No 6428
Thursday 2 June 2016
Vol cxlvi No 33
pp. 588–605
The Faculty Board for Earth Sciences and Geography gives notice that, for the examination for Part Ib and for Part II of the Geographical Tripos to be held in 2017, the papers to be offered will be examined as shown in the tables below.
In these tables, the following terms are defined:
1. ‘Two+1 examination’: The assessment of such papers will consist of a conventional two-hour examination in which candidates will be asked to attempt two questions from a choice of not fewer than six questions. The papers will be undivided. In addition, there will be assessed coursework to be submitted not later than the division of the Easter Term in the year of the examination. The nature of the coursework required will be determined by the University Teaching Officer responsible for the co-ordination of the course, who will provide written details of the procedures which will be followed. The coursework will be equivalent to one question in quantity and for assessment in determining an overall mark for the paper.
2. ‘Three-hour examination’: The papers will be examined by a conventional unseen three-hour examination in which candidates will be asked to attempt three questions from a choice of not fewer than nine questions. The papers will be undivided.
|
Paper No. |
General titles |
Courses offered 2016–17 |
Mode of assessment |
|
1 |
Living with global change |
Part i: Core ideas Part ii: Core themes Part iii: Core skills |
Two+1 examination |
|
2 |
Human geography I |
Austerity and affluence |
Two+1 examination |
|
3 |
Human geography II |
Development theories, policies, and practices |
Two+1 examination |
|
4 |
Human geography III |
Citizenship, cities, and civil society |
Two+1 examination |
|
5 |
Physical and environmental geography I |
Environmental systems and processes |
Two+1 examination |
|
6 |
Physical and environmental geography II |
Glacial processes |
Two+1 examination |
|
7 |
Physical and environmental geography III |
Biogeography |
Two+1 examination |
|
Paper No. |
General titles |
Courses offered 2016–17 |
Mode of assessment |
|
1 |
A prescribed topic or topics in human geography I |
The geographies of global urbanism |
Three-hour examination |
|
2 |
A prescribed topic or topics in human geography II |
Geographies of the Arctic |
Two+1 examination |
|
3 |
A prescribed topic or topics in human geography III |
Political ecology in the global south |
Three-hour examination |
|
4 |
A prescribed topic or topics in human geography IV |
The political geography of postcolonialism |
Three-hour examination |
|
5 |
A prescribed topic or topics in geography I |
Changing cultures of risk |
Three-hour examination |
|
6 |
A prescribed topic or topics in geography II |
Political appetites: geographies of food and power |
Three-hour examination |
|
7 |
A prescribed topic or topics in geography III |
Historical demography |
Two+1 examination |
|
8 |
A prescribed topic or topics in geography IV |
The glacial and quaternary record |
Two+1 examination |
|
9 |
A prescribed topic or topics in physical geography I |
Glaciology |
Three-hour examination |
|
10 |
A prescribed topic or topics in physical geography II |
Volcanology |
Three-hour examination |
|
11 |
A prescribed topic or topics in physical geography III |
Muddy coasts and estuaries |
Two+1 examination |
|
12 |
A prescribed topic or topics in physical geography IV |
Biogeography: biological processes and environmental change |
Two+1 examination |
The Faculty Board of Architecture and History of Art has approved amendments to the Supplementary Regulations for the Tripos in order that papers 2, 3, 4, and 5 are no longer divided, but each taught over two terms; and in order that improved coherence between papers is provided.
By amending the Supplementary Regulation so as to read:
These papers are concerned with painting and sculpture; the Faculty Board may prescribe specified artists, or specified subjects or periods, for special study. The course deals with the processes and attitudes which have shaped the world of images, such as methods and materials, the creative process, and notions of quality and taste, as well as the reproduction of images. The course introduces students to such questions, and focuses on specific artists, periods, and traditions. It covers various topics, such as techniques and materials, classical sculpture and its legacy, and more modern developments.
By amending the Supplementary Regulation so as to read:
The course for these papers deals with traditions of representation and architectural meaning; the Faculty Board may prescribe specified artists or periods for special study. The course aims to provide an awareness of changing attitudes to architecture and art in Western Europe. Emphasis is placed on close critical study of a range of key examples, as well as their context. It covers various topics in the study of the visual arts, focusing on the content and interpretation of the figurative arts. It also covers areas such as the theory and use of classical orders, building typology, and the relationship between design and construction.
The Faculty Board of Architecture and History of Art is satisfied that no candidate’s preparation for the examination will be adversely affected.
The Faculty Board of Architecture and History of Art gives notice of the special subjects for the History of Art Tripos, 2016–17. The Board shall have the power of subsequently issuing amendments if they have due reason for doing so, and if they are satisfied that no student’s preparation for the examination is adversely affected (Statutes and Ordinances, p. 331, Regulation 11(b)).
