healthcare consulting have high stakes as they directly impact patient care and access,” he observes, underscoring his commitment to ethical leadership and social impact in a critical sector.

This is part of a four-part series, “What’s Next?” Discover how Darden shapes the future of its graduates and read about other remarkable stories from the Class of 2024, including those about Kate Grusky , Yonah Greenstein and Sharon Okeke .

The University of Virginia Darden School of Business prepares responsible global leaders through unparalleled transformational learning experiences. Darden’s graduate degree programs (MBA, MSBA and Ph.D.) and Executive Education & Lifelong Learning programs offered by the Darden School Foundation set the stage for a lifetime of career advancement and impact. Darden’s top-ranked faculty, renowned for teaching excellence, inspires and shapes modern business leadership worldwide through research, thought leadership and business publishing. Darden has Grounds in Charlottesville, Virginia, and the Washington, D.C., area and a global community that includes 18,000 alumni in 90 countries. Darden was established in 1955 at the University of Virginia, a top public university founded by Thomas Jefferson in 1819 in Charlottesville, Virginia.

Press Contact

Molly Mitchell Associate Director of Content Marketing and Social Media Darden School of Business University of Virginia [email protected]

New Effort Expands National Presence for Prison Education Program Founded at Darden

Stakeholder: How Ed Freeman’s Vision for Responsible Business Moved From Theory to Reality

‘What’s Next?’ for Yonah Greenstein: From the Basketball Court to the Boardroom at UVA Darden

‘What’s Next?’ for Kate Grusky: A Journey of Purpose and Philanthropy at UVA Darden

‘What’s Next?’ for Sharon Okeke: A New Chapter in Investment Banking and a Journey of Growth at UVA Darden

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Summer guide to the arts at the U

By Brittney Bomnin Garcia [email protected] 05-16-2024

The summer months bring a change of pace to the University’s campuses, including events and programs available to the public. Be sure to check the full calendar of events to stay in-the-know this summer as we take a break from publishing the monthly arts guide.

Learn more about The U Creates —the University’s digital hub for the arts, culture, and creative expression.

VIEW ALL: Bill Cosford Cinema | Center for the Humanities | Jerry Herman Ring Theatre | Frost School of Music | Lowe Art Museum | School of Architecture | University Libraries | UM Art Galleries

Saturday, May 18, 10:30 a.m. | in person, free event

Family Art Workshop: Spanish Musical Storytime with Imago

Experienced artists and/or curious beginners can join the Lowe Art Museum for an artmaking experience working with various mediums, colors, and techniques. Part of a monthly program designed for intergenerational groups, this family workshop has been developed in collaboration with Imago Por Las Artes, facilitated by Adriana Díaz from Marimba Music for Kids, and Trina Oropeza from Imago Por Las Artes. Register for the workshop .

Lowe Art Museum, 1301 Stanford Drive, Coral Gables, FL 33146

On view through Friday, May 31 | in person, free entry

Mariana Espindola: ‘Saudade’

Created by Mariana Espindola, Master of Fine Arts candidate, “Saudade” presents a documentation of the artist’s experience with death, grief, the loss of her father, and the changing dynamics of her family. The exhibition is a series of large-scale photographs, along with three narrative photobooks and a circular photo-based sculpture depicting landscapes, people, and fabric. By showcasing the works in the exhibition, Espindola hopes to create an opportunity for people to understand the realities of the grieving process as well as a space where viewers may feel comfortable discussing their own sentiments. Learn more .

University of Miami Wynwood Gallery, 2750 NW Third Ave., Suite 4, Miami, FL 33127

Sunday, June 9, through Sunday, June 16 | in person, purchase tickets

Frost Chopin Festival

The sixth annual Frost Chopin Festival brings unforgettable world-class music performances to the University’s Maurice Gusman Concert Hall and Newman Concert Hall. Guests will experience leading artists performing alongside rising star virtuoso students of the Frost Chopin Academy. 

All attendees are invited to sit in enlightening workshops. The finale concert will shed a spotlight on Chopin’s works with orchestral accompaniment, where the concerto competition winners will perform with an orchestra led by David Kim, New York Philharmonic concertmaster and violinist.

Maurice Gusman Concert Hall, Frost School of Music, 1314 Miller Drive, Coral Gables, FL 33146

Newman Recital Hall, Knight Center for Music Innovation, 5513 San Amaro Dr, Coral Gables, FL 33146

Classic and modern films at the Bill Cosford Cinema

Sundays at 1 p.m. through Aug. 11.

Selected films will explore different facets of culture, race, humor, history, and the art of filmmaking. Tickets are $5 per screening. University students can use the code UMSTUDENT at checkout and present a valid CaneID at the door to gain free admission to each screening. View the calendar and purchase tickets .

• June 2 - True Love (1989)
• June 9 - Umberto D. (1952)
• June 16 - Rumble Fish (1983)
• June 23 - The Handmaiden (2016)
• July 14 - Nights of Cabiria (1957)
• July 21 - Playtime (1967)
• July 28 - City of God (2002)
• Aug. 4 - Wild at Heart (1990)
• Aug. 11 - Diva (1981)

Bill Cosford Cinema, Dooly Memorial 225, 5030 Brunson Drive, Coral Gables, FL 33146

Explore exhibitions at the Lowe Art Museum

June 21 through Sept. 14 | in person

‘A Collector's Journey: Susan Grant Lewin and the Art Jewelry World’

Preeminent collector Susan Grant Lewin traces her passion for art jewelry back to her work in the 1980s and 1990s as a journalist and communications executive. Author of one of the premier books on then-rising American jewelry artists, Lewin has followed the careers of these artisans as well as those of their international counterparts and emerging talents for four decades. Although it is not the only exhibition to feature Lewin’s impressive holdings, this exhibition is the first to survey Lewin’s long-standing commitment to this phenomenon, which has evolved from isolated pockets of artists creating conceptual, mostly wearable statements made from mundane materials into today’s global movement. Find out more about the exhibition .

‘She's a Knockout: Sport, Gender, and the Body in Contemporary Art’

This exhibition features works by eleven contemporary artists from around the globe to explore how they engage with topics such as resilience, strength, labor, women’s rights, and queer aesthetics through athletic imagery. It also queries preconceived notions of femininity through a range of conceptual approaches, be they celebratory, humorous, or critical. Learn more about the exhibition .

Register to attend the opening reception for both exhibitions on Thursday, June 20. 

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