Growing in Europe: Progetto Erasmus+ KA1 realizzato dal Liceo Mazzini di Napoli

2. The University's International
Summer Programmes are an
embodiment of our mission 'to
contribute to society through the
pursuit of education, learning and
research at the highest international
levels of excellence'.
Professor Sir Leszek Borysiewicz,
Vice-Chancellor, University of
Cambridge

3. Why Cambridge?
• 800 anni di eccellenza nel mondo accademico
• 90 anni di Continuing Education
• 175 corsi e seminari
• 200 conferenze
• Studiosi provenienti da 50 paesi
• 18-80+ età dei partecipanti

4. Each of the two-week programmes is made up of between two
and four academically-rigorous courses; one-week options are
also available. Each course includes classroom sessions (Monday
to Friday), theme-related plenary lectures which explore new
ideas and will extend your knowledge of your chosen subjects,
and more general evening talks.
Ancient and Classical Worlds Summer Programme
Science Summer Programme
Literature Summer Programme
History Summer Programme
Shakespeare Summer Programme
Medieval Studies Summer Programme
Creative Writing Summer Programme
Interdisciplinary Summer Programme
English Law and Legal Methods Summer Programme

5. Interdisciplinary Summer Programme Term III 2016
B35 The metropolis: imaging the city
Mary Conochie
Panel Tutor for the University of Cambridge Institute of Continuing Education
From Florence in the 15th century to New York in the 20th, this course traces the imaging of the city in
western art.
Artists have been documenting the man-made environment of the city since the Renaissance when it
appears as a site of worship in religious art. Over the centuries the city symbolises national pride, the
seat of power, the cultural centre of society. After initially considering images of the city in earlier
centuries, the main focus of the course will be on the development of the metropolis as an urban
phenomenon, post-Industrial Revolution from 1860-1960. As such, the city develops as the centre of
commerce, consumerism and capitalism: a site of leisure, pleasure and tourism. In contrast, we will also
examine the negative, indeed dystopian aspects of the city as a place of alienation, isolation and
anonymity inhabited by the dispossessed and the decadent.
In the early 20th century, avant-garde artists involved in new modern movements become fascinated with
the concept of the city as in a constant state of flux and represent it variously as fragmented, futuristic
and surreal. Consideration will be given to such works as celebrations and/or critiques of city life in all its
computations: from the Futurists’ utopian view of the city as a machine; de Chirico’s metaphysical
cityscapes of the imagination; to Hopper’s melancholic scenes of loneliness of the city- dwellers in the
twilight zones of New York. In addition, through the work of, for example, Grosz, Dix, Nash and Moore we
will examine the corruption and destruction of the city resulting from two world wars and the aftermath.

6. Loves in literature from Shakespeare to Seamus Heaney
Elizabeth Mills
James Joyce's famous dictum “Love loves to love love” points to the fine line between love and solipsism. The
distance between the speaker of a love-poem and his or her love-object is often problematic; is the beloved the
honoured recipient of the gift of the poet’s words, or a pretext for the poet’s own self-aggrandizement? Each of
the texts we will discuss approach the problems of loving, and of writing about love, in different ways. The
course invites and equips students to interrogate details of language and form, as well as to draw upon
historical, cultural and biographical contexts, to explore the rich history of loves in literature.
In this course we will consider some of the greatest stories in English from all around the world. We start
with one of the longest short stories in the language: Henry James’s The Turn of the Screw, which was
described by one reviewer in 1899 as ‘the most hopelessly evil story we have ever read’. James’s powerful
tale invites us to consider the short story’s roots in oral narrative and ghost story. It also stretches short out
for 115 pages, forcing us to review and perhaps question the limits of the term. Does the shortness of a
short story consist in its length, or in some other quality?
Great short stories
Elizabeth Mills

7. Practical criticism is, like the formal study of English
literature itself, a relatively young discipline. It began
in the 1920s with a series of experiments by the
Cambridge critic I.A. Richards. He gave poems to
students without any information about who wrote
them or when they were written. In Practical
Criticism of 1929 he reported on and analysed the
results of his experiments. The objective of his work
was to encourage students to concentrate on 'the
words on the page', rather than relying on
preconceived or received beliefs about a text. For
Richards this form of close analysis of anonymous
poems was ultimately intended to have psychological
benefits for the students: by responding to all the
currents of emotion and meaning in the poems and
passages of prose which they read the students were
to achieve what Richards called an 'organised
response'. This meant that they would clarify the
various currents of thought in the poem and achieve
a corresponding clarification of their own emotions.