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Faculty of Humanities

Programme book 2019

Media, Art and Performance Studies

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PROGRAMME BOOK Media, Art & Performance Studies

Utrecht University 2019-2020

Table of Contents 1. WELCOME ............................................................................................................................... 3 2. INTRODUCTION TO THE PROGRAMME ................................................................................................ 4 3. WHO IS WHO? .......................................................................................................................... 6 3.1 Coordinator of the Programme ............................................................................................ 6 3.2 Core Teaching Staff........................................................................................................... 6 3.3 Mentor and Study Advisor ................................................................................................ 12 3.4 Curriculum Committee ..................................................................................................... 12 3.5 Board of Examiners ......................................................................................................... 13 3.6 Partner Organisations ...................................................................................................... 13 3.7 Study Associations .......................................................................................................... 13 3.8 Career Services .............................................................................................................. 14 3.9 International Office ......................................................................................................... 16 3.10 Student Information Desk ..................................................... Error! Bookmark not defined. 3.11 Student Services........................................................................................................... 17 3.12 Student Psychologist ..................................................................................................... 17 4. IMPORTANT DATES AND DEADLINES ............................................................................................... 18 4.1 Academic calendar .......................................................................................................... 18 4.2 Course Enrolment ........................................................................................................... 18 4.3 Graduation .................................................................................................................... 19 5. PROGRAMME INFORMATION ......................................................................................................... 20 5.1 Programme outline ......................................................................................................... 20 5.2 Courses ......................................................................................................................... 21 5.3 Internship ..................................................................................................................... 26 5.4 Studying Abroad ............................................................................................................. 29 5.5 Thesis ........................................................................................................................... 30 5.6 Career Orientation .......................................................................................................... 34 5.7 Policies and Procedures ................................................................................................... 35 6. PRACTICAL INFORMATION ........................................................................................................... 37 6.1. Study Delay .................................................................................................................. 37 6.2. Workshops ................................................................................................................... 37 6.3. Graduation ................................................................................................................... 37 6.4. Solis-ID ........................................................................................................................ 38 6.5. Osiris ........................................................................................................................... 39 6.6. UU Gmail ...................................................................................................................... 39 6.7. Blackboard ................................................................................................................... 39 6.8. MyUU app and MyTimetable ............................................................................................ 39 6.9. WiFi ............................................................................................................................. 39 6.10. Library ....................................................................................................................... 40 6.11. Course evaluations ....................................................................................................... 40 6.12. Locations .................................................................................................................... 41 7. GETTING AROUND.................................................................................................................... 42 7.1 Utrecht ......................................................................................................................... 42 7.3 Housing......................................................................................................................... 43 8. LINKS .................................................................................................................................. 44



1. Welcome Dear all, Welcome to the Research Master Media, Art and Performance Studies. Here you will be trained to become an inspired and inspiring researcher in the fields of media, art, performance, film, theatre, mobile and urban interfaces, site-specific performance, digital archives, performance and installation art, contemporary video art or the intersections of these. As diverse as the courses and the topics addressed within this programme may be, this programme book is an eye in the storm of information to which you can return to find all information that you might need to support you in your journey through Media, Art and Performance Studies. In this guide, you will be able to find practical information about the programme and its teachers, the courses, our partners, but also extra information on study associations, the city of Utrecht, the University of Utrecht in general, and more. On the student website at, you can find most information about our programme, ranging from an overview of courses and policies and procedures, to practical links you need for course registration, the library or your student email. You can use this booklet as a point of reference to return to – or read it once very carefully and memorize it all! This is your student companion: inviting you to use this information when you need it, while allowing you to focus on your research, rather than on the complex web of University bureaucracy. On behalf of the teaching staff of Media, Art & Performance Studies, I wish you all the best for the coming two years. I am sure you will all find your own paths of ups and downs, twists and twirls that will bring you further in your academic career, but should any questions arise that are not answered in this programme book, feel free to always contact me. Enjoy your studies!

Nanna Verhoeff, Programme coordinator



2. Introduction to the Programme This Research Master's programme in Media, Art and Performance Studies is an interdisciplinary and internationally oriented research-based programme, which offers an advanced training in academic research skills appropriate to investigate today's highly dynamic and interdisciplinary field of media, visual arts and performance. Contemporary media, art and performance increasingly play with, and transcend disciplinary boundaries. Intermedial and performative practices both produce and critically investigate cultural transitions in today’s mediatized and performative culture. Such synergies invite to explore how emerging forms of media, art and performance – while historically and culturally embedded - interact with and relate to social and cultural transformations. As a student of this programme, you will be introduced to, and specialise in new research areas and theories, necessary for investigating emerging media, performance and contemporary art forms within today's rapidly changing culture. In relation to this you will also reflect on the role of the Humanities in both academic and public debates. Central concerns in this programme are, amongst others: the role and meaning of (visual) media in a mediatised society, inter- and transmedial practices in theatre, dance, film, television, digital media and visual arts; spectator- and usership, the performative turn in contemporary arts and media; technology, materiality and corporeal literacies; the digital turn in audio-visual heritage and art; game, play and (h)activism; changing institutions, mobile and/or location-based media, urban interfaces, navigational screen-based practices; art and media ecologies. In this age of selfies, datafication, (self-)staging and re-staging, and playful learning, you will examine how various media, art forms, and performance have been used for critical analysis, civic engagement, entertainment and educational purposes. You will do this by asking how digital technologies, dramaturgical and artistic strategies alter ways of dealing with knowledge production and distribution, and how these transitions have contributed to, and ask for new methods and strategies of research. We approach this broad field from a range of comparative and intermedial perspectives, focusing primarily on the dynamics of change and exchange between media, contemporary arts and performance within a culture and society in transition. In this programme, you will reflect on questions such as how media have developed from the times of early cinema up to current new media art; how the definition of 'live' has changed alongside these mediatised cultural forms. How has the performative turn changed the ways we think about audiences? How do media technologies facilitate new strategies of self-staging and social performance? What is the influence of media and technology in the way we curate and educate in museums, archives, schools and other cultural and educational institutions? How can practice-based research contribute to theory-based research? This Research Master will train you as a researcher within the field of Media, Contemporary Art and Performance Studies, to either prepare you for a PhD position, or for research-oriented positions in professional contexts of cultural institutions such as archives, museums, art institutions, theatres, for education, (non-)governmental organisations, or in creative industries. After completing the programme: •

you have acquired knowledge of the history as well as the state of the art in media, visual art and performance practice and research, as well as insight in current public, academic and critical debates; you will know how to employ an intermedial and (historically-informed) comparative approach for studying emergent media, art and performance practices, and how to use and develop research methodologies related to this perspective;



• • •

you will have the skills to critically investigate relations and transitions in the field of media, art and performance and are trained to communicate research outcomes to fellow researchers and other professionals, as well as to a general audience; you are equipped with the advanced knowledge level and research skills necessary to participate in the academic and professional field; you will have the ability to effectively communicate theoretical insights that will contribute to the field, as well as having broader social and cultural relevance; you are able to reflect upon the social and ethical implications of developments within the field of media, art and performance and contemporary humanities research.



3. Who is who? 3.1 Coordinator of the Programme Dr. Nanna Verhoeff (see below)

3.2 Core Teaching Staff This is the core teaching staff of our programme. You will be able to meet and work with additional teachers during electives and tutorials. Prof. Dr. Maaike Bleeker Muntstraat 2-2a Room 2.03 3512 EV UTRECHT Phone: +31 30 253 6237 E-mail: Biography Maaike Bleeker’s research focuses on processes of perception and meaning making in performance, dance, theatre and the arts, as well as in science and in public life. She combines approaches from the arts and performance with insights from philosophy, media theory and cognitive science. She has just finished a book manuscript about movement, media and embodied thinking (Corporeal Literacy: Movement. Media and Thinking (in) Motion) and is preparing work on contemporary dramaturgy (together with dramaturge Janine Brogt), resistance to representation (about among others the work of Rabih MrouÊ, Hotel Modern and Milo Rau), and posthuman approaches to knowledge transmission. She was partner in the international research project New Media Dramaturgies and is currently international partner in research projects about Social Robotics, Spectacular Astronomy, posthuman performativity (Rock-Body), digital archiving of artistic work, and artistic creation processes. Her monograph Visuality in the Theatre was published by Palgrave (2008). She (co)edited several volumes including Anatomy Live. Performance and the Operating Theatre (2008), Performance & Phenomenology (Routledge 2015), and Transmission in Motion. The Technologizing of Dance (Routledge, 2017). Courses State of the Art: Transformations in Media, Art & Performance Studies Research Lab Media, Art & Performance Studies Emerging/Transforming Media, Art & Performance Corporeal Literacy tutorials Dr. Rick Dolphijn Muntstraat 2-2a Room T112 3512 EV UTRECHT

E-mail: Biography Rick Dolphijn is Associate Professor at the Department of Media and Culture Studies. Rick is interested in the contemporary both in theory and in the arts. He holds an Honorary Associate Professorship at the University of Hong Kong and is a regular guest at post-academic art institutes in and around the Netherlands. He is interested in material culture and Posthumanism, and always enjoys working with



the concepts of Gilles Deleuze, Felix Guattari and Michel Serres, as they resonate between thought and creativity. Among his books are Foodscapes (2004); New Materialism (with Iris van der Tuin, 2012); This Deleuzian Century (ed. with Rosi Braidotti, 2014); Philosophy After Nature (ed. with Rosi Braidotti, 2017). Recently he published Michel Serres and the Crises of the Contemporary (Bloomsbury 2019, ed.) Forthcoming is The Cracks of the Contemporary; a meditation on art, philosophy and the earth. He is involved as a P.I. in the HERA project Foodscapes (2019-2022). Courses tutorials Dr. Karin van Es Drift 13 Room 0.01 3512 BR Utrecht Phone: +31 30 253 9607 Email:

Biography Karin van Es is Assistant Professor at the Department of Media and Culture Studies and coordinator of the Datafied Society research platform. Her work has been published in outlets such as Media, Culture & Society, Television & New Media, M/C Journal and First Monday. Her book, based on her PhD project, The Future of Live (Polity Press, 2016) tackles the concept of the ‘live’ in the social media era. With Mirko Tobias Schäfer she is co-editor of The Datafied Society: Studying Culture through Data (Amsterdam University Press, 2017). Her current research is in the field of critical data studies and focuses on data visualization, tool criticism and the platformization of society. Courses Data-Driven Research and Digital Tools for Media, Art and Performance Studies tutorials Dr. René Glas Muntstraat 2-2a Room 1.06 3512 EV UTRECHT Phone: +31 30 253 9607 E-mail: Biography René Glas is Assistant Professor at the Department of Media and Culture Studies and works on new media and digital culture. Coming from film and new media studies, his current primary field is game studies. He teaches and writes about game culture and history, fan and participatory culture, play as methodology, deviant play, transmedia and critical media literacy. Glas is a founding member of Utrecht University’s Center for the Study of Digital Games and Play. His book Battlefields of Negotiation: Control, Agency, and Ownership in World of Warcraft was published by Amsterdam University Press in 2012. He is co-editor of The Playful Citizen: Civic Engagement in a Mediatized Culture (AUP, 2019) and was recently involved in the research project The Preservation of Digital Games as Dutch Cultural Heritage in collaboration with the Netherlands Institute for Sound and Vision. Courses Rules of Play (elective) tutorials



