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2018/19

EC138:Introduction to Environmental Economics

2025/26

EC9D8:Foundations of Data Science in Economics

Introduction

Analyses in all fields of Economics nowadays make frequent use of large and detailed datasets ("big data"). The explosion in data access and availability opens many opportunities for applied research, as well as new challenges on how to handle, process, and extract meaningful conclusions from the data. The aim of the module is to introduce students to the R and Python programming languages and basic concepts of data science; and to provide and "hands-on" experience with economic data. The module lays the foundation to more advanced materials.

Module Aims

The primary aim of the module is to introduce students to the analytical tools of data science provided by the R and Python computing languages. It builds computer coding skills from the basic principles, and covers methods to acquire, process and manipulate large volumes of data, often obtained from the web. Data visualisation methods are also presented.

By the end of the module, students should feel comfortable with collecting, visualizing and presenting both structured and unstructured datasets. This should include using multiple programs/languages, depending on their application of interest, including Excel, R and Python. They should be aware of the advantages/disadvantages of each package and applications of each one.

2019/20

EN107:British Theatre Since 1939

The module will serve both as an introduction to contemporary theatre and as a first investigation of the relationship between literary texts and the conditions of performance. Major plays of the period will be studied in their own right but also as examples of trends and developments in the period. Design, theatrical architecture, performance styles, organisations and repertoires will be studied, with special attention to assumptions concerning the social role of the drama. Where possible, texts will be related to specific productions. Writers studied will normally include: John Osborne, Arnold Wesker, Samuel Beckett, Harold Pinter, Edward Bond, Caryl Churchill, Brian Friel.

It wasn't until director Dominic Cooke arrived at Warwick University in 1985 that he began to understand theatre's capacity to be both a political and a moral force. Fittingly enough, it was the Royal Court that seized his attention:

"We did this brilliant course, which was basically all about the Court – about the shift from T. S. Eliot's The Cocktail Party to Look Back in Anger, right through Wesker, Bond, all those writers. Plays that really engaged, which were asking questions."'

Dominic Cooke, Artistic Director of the Royal Court Theatre (Guardia

Uncategorised

EN124:Modes of Writing: An Introduction

2019/20

EN124:Modes of Writing: An Introduction

2020/21

EN2B3:Drama and Democracy

Drama is the most public literary form - at many points in history the most immediately engaged in social change. Dublin's Abbey Theatre, Cape Town's Space Theatre, and New York's Cherry Lane Theatre are among the many sites that have played a major part in defining national identities at times of crisis and have been platforms for protest.

This module looks at major English-language plays written since the beginning of the twentieth century. We shall examine theatre in Ireland, South Africa, and the USA to investigate some of the ways writers have dramatised political, racial, class, and gender issues and have tried to foster a sense of community and intervene in history. Developments in theatrical form will be studied as vehicles for ideas. The work of designers, directors, and actors will be considered alongside the texts. At the heart of the module is the shifting relationship between theatre and social change.

SYLLABUS

TERM 1

Ireland

Week 1: Introduction. Types, Stereotypes, Myths and Two Histories of Ireland. Dion Boucicault, The Colleen Bawn (1860); W. B. Yeats and Lady Gregory, Cathleen ni Houlihan (1902)

Week 2: Sean O'Casey, The Shadow of a Gunman (1923) and The Plough and the Stars (1926)

Week 3: Frank McGuinness, Observe the Sons of Ulster Marching Towards the Somme (1986) and Sebastian Barry, The Steward of Christendom (1995)

Week 4: Anne Devlin, Ourselves Alone (1985) and Marina Carr, By the Bog of Cats (1998)

Week 5: David Ireland, Cyprus Avenue (2016)

Week 6: Reading week

South Africa

Week 7: Athol Fugard, John Kani, and Winston Ntshona, Sizwe Bansi is Dead (1972); The Island (1973)

Week 8: Athol Fugard, Statements After an Arrest (1972); 'Master Harold'... and the Boys (1982)

Week 9: Mbongeni Ngema, Sarafina! (1985), Janet Suzman, The Free State: A South African response to Chekov's The Cherry Orchard (2000)

Week 10: Mongiwekhaya, I See You (2016)

TERM 2

USA

Week 1: Eugene O'Neill, The Hairy Ape (1922) and All God's Chillun Got Wings (1924)

Week 2: Arthur Miller, The Death of a Salesman (1949) and Lorraine Hansberry, A Raisin in the Sun (1959)

Week 3: Tennessee Williams, A Streetcar Named Desire (1947)

Week 4: Arthur Miller, The Crucible (1953)

Week 5: James Baldwin, Blues for Mister Charlie (1964); Amiri Baraka, Dutchman (1964)

Week 6: Reading week

Week 7: Ntozake Shange, for colored girls... (1976); August Wilson, Ma Rainey's Black Bottom (1982)

Week 8: Tony Kushner, Angels in America: Millennium Approaches(1991) and Tarell Alvin McCraney, The Brothers Size (2015)

Week 9: Anne Washburn, Mr. Burns (2012); Lynn Nottage, Sweat(2015)

Week 10: Branden Jacobs-Jenkins, An Octoroon (2014); Lin-Manuel Miranda, Hamilton (2015)

PRIMARY TEXTS

It is essential for all students to bring copies of the week's readings (book, hardcopy printout, or laptop/e-reader) to seminar. Find more information here.