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.