Dr. Ingrid Hoofd Muntstraat 2-2a Room 1.06
 3512 EV UTRECHT Phone: +31 30 253 0000 Email: Biography Ingrid is Assistant Professor in the Department of Media and Culture at the Humanities Faculty of Utrecht University, the Netherlands. Her research interests are issues of representation, feminist and critical theories, philosophy of technology, game studies, and information ethics. She is the author of Higher Education and Technological Acceleration: The Disintegration of University Teaching and Research (Palgrave, 2016), and Ambiguities of Activism: Alter-Globalism and the Imperatives of Speed (Routledge, 2012). Her research analyses the ways in which alter-globalist activists, as well as left-wing academics, mobilise what she calls 'speed-elitist' discourses and divisions in an attempt to overcome gendered, raced, and classed oppressions worldwide. These analyses outline the accelerated tensions and relationships between various new technologies (electronic games, e-learning platforms, and social media) and activist-academic moral imperatives from a critical-cultural and deconstructionist perspective. Courses tutorials Dr. Liesbeth Groot Nibbelink Muntstraat 2-2a Room 2.02 3512 EV UTRECHT Phone: +31 30 253 6527 E-mail: Biography Liesbeth Groot Nibbelink is Assistant Professor at the Department of Media and Culture Studies and is a teacher and researcher in theatre and performance studies. She is the author of Nomadic Theatre: Mobilizing Theory and Practice on the European Stage (Bloomsbury 2019) Her research interests involve spatial theories for performance analysis; scenography and dramaturgy; new materialism, and interdisciplinary and performative research methods. Liesbeth is co-founder of Platform-Scenography (transdisciplinary research platform) and also involved as a researcher in various projects of FIT (Festivals in Transition), supported by Creative Europe. She has published in Performance Research, Contemporary Theatre Review, in Intermedial Performance and Politics in the Public Sphere (ed. Arfara et al 2018) and in Mapping Intermediality in Performance (Bay-Cheng et al. 2010). Courses Ecologies of Curation (elective) tutorials Dr. Chiel Kattenbelt Muntstraat 2-2a Room 1.07 3512 EV UTRECHT Phone: +31 30 253 6524 E-mail:



Biography Chiel Kattenbelt is Associate Professor at the Departement of Media and Culture Studies and specializes in intermediality and media comparison. Chiel is co-founder and former convener of the international research working group Intermediality in Theatre and Performance under auspices of the International Federation for Theatre Research (IFTR). Since 2012 he is a board member of the newly founded International Society for Intermedial Studies (ISIS). In teaching as well as in research, his fields of interest are theatre and media theory, intermediality and media comparison, and aesthetics and semiotics. Courses Between Media, Art and Performance tutorials Prof. Dr. Frank Kessler Muntstraat 2-2a Room 2.07 3512 EV UTRECHT Phone: +31 30 253 6388 E-mail: Biography Frank Kessler is Professor of Media History and a specialist in early cinema. He is interested in the technological and cultural constellations in which media and media forms emerge and the kind of dispositifs they give rise to. From 2010 to 2014 he conducted the research project ‘The Nation and Its Other’ ( which was funded by the Dutch National Research Organisation NWO. From 2015- 2018 he led the European project ‘A Million Pictures: Magic Lantern Slide Heritage as Artefacts in the Common European History of Learning’ ( From 2014-2018 he also participated in the international project ‘Deceptive Arts: Machines, Magic, Media’ ( Since January 2018 he is involved as an external partner in the Belgian Excellence of Science project ‘B-Magic: the Magic Lantern and Its Cultural Impact as a Visual Mass Medium in Belgium’ ( Since September 2018 he is the leader of the NWO-funded project “Projecting Knowledge – The Magic Lantern as a Tool for Mediated Science Communication in the Netherlands, 1880-1940” ( ) In line with these projects, he is particularly interested in the role played by visual media in the transmission of knowledge in the period 1850-1920, and in the various uses of tricks, animation techniques, and special effects in film from the 1890s until today. He also is the co-founder of the journals Montage AV and KINtop. Jahrbuch zur Erforschung des frühen Films. Courses State of the Art: Transformations in Media, Art and Performance Studies Research Lab Media, Art and Performance Studies Histories, Archaeologies, Archives (elective) tutorials Dr. Michiel de Lange Muntstraat 2-2a Room T2.13A 3512 EV Utrecht Phone: +31 30 253 8300 E-mail: Biography Michiel de Lange is an Assistant Professor at the Departemnt of Media and Culture Studies,; co-founder of The Mobile City, a platform for new media and urbanism; advisor e-culture at Mediafonds. he studies



(mobile) media, urban culture, identity and play. Currently he is a researcher in the NWO Creative Industries funded project ‘The Hackable City’, investigating how digital media shape the future of city making. In 2010 Michiel completed his PhD dissertation Moving Circles: Mobile Media and Playful Identities at the Erasmus University of Rotterdam (Faculty of Philosophy). It is about the way mobile media technologies shape personal and cultural identities in the city. De Lange is trained as a cultural anthropologist (MA, University of Amsterdam), and studied Industrial Design and Management at the TU Delft. He regularly speaks and organizes events about media technologies in the city. Michiel is also a member of the interdisciplinary research group [urban interfaces] ( Courses Urban Interfaces (elective) tutorials Prof. Dr. Eggo Müller Muntstraat 2-2a Room 2.10 3512 EV UTRECHT Phone: +31 30 253 8174 Email: Biography Eggo Müller is Professor of Media and Communication. Eggo was coordinator of the EUscreenXL project with partner organisations in 22 different European countries. This project has developed technologies and metadata standards to provide access to European Television heritage online on ( and to facilitate online search of European television heritage in the European Digital Library ( European History Reloaded is his current European project investigating users' engagement with audiovisual heritage online ( His research and teaching center on television in transition, new screen cultures, popular culture, and participatory cultures in the changing media ecology. Current research also includes media as food intermediaries, food communication & cultures, and pathways to sustainable and healthy food systems. At Utrecht University, his projects are attached to the strategic research themes Pathways to Sustainability (research hub Future Food) and Institutions for Open Societies. Students interested in any of these topics are welcome to apply for an RMA-tutorial in one of these areas. Also students interested in a research internship linked to one of these projects/topics are welcome to send an email to Eggo. Courses tutorials Prof. Dr. Joost Raessens Muntstraat 2-2a Room 2.09 3512 EV UTRECHT Phone: +31 30 253 6270 Email: Biography Joost Raessens is Professor of Media Theory. His research concerns the ‘ludification of culture,’ focusing in particular on persuasive, serious, or applied gaming (in relation to global issues such as climate change, refugees/migration), on the playful construction of identities, and on the notion of play as a conceptual framework for the analysis of media use. Raessens is book series editor of Games and Play (Amsterdam University Press), editorial board member of Games and Culture (SAGE) and member of the Council for the Humanities (KNAW). He was the conference chair of the first Digital Games Research Association conference Level Up in Utrecht ( Raessens is project leader of the NWO research project Persuasive Gaming: From Theory-Based Design to Validation and Back ( and coordinator of the Utrecht University research focus area Game Research (



Courses tutorials Prof. Dr. Eva-Maria Troelenberg Drift 15 Room 1.02 3512 BR UTRECHT Phone: +31 30 253 4239 Email: Biography Eva-Maria Troelenberg is Professor of Modern and Contemporary Art at the Department of Art History. Her main fields of interest include: cultural exchange and the larger modern Mediterranean; canon and canon critique; museum theory and the history of collecting and exhibitions in a cross-cultural context; the historiography and reception of Islamic art and Islamic aesthetics in the colonial and postcolonial age; migrations, object-biographies and cross-cultural heritage. Prof. Troelenberg is available for tutorials and can be approached for thesis supervision. Courses tutorials Dr. Nanna Verhoeff Muntstraat 2-2a Room 1.07 3512 EV UTRECHT Phone: +31 30 253 8244 Email: Biography Nanna Verhoeff is Associate Professor at the Department of Media and Culture Studies. She specialises in comparative analysis of emerging media, with a key interest in contemporary transformations in screen and interface culture. She has published on early cinema, mobile screens, installations, locative media, and urban media. Her current research focuses on navigation and mobility, performative technologies, urban interfaces, (mobile) screens and installations, and location-based arts and media. She is initiator of the interdisciplinary research group [urban interfaces] that brings together researchers that investigate location-based media, art and performance in urban, public spaces ( For possibilities to do a research internship with [urban interfaces] or partner organizations, you can contact Nanna. Courses State of the Art: Transformations in Media, Art and Performance Studies (course coordinator) Research Lab Media, Art and Performance Studies (course coordinator) Emerging/Transforming Media, Art & Performance Urban Interfaces (elective) tutorials Dr. Stefan Werning Muntstraat 2-2a Room 1.08 3512 EV UTRECHT Phone: 030 253 9982 Email:



Biography Stefan Werning is assistant professor at the Department for Media and Culture Studies and specializes in new media and game studies. Stefan is the founder the Utrecht Game Lab and co-coordinator of the graduate programme Game Research. While completing his PhD thesis on game technologies and concepts in the military entertainment complex, Stefan worked in the digital games industry, most notably at Codemasters (2005) and Nintendo of Europe (2007-2009) in Germany. Since completing a DAAD-funded visiting scholarship at MIT, he has been a fellow of the Convergence Culture Consortium. Stefan’s book on media start-ups and the economization of digital culture is currently in press at Amsterdam University Press. Other areas of expertise include digital game studies (particularly the combination of theoretical and practical approaches), software studies, media comparison and the implications of economic transformations on media use. Courses Humanities Today Play, Perform, Participate Game Lab (tutorial)

3.3 Mentor and Study Advisor Your mentor will be assigned to you at the beginning of the first course period. He/she will be your go-to person with questions about your study progress, your choices of electives and decisions about going abroad or following an internship. Next to the Study Advisor (see below), you can also contact your mentor in case of academic or personal problems that interfere with your studies. During the introduction week before start of the first course period you will meet your mentor. In the following first weeks in the first course period you will make an individual appointment with your mentor to discuss your plans and ambitions. In addition to your mentor you may also consult with the general student advisor, responsible for the Research MA programmes in the Faculty of the Humanities: Eveline Eckelboom Muntstraat 2-2a Room 0.08 3512 EV UTRECHT

Phone: 030-253 6062 Email:

Eveline’s phone consultations are on Wednesdays 10.00 – 11.00 Walk-in consultations (without appointment) are on Wednesdays 11.00 – 12.00 Both phone and walk-in consultations are meant for short questions. In case you require more time (30 minutes), first make an appointment via Student Desk. Phone: 030-253 6285 Email:

3.4 Curriculum Committee Curriculum committees are representative bodies comprised of both students and teaching staff. The committee is responsible for advising on the Education and Examination Regulations (EER) and its annual evaluation, for monitoring the quality of education and for addressing problems that might arise. They advise the Board of the study programme and the Dean of the Faculty of Humanities on all teachingrelated matters.



