Explore Culture, History & Humanities Courses

This course explores the Making, the Locating and the Viewing of Renaissance paintings in the collection of the National Gallery. This course takes place at the National Gallery.

This study day will examine the question of the association of women with magic and witchcraft.

F. W. Murnau’s Nosferatu: A Symphony of Horror (1922) is acknowledged as one of the all-time greats of cinema, expressing as one critic describes it, the ‘poetry of fear’ and as one of the first feature length vampire films it’s influence, and legacy has been widely felt. Robert Eggers’ recent remake Nosferatu (2024), comes just over one hundred years after Murnau's film and marks one of the most recent instalments in a genre that continues to renew itself for each generation of film viewers. Exploring a range of key vampire films from across this century of cinema, this course will explore why the vampire film remains such a popular sub-genre of the horror film and it will consider why it continues to exercise such power over its spectators.

Join Sarah Wise to explore the clandestine world of 'resurrection men,' the bodysnatchers who supplied human bodies to anatomy schools and the impact of the 1832 Anatomy Act on the trade.

Come on a walking tour of Hampstead discovering where refugee artists from the Second World War lived and the people and institutions which made great efforts to save and support them.

What do we know? How do we know it? What are the limits of knowledge? Join this course to explore the area of Kant’s philosophy which focuses on his theory of knowledge.

Still-life paintings usually represent ordinary things, often small and arranged on an indoor surface, without human presence. Long regarded in western art as the lowliest subject or “genre”, one that only required technical skill rather than imagination, still lifes are now considered some of the most charming and best loved paintings and can contain intriguing meanings that repay close study.

Explore the astonishing range of poetic responses to a hundred years of warfare, acts of witnessing, endurance, defiance and condemnation by writers across the globe: Sassoon and Wilfred Owen in Britain, Brecht, Milosz, Celan, Akhmatova and Stepanova in Europe and Russia, Darwish and Zhadan in the Middle East and Ukraine, and many others. How do they describe the indescribable? High art or doggerel, what does it matter once the bombs start to fall?

Join us to explore two of Shakespeare’s greatest plays, his tragedy King Lear, and his late ‘romance’, The Tempest. We’ll consider the connections – and differences - between these works, thinking about Shakespeare’s use of genre and language, the historical contexts, changing critical perspectives, and aspects of the plays in performance.