Radio drama, also called 'theatre of the air', is a literary genre that came into being with the invention of radio technology and the creation of public broadcasting services in the early decades of the 20th century. Firstly, we will start with a general introduction to the medium, its technology and the international radio landscape before and after the Second World War. Our main focus will be on the Third Programme (later Radio 3) of the British Broadcasting Corporation (BBC) in the UK, the Columbia Workshop and the Mercury Theatre of the Air of the Columbia Broadcasting System (CBS) in the US, and the Canadian Broadcasting Corporation (CBC), which are generally considered to be the most 'literary' or 'experimental' networks and shows in the Anglophone world. Secondly, radio will be situated in the context of late Victorian technologies such as the telegraph, the telephone and the gramophone, as well as postwar inventions such as tape recording, stereophonic or binaural sound and mixing boards. Thirdly, we will connect the literary history of radio drama to other artsitic movements such as the historical and neo-avant-gardes (surrealism, dada, futurism, concrete poetry, Oulipo, nouveau roman, musique concrète, Neues Hörspiel, O-Ton, etc.), modernism and postmodernism. The course will explore the radiophonic output of English, Welsh, Irish, American and Canadian figures, including Richard Hughes, Andrew Sachs, Dylan Thomas, Tom Stoppard, Harold Pinter, Caryl Churchill, Daphne Oram, Delia Derbyshire, Samuel Beckett, Douglas Adams, Norman Corwin, Orson Welles, Glenn Gould and others. Our list of 'radio classics' includes A Comedy of Danger (1924), War of the Worlds (1938), Under Milk Wood (1953), A Slight Ache (1958), Cascando (1961), The Idea of North (1967), The Revenge (1978), The Hitchhiker’s Guide to the Galaxy (1978), Darkside (2013), etc. In order to analyze these radio productions as both texts or scripts and recordings, we will be using concepts from ‘audionarratology’, a mixture of narratology and semiotics developed for the study of sound-based art forms, while at the same time distinguishing between the various subgenres of radio drama, like the 'radio play', 'radio opera', 'radio art', 'feature' and 'documentary'. Additionally, we will look at some of the more traditional or established genres to see how radio, in turn, influenced poetry, prose and theatre, and to understand how 'intermediality' drastically reshaped the concept of 'literature' in the 20th century. Cinema or film, a technoloy that was developed concurrently with radio but became more dominant because of a cultural and societal bias towards the visual arts, will serve as a point of comparison throughout the course, by way of theoreticians such as Rudolf Arnheim. Last but not least, we will think about the future of radio drama in the context of the internet, podcasts, audiobooks, etc., and explore the relationship with other acoustic art forms such as classical music and concept albums. The purpose of this course is to show that 'radio drama' is not a minor literary genre and, far from being lost or forgotten, is still thriving in its various guises.