Student opinion plays a key role in the tasks of the curriculum committees. Through programme evaluations and course evaluations, curriculum committees review academic matters. Half of the committee is comprised of students. Do not hesitate to contact the student representative of your programme if you have an issue that you think should be addressed. For the names of current student representatives in the committee, please contact Nanna Verhoeff.

3.5 Board of Examiners The Board of Examiners is responsible for ensuring the quality of interim and final examinations and objectively determining whether a student has passed the final exam. The Board draws up regulations and guidelines for assessing the results of interim and final examinations (see below, 5.7) In addition, the Board issues diplomas, handles possible cases of fraud or plagiarism, and evaluates requests for delaying graduation and exemption or approval of non-standard units. In case you want to submit a request for approval of courses taken outside this Master’s programme or for an exemption from certain parts of the programme, please contact this board. More information on approval and exemption can be found on the student’s website at: Members of the Board of Examiners • Dr. Els Rose (chair) • Dr. Daniel Janssen (external member) • Dr. Chiel Kattenbelt • Dr. Marijana Marelj Contact information Board of Examiners Concerning: RMA Media, Art & Performance Studies Drift 10 3512 BS UTRECHT

3.6 Partner Organisations Utrecht University research projects & groups Datafied Society GAP: Centre for Digital Games and Play MIRACLE: moving image & screen studies Theatre Studies Transmission in Motion Utrecht Centre for Media Research Utrecht Game Lab [urban interfaces]

National research schools Research School for Media Studies (RMeS) Netherlands Institute for Cultural Analysis (NICA)

Network Cultural organizations we work with include: Basis voor Actuele Kunst (BAK) Beeld en Geluid (Netherlands Institute For Sound and Vision) Casco: Office for Art, Design and Theory Community Arts Festival Connecting Cities EYE Dutch Game Garden Film Institute



FIBER festival Holland Animation Film Festival (HAFF) Het Huis IMPAKT festival International Film Festival Rotterdam (IFFR) Nederlands Filmfestival (NFF) SPRING festival Stedelijk Museum Amsterdam Theater Kikker Van Abbemuseum Eindhoven Open! Platform for Art, Culture and the Public Domain V2 Institute for the Unstable Media Worm WAAG Society Institute for art, science and technology

3.7 Study Associations Facebook page The MAPS page: The MAPS student group:

The Utrecht University Humanities Graduate Conference Every year, together with PhD candidates within the faculty, students from the various Research Master programs within the humanities can participate in the organization of a conference with a specific theme. For more information, see Junctions: Graduate Journal of the Humanities Founded as a journal for the proceedings of the Humanities Graduate Conference, Junctions is an open access peer-reviewed academic graduate journal that serves as a forum for multi- and interdisciplinary discussions across the Humanities, providing graduate students with the opportunity to disseminate their research to a diverse audience of peers and professionals. If you are interested in contributing, enforcing the editorial team,

contact LinkedIn: Media, Art and Performance Studies Student and Alumni Network You can join the LinkedIn group for students and alumni: Louis Bonaparte Society The Louis Bonaparte Society is an open society for graduate students and PHD candidates from Research Master programs at Utrecht University. Check their website for more information: Parnassos Parnassos is a cultural center that offers a variety of creative courses. Check for more information.

3.8 Career Services The Faculty of Humanities has its own Career Officer: Sjoer Bergervoet. You can contact her for questions regarding your future, for practicing a job interview, or go over your resume. An appointment can be scheduled at the Student Information Desk. Career Services also offers help on the road to the job market through workshops and tests.



Sjoer Bergervoet Drift 10 E-mail: Appointments can be scheduled at the Student Information Desk.

Career Services also offers help to prepare you for the job market through workshops and tests concerning career orientation, networking and applying for a job. Visit for more information. Do the Career Check on to see where you stand in the orientation process. Our programme prepares students for a career within, but also outside of academia. Therefore, we provide you guidance in reflection on their professional self and their career orientation (in or outside of academia) in collaboration with Career Services. In addition to the career information provided in the introduction week you will be provided with two workshops with the aims to: •

stimulate your self-awareness en provide opportunity for peer feedback/intervision;

make the most of your education and achieve personal excellence in or outside the academia after graduation;

help you to translate their learning objectives, learning achievements and personal competences to the professional field;

make your ideas for the future match with present (and future) activities

raise awareness of the skills you have already gained and those that you still need to develop

facilitate contact with alumni from various career and professional fields as role models and workshop mediators

Workshop I: Self-analysis for Career Development & Exploring the Job Market Are you unclear on what kind of job will suit you, what you are passionate about, or what is possible with your educational background? In this workshop, we will explore these questions to find out what is in your wheelhouse. By consciously and actively engaging with these themes, you will find out what it is you really want. An experienced career coach will encourage you to look at different aspects of yourself and your life to extract information for your future. By mapping your interests, capabilities, motives and career values, you will determine what is (most) important to you. After that, we will consider the jobs, organizations and tasks that fit your preferences. The job market outside the academia offers innumerable possibilities. In this workshop, you will learn how to get a better understanding of organizations and positions. You will also learn how to use and improve the networks you belong to. It makes sense to bear your preferences, qualities, and drives in mind as you explore the job market. To do that, you need a clear picture of what criteria your future job should meet. We will look at the ways employers (both in or outside the academia) look for employees, so you can anticipate their need. You will learn how to track jobs and vacancies and how to make use of your network. You will also learn how best to present yourself to prospective employers by preparing a professional pitch. When you complete this workshop, you will better understand how to approach the job market and will be more aware of the potential of your own network. As a result, you will approach prospective employers with greater confidence.



Workshop II: The Art of Application Do you know what is important during job interviews? This workshop will help you understand the employer's perspective and how to play into their needs effectively. In this workshop, we will focus on the interview that you need to do to get a job or internship. You will also learn about the do’s and don’ts of writing your CV and cover letter. For this workshop, it is important that you have a relatively clear idea of what kinds of organizations and jobs appeal to you. In this workshop, you will analyse a vacancy of your choice to assess what an employer is looking for. You will examine how your motivation and experience align with the job. You will also practice your answers to some common job interview questions and will be coached on how to improve your presentation. This practical workshop will help you build confidence for your next application for a job or internship. Afterwards, you can make an appointment with a career officer to practice one-to-one. That practice interview will be recorded on video (if desired) so you can see for yourself how you come across. Career Services workshops might be incorporated in your master programme (ask your coordinator) but you are also welcome to join (other) workshops as an individual, for which you can register at, on the following topics: LinkedIn, writing a curriculum and cover letter, transferable skills, and working consciously & effectively. Career Services also offers several online tests: the career check, work values test, career choice test, personality test, and competence test (; hosts an online vacancy site (; and organizes events such as the Humanities Career Night (, which takes place on, the UU CareersDay ( monthly evenings on Your Perspective: Career Opportunities for Humanities Graduates and twice a year a Curriculum checks and LinkedIn photo shoots. Visit for more information and check your email, blackboard or Facebook- and LinkedIn-groups for announcements.

3.9 International Office If you are considering to go abroad during the first semester of year 1 (profile 3, Across the Border), you will find more information regarding exchange programmes, regulations and preparation at the International office. It is important to start the process of orientation at the start of your programme, as the application deadlines are early on and a lot of paperwork is needed to complete your application. You can find more information on studying abroad on:

3.10 Student Information Desk At the Student Information Desk you can address all kinds of study-related issues, such as course enrolment, time schedules, registration of course results and graduation. You can also make appointments with your student advisor and Career Officer, have your diploma and study results authenticated, and apply for exemptions there. The Student Information Desk can be reached by phone from Monday through Friday from 11.00-12.30 and 13.00-15.00 and the front desk is open from Monday through Friday from 11.00-15.00. The Student Information Desk is also available via WhhatsApp for simple questions from Monday through Friday from 9.00-17.00 at the following number: 0641084538 (please note: this number is only available for WhatsApp). Address Drift 10, 3512 BS Utrecht Phone number (030) 253 6285 E-mail address or



Please clearly state your name and student number in every communication.

3.11 Student Services You can contact Student Services for information and advice. This includes for example issues regarding admission, application and enrolment, tuition fees, financial assistance, having a paid job during your programme, insurance, schemes and facilities for outstanding student athletes, student housing, student organisations and information about studying with a disability or chronic illness. Address: Opening hours: E-mail: Phone number:

Bestuursgebouw, Heidelberglaan 6 (De Uithof) Monday to Friday 10.00 am-16.00 pm (mention your student number!) 030 253 7000 Monday to Friday 10.00-12.00 and 13.00-15.00

3.12 Student Psychologist Utrecht University has two student psychologists: Fokke Dijkstra and Renske Marechal. If you are a Dutch student, you can schedule an appointment yourself (, information in Dutch). If you are an international student, please contact Student Services either by phone or by coming to the desk – not by e-mail - to schedule an introductory meeting. During the introductory meeting, the Student Psychologist will investigate your problem. This will involve focusing on your personal background. Sometimes this initial meeting will be sufficient to assist you with your problem, sometimes more meetings will be required. Either way, the student psychologists are happy to help.



4. Important dates and deadlines 4.1 Academic calendar SEMESTER I start 1st period: Monday 2 September 2019 (week 36) start 2nd period: Monday 11 November 2019 (week 46) Christmas vacation: 23 December 2019 - 5 January 2020 (week 52 en week 1) SEMESTER II start 3d period: Monday 3 February 2020 (week 6) start 4th period: Monday 20 April 2020 (week 17) Non-teaching Days: 14-17 April and 22 May 2020 Reflection Week: 04-08 November 2018, 27-31 January and 06-09 April 2020 HOLIDAYS Christmas & Boxing Day: 25 and 26 December 2019 New Year’s Day: 01 January 2020 Good Friday: 10 April 2020 Easter: 12 and 13 April 2020

King’s Day: 27 April 2020 Liberation Day: 05 May 2020 Ascension Day: 21 May 2020 Whitsun: 31 May and 01 June 2020

4.2 Course Enrolment You register for courses via OSIRIS Student with your Solis-ID, which can only be done during a specific registration period. Once you have correctly enrolled, you will receive a confirmation from Osiris through your Solismail. If you have not received this email, go to the Student Desk for help (Drift 10). Courses are scheduled according to a time-slot model. When two courses take place in the same timeslot, they will conflict in your schedule. Before enrolling, make sure to check the enrolment requirements and the schedule of the courses to avoid overlap. You can enrol in a maximum of three courses per block, although taking two courses per block is the norm.



