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Interdisciplinary Course University of Cambridge – Gabriella Granata
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
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
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
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.
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
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.

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Interdisciplinary Course University of Cambridge – Gabriella Granata

  • 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.