Course registration: Block 1 and 2 (Semester I) Block 3 and 4 (Semester II)

3 June - 30 June 2019 28 October- 24 November 2019

Change-of-enrolment-days: In case you would like to change your enrolment but the registration period has passed, there is the option of changing your courses shortly before the block starts. This is only possible on change-ofenrolment days, although this is only possible when the course is not yet full. Block Block Block Block

1 2 3 4

19 21 20 30

and and and and

20 22 21 31

August 2019 October 2019 January 2020 March 2020

4.3 Graduation After successfully completing the two-year Research Master programme you will be able to join a ceremony once a year. If you have fulfilled all requirements for the diploma by 31 August, you will receive your diploma during the Graduation ceremony at the Academiegebouw in Utrecht. You will receive an official invitation with the exact time and details a few weeks in advance. For (international) students who must leave the Netherlands before September 1st (and only for this group) an additional ceremony may be held. If this applies to you, please inform the Education Office that you need to take part in this ceremony. Please note that to qualify for this ceremony, your final grades will need to be registered in Osiris by July 31st. In most cases, this means you will need to have your thesis ready for submission to your supervisor by the end of June. If you have any questions about the Graduation Ceremony, please inquire at the Student Information Desk at Drift 10 or check the website.



5. Programme information 5.1 Programme outline RESEARCH MASTER Year 1

Block 1

State of the Art: Transformations in Media, Art and Performance Studies (5EC)

Research Lab Media, Art and Performance Studies (5EC)

Humanities Today (5EC)

Block 2

Body, Mind, Method: Technology, Embodiment, Performativity (5EC)

Data-Driven Research and Digital Tools for Media, Art and Performance Studies (5EC)

Play, Perform, Participate (5EC)

Block 3

Between Media, Art and Performance: Intermedia, Transmedia, Crossmedia (5EC)

Specialization Period*

Specialization Period

Block 4

Emerging and Transforming Media, Art and Performance (5EC)

Specialization Period

Specialization Period

* For the Specialization Period, you can design your own programme according to your individual interests. You can choose to follow elective courses within or outside of our programme, or follow individual tutorials and courses offered by the research schools such as NICA and RMeS. Take into account that research school courses or courses offered by other Universities or programs do not always award the same amount of EC as Utrecht University does per course and do not start and end at the same dates as the blocks end at Utrecht University. Check whether the courses of your choice are open for external students. Discuss this with your mentor in advance, to avoid disappointment. Also note that there is a limit to the number of tutorials you can take. Averaging one per academic year, you can take two tutorials if you chose profile 1 (Specialization) or 2 (Internship), and one if you chose profile 3 (Across the Border). Year 2 Profile 1 ‘Specialization’ Block 1 Specialization ** (30EC) Block 2

Block 3

Thesis (30 EC)



Block 4

Profile 2 ‘Internship’ Block 1 Internship** (15 EC) + courses (15 EC) Block 2

Block 3 Thesis (30 EC) Block 4

Profile 3 ‘Across the Border’ Block 1 Across the Border (30EC) Block 2

Block 3 Thesis (30 EC) Block 4

** Students choosing profile 1 (Specialization) and 2 (Internship) are required to acquire at least 10EC from research school courses in total. Students choosing profile 3 (Across the Border) only need 5EC from research school courses. N.B. For more about the requirements for graduating and the exam regulations see

5.2 Courses I Core Courses State of the Art: Transformations in Media, Art and Performance Studies Block 1 Course description This course introduces and explores a series of core concepts that enable to critically discuss, position and investigate contemporary turns and transitions in the field of media, art and performance studies. We will focus three clusters of concepts that each address questions raised by 1) the proliferation of new technologies and processes of reproduction, digitization, and mediatization, 2) their impact on emergent performative, sensory, and 3) emergent cultural forms, participatory practices, and changing forms of spectatorship. We will explore and reflect on the role of these concepts in current debates and trace their roots in historical theoretical discourse. The course provides you with background knowledge and tools to reflect on the fundamentals of current debates within Media, Art and Performance Studies, and to prepare you for the core research



seminars Play, Perform, Participate and Body, Mind, Method (both in course period 2), and Between Media, Art and Performance (course period 3). Research Lab Media, Art and Performance Studies Block 1 Course description The Research Lab introduces a series of key concerns regarding working with methods and methodologies relevant for doing research within the field of Media, Art and Performance Studies. In collaborative working formats we will: 1) analyze the steps and components of academic research design; 2) reflect on the status of our research objects and the concepts with which we analyze them, and practice making selections and delineating our own research objects; 3) examine the role of different analytical approaches and experiment with this in relation to our own research objects to further explore the relationship between research objects and phenomena, theoretical approaches and analytical concepts. Humanities Today Block 1 Course Description In Humanities Today, students from different ICON Research Master’s programs are invited to explore the current state of the Humanities, the questions, concepts, and methodologies that animate our respective fields. What are some of the common concerns and interests among Humanities disciplines? What are some of the important differences? What can be gained from inter-disciplinary dialogue within the Humanities, and what are some of the major obstacles? What can we learn about our own field by engaging in conversation with students and scholars from other, related fields? Each week is structured around a plenary lecture by one of the core faculty members in the participating RMA programs. In preparation for the lecture we will discuss, in interdisciplinary groups, a series of key texts. Data-Driven Research and Digital Tools for Media, Art and Performance Studies Block 2 Course description In recent years an increasing amount of born-digital and digitized data have become newly available, offering rich opportunities for research with (new) digital tools. As Humanities scholars we need to raise questions about the role and influence of digital tools on the research process, the results and their presentation. In this course, students will critically investigate the role of digital tools for doing research in Media, Art and Performance Studies. In short, they will learn what is called tool criticism. Tool criticism raises questions about digital methodology, and it is an integral reflexive practice interwoven in the academic processes. In this course students will gain knowledge and insight into debates in Digital Humanities on data and algorithmic literacies. They will learn to conduct tool criticism; to analyze how, in Media, Arts and Performance studies research, digital tools affect the user, research process and output. In the end they can professionally communicate their tool criticism to peers. Body, Mind, Method: Technology, Embodiment, Performativity Block 2 Course description This course focuses on emergent practices in media, art and performance with a particular focus on the entanglement of bodies and technologies as one of their prime characteristics. Immersive and interactive environments, haptic interfaces, motion capture technologies – these and other technologies produce body-media-spaces in which communication happens through several sensory modalities at once. In this course, we will focus on the corporeal dimension of these practices and how they draw attention to the ways in which perception is performed and processual, which invites a radical non-dualistic approach to bodies, minds and methods.



Play, Perform, Participate Block 2 Course description The course considers play, performativity and participation as three key terms that reoccur in different constellations within many theories of media and that, taken together, provide an analytical framework that is applicable both to the study of historical and very recent media phenomena. In contemporary culture and society, we use media for playing, performing, and participating in processes of cultural (re)production, citizen engagement and social interaction and the aim of the course is to discuss potential intersections and overlaps between these culturally formative practices Between Media, Art and Performance: Multimedia, Transmedia, Intermedia Block 3 Course description In this course, students will examine the academic debates and concepts with regard to the different ways in which media, art and performance relate to one another, in particular in terms of media combination, transposition and reference. However, many of the key terms are used and conceptualized differently. This goes in particular for three of the key terms, multimediality, transmediality and intermediality, which are used in very broad as well as very specific ways. Most contributions to these debates are developed from the perspective of specific disciplines and only a few discuss these topics on a meta-theoretical level. In the seminar, we will examine the academic debates on media relationships by trying to find out: what are the guiding interests, historical and theoretical perspectives and key issues of the debates; what models of discourse could be distinguished; what are the key concepts; what kind of objects or phenomena are referred to? We will focus on issues of medium specificities, media borders and how in the synergy of media these might be crossed or blurred and result into new modes of making, perceiving and experiencing media. Emerging and Transforming Media, Art and Performance Block 4 Course description In this course we trace the emergence of a radical transdisciplinarity in the arts, media and performance that manifests itself in a blurring of boundaries between the arts, media and performance, and between the arts, media and performance, and other practices like, for example, activism, design, politics, health care, education and science. In this course we explore examples of such emerging practices and meet with people involved in them. The course includes a series of short excursions, meetings and masterclasses with artists, curators and theorists. Part of the program will be organized around the internationally acclaimed SPRING festival in Utrecht where we will meet with the curator and international artists and have a masterclass with the SPRING Festival Fellow. We will also meet with other curators, artists and thinkers and pay visits to other places and performances. Recurring questions will be how these transdisciplinary developments urge a reconsideration of the concepts used to engage with them. Taking as our inspiration Mieke Bal’s observation (in her Travelling Concepts in the Humanities. A Rough Guide) that “While groping to define, provisionally and partially, what a particular concept may mean, we gain insight into what it can do” (11), we will take concepts as our lens on the relationships between our practice as critical theorists and transforming practices in media, arts and performance. We will explore how concepts are explored within artistic practices, how they can become (as Bal puts it) a “third partner” between transdisciplinary practices and critical theorists, and also how a closer look at concepts, what they do and what we do with them, may help us to further understand and define our own role as critical theorists.



II Electives Histories, Archaeologies, Archives Block 1-5 Course description Screens, projections, displays, sound technologies, together with many other aspects of our experience of media, media arts, and performances today do have a history. In this course, students will conduct research into various aspects of this history, either by formulating their own research question within the thematic field defined by the supervisor Students will situate their research within a theoretical and/or historiographic framework, explicitly state their research method and strategy, identify relevant source material in archives and museums, but also in online databases, select, critically analyze and interpret their sources. Students will develop an individual research project in the field of Media, Arts and Performance History within a thematic range defined by the supervisor, formulate a research question, present their theoretical framework, identify and explore relevant source material, conduct a critical analysis of the source material and answer the research question. The individual projects can be connected to current research conducted by the supervisor. The topics that students will work on are the following: Blocks 1 and 3: The Promise of Cinema. Thinking a New Medium. Blocks 2 and 4: Doing Media Archaeology: “Object Genealogies” Rules of Play Block 1 Course description In contemporary media and culture, play is no longer an activity limited to games. Rather, it has become a key characteristic of the use of social media, apps, mobile technology, educational software and so on. Through their design, these media technologies invite, even urge, users to participate playfully. The process of play, however, also involves deviant practices which break, transgress or in other ways defy the rules of play. This results not just in new media practices but also in new forms of contention between users, and between users and producers. To understand play and, in particular, deviant play as essential aspects of contemporary media culture, in this course we aim to examine how these practices challenge the rules in playful participatory media like games but also serious/applied games, pervasive games and gamified media. We will engage with theory and methods from the interdisciplinary field of game studies to study and conceptualize play and deviant play to better understand the playful nature of our increasingly ludic media and contemporary cultural practices. Based on this, we will also examine and discuss counterproductive, a-social, ineffective, unethical and other forms of ‘unruly’ play behavior, which goes on to show the complex nature of play in participatory media and culture. Through this focus, we aim to expose underlying assumptions and ideologies of contemporary playful media culture and see how deviant play might provide more control and agency over these media. Ecologies of Curation Block 2 Course description Ecologies of curation entails the trans- and interdisciplinary study of the interaction between spectators, artworks/performances and the spatial, social and media environments wherein the objects and acts are staged, produced, situated. Taking the etymological roots of curating as ‘care-taking’ into account, we will explore how curators can and should respond to transformational practices that increasingly cross and bend institutional borders. How does curating produce the type of ecologies in which media, contemporary art and performance projects can perform their potential, and where acts of mediation, interfacing or staging function as accelerators of the perceptual and performative strategies that are embedded in these works? Next to investigating current trends in discourse in relation to their historical context, we will jointly visit and critically analyze three curatorial projects, addressing media, contemporary art and performance works but with a focus on trans- and cross-disciplinary approaches. Based on these various strands of research, students write a critical evaluation of a curatorial project of their own choosing, hereby actively addressing the relation between curation and art ecologies.



The course starts with an introduction on issues concerning the so-called curatorial turn in media, art and performance and ecologies of curation. In relation to this, students will analyze and discuss assigned readings and case studies in the seminar meetings. They will investigate how curatorial approaches, theories, criticisms and methodologies can help them in formulating their own creative and critical approach to curation. There will be several excursions and guest lecturers. Urban Interfaces Block 3 Course description This course actively teams up with ongoing research of the [urban interfaces] research group, a network of media and performance scholars, professional artists and designers, (media) ethnographers, cultural theorists, and PhD students. [urban interfaces] investigates urban transformations from the perspective of mobile and locational art, media and performance in urban contexts, using research methods such as playful mapping, audiovisual documentation, performance analysis and the development of a theoretical and critical vocabulary. Today, globalization, the spread of information technologies in the urban domain, and the debate on participatory culture and civic engagement spur a further mobilization of urban culture identity and publics. Both scholars and artists and designers enquire into how urban space invites collaborative and playful practices of resistance, appropriation and/or engagement. By productively exploring mutual similarities and differences in concerns, methods, concepts and skills, the course seeks to investigate urban transformations in a methodologically innovative manner. The course actively engages students in ongoing research projects of the [urban interfaces] research group and current urban media, art and performance projects; students get acquainted with interdisciplinary approaches and cross-disciplinary collaborations with researchers, artists and designers relevant to the professional field of media, art and performance, and current cultural (urban) dynamics. The course also includes a two-day workshop in which students work in teams on an assignment for critical design. Corporeal Literacy Block 4 Course description Literacy, according to the OED, describes the unreflected capacity of being able to read, but also denotes a condition with respect to knowledge, awareness and experience. Literacy often gets associated with words, with verbal language and books, but is nowadays also used to describe skills to engage with other media, as, for example, in visual literacy and media literacy. Corporeal literacy is a strategic term meant to make space for a further expansion of the notion of literacy to include our bodily engagement with what we find ourselves confronted with. New technological developments as well as increased insight in the performative, embodied, and enactive aspects of perception and cognition foreground the corporeal dimensions of how humans handle information and make sense of what they encounter. These developments require a reconsideration of our conceptions of (among others) perception, agency, and what it means to know, beyond the disembodied mind. Furthermore, our current situation in which technology plays an ever more prominent and active role in how things can be perceived and come to be known requires a rethinking the embodiment of cognition and intelligence beyond the human. Electives ICON Beside the electives offered by Media, Art & Performance Studies electives (see above), you can also choose from electives offered by Gender Studies (GS), Comparative Literary Studies (CLS), Philosophy and Religious Studies (RS). See the below course overview. Check Osiris for more elaborate course descriptions. Course title



Contemporary Cultural Theory (GS)



Thinking Literature: Creative Forms of Knowledge (CLS)



Postsecular Perspectives (GS)



Media Materialities (CLS)





Cultural Memory and Citizenship (CLS)



Gender and Social Inclusion (GS)



Piety and Violence (RS)



The Body Course (GS)



The Aesthetics of the Posthuman (CLS)



Courses in Digital Humanities from other RMA programs



Courses from other Master programmes within the humanities at UU or other universities can also be chosen. For regulations about approval of courses outside of our programme, see, please contact Nanna Verhoeff for more information. III Tutorials Tutorials are course modules (5EC), in which you work on an individual research topic or in collaboration with other students or researchers with supervision by a MAP staff member. For research profiles and suggested topics for tutorials, see the bios of our staff members above. Preferably before registering and definitely before the course period start, you will approach the instructor you want to work with by email and check their availability to supervise you. In the first week of the course period you will develop your research plan and agree with your supervisor on the assignment – research paper, developed research proposal, conference paper, reading report, etc. – that will be graded at the end of the tutorial. This plan will be written down in the Tutorial Protocol, signed and archived by your supervisor. You can take a maximum of one tutorial per academic year, which means 1 in total when going abroad (profile 3), and 2 in total when choosing profile 1 or 2. Some suggested tutorial topics are: performance, science and technology; performing robots (Maaike Bleeker); Broadcast and/or Media Histories (Judith Keilbach); Data/Culture (Karin van Es); The Sustainable Imaginary Today: The Anthropocene (Rick Dolphijn); Game Lab (Stefan Werning); Game Research (Joost Raessens); Media Dispositifs (Frank Kessler); Online Audiovisual Heritage; Food Media (Eggo Mueller); Urban Interfaces; Media Art; Screen & Interface Culture; Spatiality/Temporality in Media, Art and/or Performance (Nanna Verhoeff). For more information about tutorials, please contact Nanna Verhoeff.

5.3. Internship An internship in the RMA is a valuable addition to your training as a professional researcher. It allows you to experience working as an embedded researcher, either within academia, within a research institute or external research project, or in the context of an external professional organization or cultural institution. During the internship, you obtain the opportunity to develop your research skills in a professional (research) environment, to further develop your personal professional research identity, and reflect on your role as a researcher in relation to the (wider) professional field. A clear research component has to be the focus of the internship. This research component can depart from different perspectives. It can be designed and assigned as an internal research project by the internship-provider. In this case, you will conduct the research as your main internship activity. Another possibility is that the professional practice of the internship-provider is, in fact, the object of your (external) research. The research perspective of your internship should be clear in the formulation of your research goals and main question(s) in your internship plan, as well as the final internship report. Internship requirements: Requirements for the internship: a) the internship must provide the possibility for you to learn to apply advanced academic research training in Media, Art and Performance Studies to a professional setting, methodologically, theoretically and practically;



b) the internship must include an independent research focus with a well-formulated research question that is clearly outlined in the internship work plan and reflected upon in the final internship report; d) the internship-providing organization should directly connect to your study programme in Media, Art and Performance Studies. If this is not the case, you will have to justify how the internship is relevant within the context of the Research MA programme; e) the internship-providing organization must offer supervision and a working space; f) next to your internship research project, you will also write an internship report at the end of the internship (see below). Internship procedure: 1. Finding an internship If you are interested in doing a research internship, you are responsible for finding a proper position by approaching organisations or companies. You can search for possible internships online via [in Dutch], or check out the MAPS network above (3.6. Partner Organizations) You can also alsways discuss possibilities with your mentor or the program coordinator. We highly recommend that you begin looking for an internship early, preferably before the summer holidays. Before the start of the internship, you will develop a work plan, which must be approved by both the programme supervisor (your mentor), the supervisor at the internship-providing organisation and the programme Internship Committee before the internship contract can be signed. See also the MAPS student website for more information: 2. Internship contract The internship contract form can be found online at the Student Desk website. This contract outlines the basic financial and legal issues surrounding the internship. Most internships are unpaid, although students occasionally receive compensation. However, as this is not considered a salary, you are not covered by social security. Instead, this insurance is covered via the internship contract by the university. In case problems occur, you can contact the faculty internship-coordinator ( N.B.: Once you have handed in the internship contract at the Student Desk, you will be enrolled for the internship. This does not happen through Osiris! 3. Work plan After finding a hosting organisation, institution, or project for your internship, you will discuss your research goals in dialogue with both (internal and external) internship supervisors. This dialogue is important to ensure that there is a solid research component to your internship and that all parties involved have an agreement about the internship activities and research. Based on this agreement you will write an internship work plan, which will include the research proposal for your internship. In the work plan, you will elaborate on the research you will be conducting, your research questions the goals of the research and the deliverables, as well as the practical tasks you will be fulfilling at your internship site. The work plan must include the following points: • A description of the internship (organisation, assignment); • A description of your motivation, your research question(s), and learning goals;

A specification of the deliverables you will produce during the internship;

Agreements on the method and intensity of supervision by both the organisation offering the internship and the supervising lecturer.

After approval from both supervisors, you will submit the internship work plan to the programme’s Internship Committee (submit to, subject “internship proposal”). This committee consists of the programme coordinator and the other mentors of the programme. After final approval from the Internship Committee you can proceed with your plans. 4. Internship supervisors and Internship Committee a) During the internship, you will have two supervisors: your mentor from the Media, Art and Performance Studies programme who acts as an internal supervisor, and an external supervisor from the internship providing organisation or institute.



b) The programme’s Internship Committee will have to approve the plans as well, but discussion about possible revisions of your work plan will be held with your internal supervisor. b) Before commencing an internship, clear written agreements should be made with both supervisors on the form and frequency of supervision. This agreement has to be included in the internship work plan. Both supervisors will discuss with you the aim of the internship and will read and comment on the internship work plan. c) Primary supervision will come from the internship-providing organisation where you work. The supervisor there (external supervisor) will be the first person that you address during your internship. d) Contact with the internal supervisor can take different forms, varying from written reports, email contact or meetings. To avoid surprises, it is important to keep your internal supervisor informed about your progress, especially if you encounter problems. If possible, the internal supervisor also visits the internship-providing institute at least once. 5. Internship report At the end of the internship, you will write a detailed internship report in which you critically reflect upon your research activities (based on your logbook – see below) during the internship, your research findings and your own learning process as an embedded researcher. In this report, you need to demonstrate a high level of critical reflection on your research – the development and different stages of the research, the arguments behind the choices you have made, methodologies you have or have not employed, etc. – and on your own role as a researcher within this internship, including how this experience contributes to your training and personal development as a researcher and as part of the Research MA Media, Art and Performance programme. The report thus consists of a descriptive part – of the internship organisation, tasks and research project therein – and a reflexive part in which you review the internship (what have I accomplished, what have I learned), as well the products and research component (included in appendices). The reflexive section should reflect an academic level of thought and effort; it is academic piece of writing that should contain references to literature from the Master. Note that the appendices will have to include a daily or weekly logbook that you will keep during the internship. The grading of the internship is based upon this final internship report. You are expected to demonstrate thorough and critical reflection on your performance in the internship, on the institute/organisation itself, and on connections with the Media, Art & Performance Studies programme in this context. Both (internal and external) supervisors must approve the internship report. Typically, students write a reflexive report of approximately 4000-6000 words, not including the products of the research project itself. Collected data (e.g., questionnaires, interviews, etc.) or other research outputs (e.g., events organised, texts written, reports developed) can be added to the report as appendices. The format is provided in the general internship leaflet (‘Internship Regulations‘) of the Faculty of Humanities at Formal requirements: The internship report should include the following information: I Cover: The internship report cover sheet should contain the following information: • The name of the organisation offering the internship, including the department or project name; • The name of the (external) internship supervisor at the organisation; • The student’s name, student number, study programme, faculty and university; • The name of the (internal) supervising faculty member; • The internship period II Descriptive part • A brief description of how the internship came about (the reasons for choosing this internship position and the original expectations); • A description of the organisation, which entails insights in the dynamics as well as its placement within the cultural field;



• •

A description of the internship assignment/tasks in general; A description of the research component within that assignment: describe the research questions, the goals of the research, the methodologies and theories you used, the deliverables you produced and general outcomes of the research.

III Reflexive part The reflexive part needs to include: • A reflection on the overall goals and progress of the internship (i.e.: a description of any problems that occurred during the internship; your elaboration on whether the learning goals formulated in the working plan have been achieved; etc.); • A thorough critical and academic reflection on how you conducted the research, on the methodology and theoretical framework in relation to the professional practice, on the research goals and what was achieved, on the deliverables, etc.; • A reflection on the internship within the broader context of the RMA-programme. (e.g.: what did you learn? To what degree were you able to apply the knowledge and skills gained during your education?); • A critical reflection on your role as a researcher within the professional setting of the internship. How did you combine your practical tasks within the internship-providing organisation and your research? How can the outcomes of your research be translated into the professional practice? IV Appendix

Research products The appendix includes all relevant materials analyzed or produced during the internship. This may include research data, questionnaires or a list of workshops you have followed. Moreover, if (part of) your activities and tasks comprised writing or making products such as essays, grant proposals or other, you can add this as documentation to the appendix.

Logbook During your internship you must keep a logbook – along the lines of the journal you have written for the Research Lab – with daily or weekly notes, reports, completed and not completed tasks, etc. This can be a very schematic text, it can be in bullet points or lists and short notes; it does not have to be an academic or articulated piece of writing. You send this log book to your supervisor at the university at least three times (once every 3/4 weeks). This logbook can be used as a source when writing the internship report and will be added as appendix

6. Grading & Credits The final grade for the internship is determined by the internal supervisor. The grade is based upon the internship report and the advice of the external supervisor (external supervisor). Towards the end of the internship, the internal supervisor will contact the external supervisor, who will give an assessment of, and reflection on your performance. After completing the internship and internship report and with a passing grade, you will receive up to 15 EC for the internship period (equivalent to a maximum of one block full-time registration).

5.4. Studying Abroad During the first semester of your second year, you will have the opportunity to study abroad. You should be aware that an application for studying abroad is a complicated and time-consuming process and that you should start this process on time (probably in the first semester of your first year). The student website ( ) contains a document on studying abroad created by RMA students who went abroad. Additionally, you can get in touch with the International Humanities Office: Address Telephone Email

Drift 10, 3512 BS Utrecht (030) 253 6046

Walk-in office hours: Tuesday and Thursday from 11.00 to 12.00



Or check their website for more information on partner universities and the help they can offer you during your orientation for study abroad locations.

5.5. Thesis Your programme will conclude with a thesis (30 EC) in which you apply the skills, knowledge and insights that you have acquired during the Research MA. In the thesis trajectory, you will conduct independent research and write an academic research thesis. The Research MA thesis is a scholarly research project that takes the form of a well-researched thesis project within the discipline of Media, Art and Performance Studies, written individually and on a relevant subject chosen by the student and agreed upon with the supervisor. For more information, see the MAPS student website: Below, we will give a short overview of the practical issues surrounding the RMA thesis: Registration and Igitur You will need to sign up for your thesis in Osiris. When you have finished your thesis, you must upload it to Igitur, the online thesis database of Utrecht University: This is required for your graduation. It is also possible to view the work of other students in Igitur, sorted by faculty. Learning goals An RMA thesis is a scholarly developed research project in which the student is expected to contribute, on the basis of independent research, to a debate within the discipline. It should be structured around a central research question (set out in the introductory sections) to which it provides a response and thereby offers a contribution to existing scholarship (made explicit and reflected upon in the individual chapters and conclusion). The central research question must be clearly formulated in the thesis and its relevance to scholarly discussions within the discipline has to be shown. The body of the text should give a clear description and justification of the methodological and theoretical framework that is used to develop the response(s) to the research question. In the conclusion, you should evaluate your findings in the light of the research questions and the broader implications of these conclusions. The thesis should be written in correct and clear English; it has a length of about 30.000 words and should not exceed 40.000 words (including notes and bibliography). The individual thesis trajectory is supervised by a staff member of the program. The thesis proposal will be evaluated by the Thesis Committee after approval of the thesis supervisor. The final thesis will assessed by the supervisor and a second assessor appointed by the Thesis Committee. After completion of the thesis trajectory, the student is capable to: A) demonstrate the necessary analytical and writing skills to conduct independent scholarly research and present a theoretically sound and developed argument in Media, Art & Performance Studies; B) give a clear description and justification of, and to present and use in practice a methodological and theoretical framework relevant for the central research questions; C) formulate clearly the central research question(s) or problem(s) of the thesis and present a convincing answer to it in the thesis; D) critically position oneself in the scholarly debate and to contribute to this debate by producing new scholarly knowledge, presented to fellow researchers in the required academic form. FORMAL CRITERIA Length RMA thesis: 30.000-35.000 words, not exceeding 40.000 words including notes and bibliography. Language and referencing The RMA thesis must be written in English. In agreement with your supervisor you can choose your own style of referencing, as long as it is an official one and you use it in a consistent manner. Two styles that are often used within the Humanities are Chicago and MLA. Chicago




There are also several programmes (for free) that generate the references for you, such as: Mendeley Zotero For more information on referencing, check also: Format of the Thesis The final structure should be agreed upon with the main supervisor, but the thesis must include the following: • Title page • The title/cover page must contain the following information: • Title of the thesis • Name of the researcher • Names of the main supervisor and the second reader/supervisor • Name of the institution and department where the thesis/dissertation is to be submitted • Date of submission • Institutional logos where applicable: UU logo for RMA students • Abstract • An abstract of 300 words in English • Table of Contents • Introduction • Chapters • Core of the thesis (results / discussion), divided into relevant (theoretical / methodological / literature review) chapters and sub-sections • Acknowledgements (optional) • Conclusions • References • Appendices (optional, not included in the word count) Planning Period


Semester 1&2

Research potential thesis topics/questions; Discuss initial thesis plans and planning, and ideas for a thesis supervisor with your mentor. Contact the intended supervisor and if he/she agrees to supervise you, you notify the program coordinator of this collaboration. N.B. Especially if you plan to go abroad in Semester 3, start this process in time!

Semester 3

Meet with supervisor to discuss your plans, planning, and deadlines. Write a thesis proposal and after approval from your supervisor, submit this to the Thesis Committee for final approval; Together with your supervisor, the Thesis Committee will decide on the second reader, who will be contacted by your supervisor; After final approval from the Committee you can proceed with your research. If there are things that need to be adjusted, first make those adjustments and re-submit for approval.



Semester 4

Plan regular meetings with your supervisor to discuss your research and submit drafts and final version as scheduled in the thesis proposal and agreed upon with your supervisor.


Submit the final thesis before the summer: no later than the 15th of June. If this version is a “reparable fail”, a resit can be submitted no later than the 15th of August in order to graduate on time and give your supervisor sufficient time to read and grade your thesis!

Supervision and Thesis Committee For RMA students, the RMA thesis is a compulsory component of the RMA programme and will be supervised by member of the core teaching staff. You will discuss your initial ideas and the choice of a thesis supervisor with your mentor. After approaching the intended supervisor and a first meeting, you will draft a thesis proposal. In this proposal, you will include a planning for supervision meetings and possible draft versions, that needs to be approved by your supervisor. After approval from your supervisor, you will submit to the Thesis Committee (email to: - subject: “thesis proposal”). This committee consists of the programme coordinator and the two other mentors of the programme, Prof. Maaike Bleeker and Prof. Frank Kessler. If the committee approves, you can proceed with your thesis project. N.B. if during the process things change (for example, due to delays in the process or radical changes in your research plans), your supervisor may request your submission of a revised proposal to the Thesis Committee. The Thesis Committee will also decide on a second reader. Your supervisor will contact the second reader in due time. The second reader will make an assessment of the final thesis, but your supervisor is responsible for supervision. Thesis proposal After discussion of your initial thesis ideas with your mentor, you will approach a supervisor suggested by your mentor. After meeting with your supervisor, you will write a thesis proposal before the start of the thesis writing process. This proposal is an agreement between you and your supervisor and will be submitted to the Thesis Committee for approval. You cannot start the process of writing your thesis without this approval. The Committee will also suggest a second reader for your thesis and your supervisor will contact him/her about this. A thesis proposal includes the following elements: • • •

• • •

A brief introduction to the topic, including a justification of its relevance; A clear formulated research question and a number of additional sub questions; A substantiated indication of the envisioned/projected research material and the considerations that play a role in determining and demarcating it (how much, how long, what and why, and what not). Herein the accessibility of the prospective material has been taken into account; A description of the proposed theoretical framework, adjusted to the research question, in which can be thought of core concepts, - central arguments, - key authors and relevant theoretical traditions; A description of the methodologies adjusted to the research question, including methodological literature and a reflection of its strengths and weaknesses; A presentation of the preliminary literature survey in which the accessibility of the proposed sources is taken into consideration; A work schedule that indicates what specific steps will have taken at particular moments in time, a schedule for submitting draft versions, and a proposed date for submitting the final version of the thesis.



Second reader After submission of the thesis proposal, a second reader will be chosen based on expertise on the topic of the thesis. The student can express a preference for a second reader, but the final choice is made by the Thesis Committee. The second reader is not part of the supervision process. Submission For graduation before September, the RMA thesis should be submitted before June 15. If this version is a “reparable fail,” a resit can be submitted no later than August 15th. Note that this is during the Summer period in which your supervisor will not be available for feedback. For feedback on the last version, make arrangements with your supervisor well in time before the Summer break. Assessment, evaluation form and final procedures The supervisor and the second reader will grade the final thesis, and will make sure that the thesis conforms to the standards described in the Assessment Report (see Both the supervisor and second reader will agree upon a grade for the thesis. If the thesis is graded below a 6.5, or the supervisor and second reader disagree over the grade, a third reader will be appointed, who will make an evaluation based on the findings of the supervisor and second reader. The evaluation of the third reader is binding. The thesis grade must then be handed in at the Research MA Office as part of the file necessary to submit for your graduation. PLAGIARISM Utrecht University considers any form of academic dishonesty to be a very serious offense. Utrecht University expects each student to be familiar with and to observe the norms and values that ensure academic integrity. Therefore, when you start writing your thesis you will have to hand in the Plagiarism rules awareness statement ( ). With this, you declare that you are aware of and will abide by the norms and rules on fraud and plagiarism of Utrecht University. TIPS AND TOOLS Thesis writing can be a challenging process, but it doesn’t have to be dreadful! There are many ways to meet the challenges of thesis writing that are not necessarily located in your theoretical framework. Here, we have collected some tips and tools to help make the thesis writing process an (even more) rewarding experience. The Writing Process If you don’t know where to get started, the following books and websites might give you some structure: Writing Your Journal Article in 12 Weeks by Wendy Laura Belcher: This book is directed at early-career academics, but the advice and structure Belcher gives can be easily adapted to thesis writing How to Write a Thesis by Umberto Eco: Although this book was written before the invention of the Internet, Eco’s fluent writing and advice on things like how to avoid ‘thesis neurosis’ can be both very helpful and very comforting to read during the thesis writing process ‘The Guardian’s Guide to Writing a Thesis’: Compared to the other two, this piece is a bit basic, but can contain information (especially by clicking through the pages) that might still be of use to get you started: The Utrecht University thesis archive Igitur can also be a helpful place for inspiration on how to write your theoretical framework, or your thesis structure, or maybe even a thesis topic. Academic English At the beginning of each academic year you will have the possibility to join a workshop on writing in Academic English, specifically designed for Research Master students. It does not matter whether you write quite well already or are still insecure about your writing skills, this workshop will help every nonnative speaker with their writing. At the beginning of the year you will receive an email notifying you that you can sign up for the workshop. The workshop does tend to fill up quite quickly so be sure to sign up early.



Utrecht University also offers you workshops for developing academic skills and academic writing. An overview of these workshops can be found here:

Time Management It’s easy to spend the whole day in the library, working hard but ending up with nothing to show for it. How can you use your time more effectively, and end up with a better thesis and more free time? Here are some (tried and true) time management tips: The Pomodoro system: This system recommends that you work highly focused in short bursts of 25 minutes with 5 minute breaks in between. After four times 25 minutes you take a longer, 15-minute break, after which the cycle starts again. There are many apps available for smartphones and computers, including several that block distracting websites for 25 minutes. More information: ‘Suffering Free Academic Writing’: This is a lecture series on YouTube by Alexis Shotwell on the technique of working a maximum of three times 45 minutes a day, maintaining high focus during the 45 minutes and taking a relaxing break after each session. The first video can be found here: The books on the writing process recommended above also give helpful advice on time management. Isolation Thesis writing can be a lonely and isolating process, but it is worth it to try to break through this isolation both for your mental well-being and for the quality of your thesis! Some things you can do include: participate in the monthly meetups organized for study support and possibly plan extra days where you and others in your programme can come together to work on your theses. Likewise, meet your classmates to explicitly not work – it is important to take breaks! go to a conference or seminar related to your research area – talking to people who work in the same field as you can help you feel connected, inspired and confident. Making Your Research Public Even if your thesis is not done yet, it can be a great exercise (and boost of confidence) to make your research public, for example by presenting it at a conference. To stay up to date on conferences in your field, sign up to newsletters (and if you do not know where to start, ask your mentor or supervisor for recommendations). Presenting at a conference demands that you formulate your research in an accessible way, which can help you understand what you are trying to communicate. Moreover, the questions and feedback you will get at the conference can give you new insights and help you further with your thesis. Lastly, a conference presentation looks great on your CV! When you have finished your thesis, you will have to publish it on Igitur, the Utrecht University thesis archive. However, especially if you are not continuing with the research you have conducted in your thesis in a PhD project, we recommend you to consider publishing (part of) your research in an academic journal. One of the journals you could publish in is the Utrecht University-based journal Junctions: Graduate Journal of the Humanities (, but you can also find (or ask your supervisor or mentor for recommendations for) journals in your field.

5.6. Career Orientation During your programme, you will develop your knowledge and research skills, but you will also work on professional skills and profile. During dedicated workshops and events (see 3.8) you will focus on career orientation, but also during the research lab and other courses, and the monthly meetups (see 5.6) you will get the chance to reflect on career prospects and choices that you can make in developing your professional profile. Indeed, it is advisable to prepare yourself for your future career during your Master by going through the phases of: reflecting on your motivation and work values, researching your opportunities on the job market, creating ties with potential employers and practicing skills as needed for your job application and the following interview. Beside the teaching staff and your personal mentor, you



can also contact Career Services for more information and advice in this process ( For possibilities for doing an internship during your second year, see above (5.3). Career prospects Alumni of the Media, Art and Performance Studies Research Master have been successful in obtaining PhD positions in various prestigious international programmes. Graduates also find their way to other job markets, for example in the domain of curation in the fields of media, art or performance, dramaturgy, or media consultancy. Read more about possible career prospects below or visit

5.8. Policies and Procedures EDUCATION AND EXAMINATION REGULATIONS (EER) Every programme has its own Education and Examination Regulations (EER), in which the specific rules and regulations of that programme are described. There are also general Education and Examination Regulations that all Humanity programmes have to adhere to. The EER of our programme can be found at FRAUD AND PLAGIARISM The most serious forms of deception that can impair integrity are fraud and plagiarism. Plagiarism is a form of fraud and is defined as the wrongful appropriation of another author’s work without proper citation. The text below provides further elaboration on what may be considered fraud or plagiarism, along with a number of concrete examples. Please note that this is not a comprehensive list! If the university discovers a case of fraud or plagiarism, the study programme’s Examination Committee may implement sanctions on the offender. The most serious sanction that the Examination Committee may implement is the submission of a request for expulsion to the Executive Board. Fraud Fraud may include: Copying answers from another person during an exam. The person providing the opportunity to copy is considered an accomplice to fraud; Being in possession of (i.e. having/carrying) tools and resources during examinations, such as pre-programmed calculators, mobile phones, smartwatch, smartglasses, books, course readers, notes, etc., consultation of which is not explicitly permitted; Allowing others to complete all or part of an assignment, and passing it off as your own work; Acquisition of the questions or answers of an exam prior to the time the exam is to take place; Fabrication of survey- or interview answers or research data Plagiarism Plagiarism is the appropriation of another author’s works, thoughts, or ideas and the representation of such as one’s own work. The following are some examples of what may be considered plagiarism: Copying and pasting text from digital sources, such as encyclopaedias or digital periodicals, without using quotation marks and referring to the source; Copying and pasting text from the Internet without using quotation marks and referring to the source; Copying information from printed materials, such as books, periodicals or encyclopaedias, without using quotation marks and referring to the source; Using a translation of the texts listed above in one’s own work, without using quotation marks and referring to the source;







Paraphrasing from the texts listed above without a (clear) reference: paraphrasing must be marked as such (by explicitly linking the text with the original author, either in text or a footnote), ensuring that the impression is not created that the ideas expressed are those of the student; Using another person’s imagery, video, audio or test materials without reference and in so doing representing them as one’s own work; Resubmission of the student’s own earlier work without source references, and allowing this to pass for work originally produced for the purpose of the course, unless this is expressly permitted in the course or by the lecturer; Using other students’ work and representing it as one’s own work. If this occurs with the other student’s permission, then he or she may be considered an accomplice to the plagiarism; When one author of a joint paper commits plagiarism, then all authors involved in that work are accomplices to the plagiarism if they could have known or should have known that the other was committing plagiarism; Submitting papers provided by a commercial institution, such as an internet site with summaries or papers, or which have been written by others, regardless of whether the text was provided in exchange for payment.

For more information: COMPLAINTS If you feel someone employed by Utrecht University has not treated you properly, or if you disagree with a decision that affects you personally, you can respond in a number of ways. A complaint relates to conduct towards you. You cannot submit a complaint about a general rule or scheme. For more information: APPEALS Every university has an Examination Appeals Board to which students can appeal. This Board is an independent appeals board established in accordance with the Higher Education and Research Act [Wet op het Hoger Onderwijs en Wetenschappelijk onderzoek]. It includes members from various different faculties. The chair and the deputy chair are both lawyers. Students also serve on the Examination Appeals Board. You can appeal decisions relating to: • Satisfying the requirements of the final academic review in connection with the performancelinked grant • Examination eligibility • A colloquium doctum (entrance examination) and addressing any deficiencies • Admission to the university teacher training programmes that qualify graduates to teach all classes at senior general secondary education (havo) and university preparatory education (vwo) level • Negative binding recommendation concerning the continuation of studies • Admission to a Master’s degree programme • Admission to a degree programme for which selection criteria are applied • Decisions made by Boards of Examiners and examiners. For more information:



6. Practical Information 6.1. Study Delay Study delay can be caused by different circumstances and situations and can have serious consequences. If you are a full-time student and your studies have been delayed as a result of circumstances beyond your control, you may be able to receive (financial) compensation or other facilities. Always contact your Study Advisor if you are expecting a delay in your studies for over one month. Study delay can be caused by study-related problems such as ineffective study methods, stress or procrastination. If necessary, you can schedule an appointment with a Student Psychologist or Student Counsellor (via Student services) for guidance and advice. For more information:

6.2. Workshops SKILLS LAB The Skills Lab is an accessible service desk where you can get a clear idea of what extracurricular courses, workshops, individual tutoring, electronic tools, etc. are available within this University. Much is available, but this wealth of resources can be hard to find and access for students with specific questions. We can show students where to go to improve any skill, be it writing, presenting, studying, or jobhunting. There is a physical desk at the second floor of the University Library Uithof. For more information, see LANGUAGES Moreover, there are also language courses on offer by Babel. They offer Dutch and English courses and several foreign language courses in Dutch and/or the target language. For the language courses by Babel:

6.3. Graduation Your faculty’s Board of Examiners determines when you graduate and what your final examination date (the date on your diploma) will be. You will have graduated when you meet all examination requirements. The Board of Examiners will inform you by email as soon as you meet (nearly) all examination requirements. For more information, see also Please note: graduating does not always mean your enrolment will end automatically! If you wish to terminate your enrolment before the end of the academic year, you have to do so yourself. Do you wish to postpone your graduation? File a request for postponement with the Board of Examiners within two weeks of their informing you of your imminent graduation. So, keep a close eye on your UU email account!



CUM LAUDE As it is written in article 6.2 of the faculty part of the EER 2019-2020: a)

The Master's Degree may be awarded 'cum laude' if each of the following conditions has been met: a weighted average mark of at least 8.0 has been earned for the components of the study programme; the mark for all components is 7.0 or higher; the credit load of exemptions that do not count does not exceed 15 EC; the Board of Examiners has not taken any decision as referred to in Clause 5.15, Subclause 4 under b; the mark for the final thesis is 8.5 or higher; the student has passed the final examination of the Master’s Programme within one year (part-time within 2 years). b) Results that have not been expressed in a mark will not be counted in the assessment of the degree classification. c) The Board of Examiners may, on its own initiative or the initiative of a teacher, in individual cases make an exception to this rule, to the advantage of the student. d) The cum laude classification will be stated on the degree certificate. See for the faculty part of the Education and Examination Regulations TERMINATION OF ENROLMENT Your enrolment can be terminated as of the 1st of the month following your request for termination of enrolment, no sooner. This means that if you submit a request for termination in the month of September, your enrolment will be terminated as of 1 October. You cannot terminate your enrolment retroactively. When you graduate, you may choose to terminate your enrolment as of the 1st of the month following your graduation date. You may also stay enrolled for the rest of the academic year, in which case your enrolment automatically ends as of 1 September. Do you want your enrolment to end as of 1 September? Or do you decide to stop in the month June, July or August? Then there is no need to request termination of enrolment. Your current enrolment will automatically end as of 1 September. For more information:

VALIDITY RESIDENCE PERMIT If you are a non-EU/EEA student and hold a residence permit for study purposes, your residence permit is only valid as long as you are enrolled as a student at Utrecht University. From the date you are no longer enrolled, your residence permit becomes void and you will be required to leave the country within 28 days. For more information please contact the visa department:

6.4. Solis-ID Your Solis-ID is your user name for most university services. Used in combination with your Solis password, it gives you access to services such as OSIRIS, Blackboard and Surfspot. You should also sign in using your Solis-ID at the university computers. You will have been sent your Solis-ID and password in two separate emails when you enrolled at the university or took part in the matching programme. If you have not received these emails, please take your student card or proof of enrolment to UU for U Student Services. If you have received your Solis-ID but not your password, go to the password self-service to change your password.



AFTER DEREGISTRATION Once you are no longer enrolled at Utrecht University you will be sent an email warning you that your Solis-ID and password are only valid for another 180 days. After this six-month period you will no longer be able to use the IT services associated with your Solis-ID. Your email address will also be terminated. So it is important that you save and secure any files and emails that you want to keep before then. Do you want to back up your e-mails? You can easily do this by making a copy of the data from your account via Google takeout. PASSWORD SELF-SERVICE In the Solis-ID password self-service ( you can change your Solis-ID password yourself. Here you can also create a new password if you have forgotten your password or if you never received one. For more information:

6.5. Osiris Osiris Student is the Internet portal to the Osiris study information system. Here you can register for course offerings and tests and review your results and course schedule. Access Osiris Student with your Solis-ID via or click the Osiris-icon you find below every page on the student website (

6.6. UU Gmail Every student has access to his/her own UU Gmail account. A lot of communication, from the UU or your teachers, goes to this address. Moreover, it is possible to save, edit and share files in the Google Drive. You log in with your UU Gmail email address (for example: and the password associated with your Solis-ID.. Link:

6.7. Blackboard All Utrecht University students and staff use the digital learning environment Blackboard. You can use the Blackboard Mobile Learn app to access Blackboard information on your mobile devices. This app is suitable for Android, Blackberry, iPhone, iPod Touch and iPad. In Blackboard, under ‘Support’ > ‘Support students’, you will find a Quick Start Guide to help you get started.

6.8. MyUU app and MyTimetable In the MyUU app for students you will find your grades from Osiris, your student card and your personal timetable. Download the app from the app stores of Android and Apple. Once installed you log in with your Solis-id and password. MyTimetable is the timetable website of Utrecht University. Log on using your Solis-id and password. More information on In due time the timetables in OSIRIS Student and on will no longer be available. We advise you, therefore, to use MyTimetable or the MyUU app from now on. Timetable changes may not appear real-time on the old websites.

6.9. WiFi Utrecht University has a wireless network in most of its university buildings, named Eduroam. Log in using your Solis-ID and add (for example and your password. You can find help setting up this network on your device on



Eduroam is also available at other educational institutions, both nationally as well as internationally. You can log in on the Eduroam network at any location using your UU Solis-ID and password.

6.10. Library Utrecht University has multiple libraries, but the most important ones for Humanities are the one in the city centre and in the Utrecht Science Park (usually referred to as ‘de Uithof’). Both locations have a large collection of not only books but also manuscripts, journals, films and audio files. It is also possible to make use of the computers and printers and study in the designated study areas. BORROWING BOOKS You must have a library card to be able to borrow books. This card is available for free for UU students and can be created for you at the library desk. The standard loan period of books is 28 days, although you can borrow some books and journals for a shorter period. Using the website, you can extend your loan multiple times, unless someone else has reserved the book. You can borrow up to 15 books at the same time. Should you need more books at once due to exceptional circumstances, permission may be granted to raise the amount of books you are allowed to borrow at the same time. Using the catalogue, you can make a reservation on books. Once you have done that (and if the book is available/not on loan at that time) the university library team will collect the book and place it on a bookshelf at the entrance of the library (‘de afhaalkast’). Books that are not stored in the depot are easily accessible, as they are on their shelves. Look the shelf number up in the catalogue or browse through the bookcases until you find what you are looking for. If you do not return your books in time, you will receive a reminder and a 7 days extension to return them. If the books are not returned by the end of the seventh day, you will be fined. The height of the fine will depend on the amount of books and the amount of days they are due. You can pay your fine at the desk or the designated pay machine. You will also be fined for damaged books, so make sure you look after them! ‘COLLEGEPLANKEN’ Teachers can choose to reserve certain books and have them placed on a specific shelf for the duration of their course. These shelves are called ‘collegeplanken’ and cannot be borrowed for the duration of the course. This way students can all take a look at the books and make copies if necessary. The collegeplanken can be found in the city centre library and are labelled after the title of the course. Universiteitsbibliotheek Binnenstad Universiteitsbibliotheek Utrecht Science Park

Drift 27, 3512 BR Utrecht Heidelberglaan 3, 3584 CS Utrecht

For more information and the library catalogue: or

6.11. Course evaluations Good quality education is important to you and also to the Faculty of Humanities. In order to guarantee the quality of education, the faculty and programme would like to know your opinion on the courses you have attended. At the end of each block, you will receive an invitation via email to fill in a questionnaire and to provide feedback for each course. The digital evaluation system Caracal ( is used for the course evaluations. You can log in to Caracal using your Solis-ID and password. You will then see the course evaluations that apply to you. By answering a couple of open and closed questions you evaluate the courses you have attended. All of the answers will be processed anonymously. After the deadline you will be able to see the results for evaluated courses in Caracal. All the answers to the open and closed questions are visible for students who attended the course and the lecturer(s) of the course. The lecturer(s) can also post a reaction to the course evaluation. Students who did not attend the course only see the answers to the closed questions and not the reaction of the lecturer(s).



The Curriculum Committee will carefully review the results of the course evaluations and address potential problems or compliment good initiatives. They will publish their advice as a result of the course evaluations in Caracal for all students to see. This will occur twice each year, prior to the course registration period. It is therefore advisable to log in now and again to see if the Curriculum Committee has already posted their advice, or the lecturer has responded to your course evaluations.

6.12. Locations Most of your courses will take place at the Drift in the city centre of Utrecht. Meetings with teachers/mentors/supervisors in most cases will happen nearby or at de Muntstraat. For the University buildings and addresses, see:



7. Getting Around 7.1 Utrecht Utrecht is an amazing city with old canals, a lot of interesting sights, nice bars and good restaurants. But not only does Utrecht have a beautiful city centre, a lively student community traverses its streets, which contributes to the city’s characteristic vibe. On the Utrecht visitor’s site ( you can find interesting historical locations, museums, festivals, shops and group activities in the city. The old city centre can easily be crossed on foot, while the rest of Utrecht is best visited using a bike or the public transport. Before and during your stay in Utrecht this website may be very useful to you for all the questions you might have and more: Make sure to check it out!

Utrecht: getting around Getting around the city of Utrecht, with its cobweb of canals, streets and alleyways can be a bit tricky at first. You have to constantly bear in mind that in the centre not a single street is straight. In order to avoid getting lost, it can be useful to keep a map handy. But do not worry, Utrecht is a small city and you will be able to find your way around soon enough! By foot Most distances within the city centre are short, thus nearly everything can be reached on foot, even when it rains. This way of travelling also offers the best views of the city’s historical buildings and canals. Bike The bicycle is the quintessential means of transportation in the Netherlands. While offering great views of the city, going by bike is often the fastest way to get to where you want to go within the city centre. Therefore, you might consider buying a bicycle during your stay in Utrecht. If you do, please bear in mind the following: • Affordable second-hand bicycles can be purchased at bike shops. Note that bikes that are offered to you on the street are usually stolen property. Although attractively cheap, buying one can land you a stiff fine. • When buying a bike, make sure that it has working breaks. If you plan to use it at night, check that it has a working light as well. You can also buy separate lights at several stores. Although many locals bike without a light, doing so can yield a fine. • Unfortunately, bike theft is a common occurrence in Utrecht. You should therefore always lock your bike to a fixed object (such as a lantern or a gate), preferably with more than one lock. • In case you are not an experienced cyclist, be careful. Always stay on the right side of the cyclist lane. Do not suddenly stop and if you do, make sure you step aside. In general people cycle quite fast in the Netherlands, so either try to go along with the traffic or make sure you are not hindering other cyclists. Finally, a bell is quintessential to friendly warn pedestrians or other cyclists you want to pass. Public Transport OV-Chipkaart The OV-chipkaart is uses for all public transportation in The Netherlands. This card resembles a bank card and contains an invisible chip. The OV-chipkaart can be topped up with credit in euros, which allows you to travel anywhere within The Netherlands, or you can add a travel product such as a single or season ticket. Every time you enter a bus, tram, metro or train you must check in and when you leave you must check out at special gates. Don't forget to check out, as you will be charged a fine on your card! To obtain a personal OV-chipkaart, you will need to be able to make payments with IDEAL and have a digital photograph of yourself. For €7,50, you can also buy an anonymous OV-chipkaart at the counters of public transport companies, vending machines and supermarkets.



You can apply for a personal card at: Bus Taking a bus is the perfect way to get around Utrecht quickly and cheaply without getting tired. From the bus platforms below the train station, buses depart regularly in all directions. Train The train system in the Netherlands is mostly run by the NS (Nationale Spoorwegen). Because Utrecht is located in the middle of the Netherlands, trains depart from Utrecht Central Station to virtually anywhere. The train will take you to Amsterdam in under 30 minutes, to Rotterdam in under 40 minutes and to Antwerp (Belgium) in a little over 2 hours. When visiting Amsterdam, Rotterdam, The Hague and Leiden, you do not have to worry about the time, as night trains run between Utrecht and these cities all night long, every day of the week. On weekends (Thursdays till Saturdays) night trains run between Utrecht, Tilburg, Eindhoven and Den Bosch as well. If you plan on doing a lot of travelling by train, you might consider buying a discount pass. For €50 (annually) this pass gives you a 40% discount on off-peak train travel, and it allows you to take up to 3 people with you at the same reduced rate during off-peak hours.

7.3 Housing Finding an accommodation in Utrecht can be quite a challenge. Utrecht is one of the most popular university towns in the Netherlands, and the demand for student housing is very high. It is therefore absolutely necessary to start looking for accommodation as soon as possible (if you are not already). You may find accommodation via Dutch housing websites such as Kamernet ( and SHH (, which are both accessible in English as well as in Dutch. The latter reserves completely furnished rooms for international students (limited availability, so on first come, first serve basis!), so you might give that a shot if you are still looking for an accommodation. Searching for a room online may or may not prove successful for you, so it may be advisable to ask the International Office of the UU for help. Usually, Dutch accommodation websites offer housing to the person with the ‘oldest’ registration number. Some of the accommodation is available immediately, for other you need to be registered for a longer period (between 4-18 months). In case of a room: you are usually invited to a Present Yourself Night. You visit the floor or house in which a room will be vacated, in order to both view the room and meet your prospective co-tenants. There are also many Facebook groups that you can join to find accommodation, simply search for ‘Kamer in Utrecht’ or ‘Appartement in Utrecht’ etc. on Facebook and you will find many pages that could help you to find a place to live, beware of false advertisers and scam though, if it is too good to be true, most of the time it is. Also, ask your fellow students! It is often much easier to find a room via someone you know.



8. Links • • • • • • • • • •

Student website OSIRIS Mail Blackboard Caracal Library UU newsletter Career Services CareerNight Humanities For international students grading-system http:/



Š Faculty of Humanities, Utrecht University, 2019

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