This special subject examines the exceptionally fertile period of French medieval art and architecture between the era of monastic reform and the end of the building boom at the end of the 13th century. Starting with Romanesque art in such areas as Normandy and Burgundy, it will examine the major sources of art comment in the 12th century including the writings of St Bernard and Abbot Suger. The Parisian art milieu c. 1150, including Saint-Denis, will act as a springboard to further consideration of the development of Gothic architecture in northern and eastern France (Notre-Dame, Paris, Laon, Soissons, Chartres, Bourges etc.). Developments in metalwork and portal sculpture will be considered, and also illumination. High Gothic (Reims, Amiens) will follow, with consideration of the portfolio of Villard d’Honnecourt. The Parisian milieu will then be returned to with examination of Gothic architecture and ‘scholasticism’, the Sainte-Chapelle and Court art under Louis IX and the emergence of Rayonnant. Issues for discussion will include Gothic sculpture, theology and ‘moralitas’, the reception of French art and architecture in Western Europe more generally, and the loss of authority of French architecture to the geographical ‘margins’ from 1300.
The reigns of Elizabeth I and James I saw an unprecedented flourishing of the visual arts in England. In this era of political and religious instability, English artists and patrons experimented with new forms and motifs, forging a unique and idiosyncratic style. Yet this was an art full of contradictions: it revelled in a revived medieval chivalry while grappling enthusiastically with classicism, celebrated grandeur in the country house and royal portrait while embracing the intimacy of the portrait miniature. This special subject will examine the tensions and pluralism of English art c. 1550–1625, paying close attention to the social and cultural contexts that framed and shaped it. We will study panel painting and limning, architecture, sculpture, printmaking, the luxury arts, and the court masque alongside the period developments in literature and theatre with which they were imbricated. The complexities and significance of gender (particularly under Elizabeth), religious confession, and courtly self-fashioning for the arts will be addressed. Throughout, English art’s relationship to continental models – at the time and in subsequent historiography – will be critically assessed, as will its connection to the idea of Renaissance.
Many of the features that characterize the modern art world have their origins in Paris in the years 1750–1800. They include the birth of the public art gallery, in the Palais du Luxembourg and the Louvre, the rise of a new, articulate middle-class public of art lovers, critics, and painters, or the development of new venues to discuss art, such as the Salons. The works of Winckelmann were published in French translation immediately after their first appearance in German; the rediscovery of Herculaneum and Pompei had a great impact on the development of neo-classicism and the new discipline of archaeology; the disputes caused by the rediscovery of Paestum led to radical new assessments of the value of classical art for the present. At the same time, critics, artists, and the public were obsessed with the art and art politics of the Grand Siècle. A common theme that links all these developments is the emergence of an educated, articulate public as a main actor in the Paris art world. In this course we will investigate how these developments interacted to make Paris c. 1750 the place where the modern art world was born; in particular, we will consider how these, often conflicting, developments manifested themselves around a series of public debates, from the disputes caused by the rediscovery of Paestum and Pompei to the design of the church of Sainte Geneviève, subsequently the Panthéon; or the debates that surrounded the transformation of the Louvre from a palace for an absent king to the first public museum; the new artists and audiences that met in the Salons; or the debates caused by the publication of Winckelmann’s History of Classical Art.
Italy’s artistic culture underwent a revolution in the decades around 1300 – a seismic shift towards more naturalistic modes of representation most strongly associated with Giotto di Bondone (c. 1267–1337). This course disentangles the Florentine master from Vasarian myth and modern attribution debates, reassessing his achievements within the context of his own time. We consider Giotto alongside other leading painters (his Florentine compatriot Cimabue and the Sienese Duccio, Simone Martini, and both Lorenzetti) as well as the architect-sculptor Arnolfo di Cambio, setting them against the dynamic backdrop of Tuscany’s burgeoning urban centres (Florence, Siena, Pisa). We explore links between art and literature, especially through the poetry of Dante, and the emergence of pictorial allegory capable of communicating complex philosophical and political concepts. Beyond Tuscany, the course examines several other major artistic centres where Giotto worked: Rome, where the papacy energetically renewed the eternal city’s early Christian past; Assisi, headquarters of the Franciscan Order and site of the peninsula’s most intensive concentration of fresco cycles; Padua, where the university encouraged artists to engage with classical antiquity and the new science of optics; and Naples, whose Angevin kings refashioned their southern capital with Gothic architecture imported from France.
This course will cover the history of the Surrealist movement from its birth in Paris in 1924 to the dissolution of ‘historical Surrealism’ in 1969. It will focus on the developments of Surrealism during this fascinating period of French history and explore its revolutionary role in art, literature, and politics in France in the inter- and post-war years: from its birth in the aftermath of World War I, to its engagement with Marxism and psychoanalysis in the 1930s, to its exile in New York during World War II, to its post-war international exhibitions. Students will be encouraged to examine Surrealist art from a number of thematic perspectives – including desire, mythology, occultism, and utopianism, and to generally consider the relationship between Surrealist art and politics (gender, racial, and national) so that its successes and failures, and its legacy today, can be critically assessed.
From the reign of Peter the Great (1682–1725), artistic practice in Russia underwent a period of remarkably accelerated development, complementing the long-standing tradition of icon painting with a wealth of experimentation in secular art. At the same time, the country acquired art collections of international repute, thanks to the activities of patrons as ambitious as Catherine the Great. This course examines the vibrant visual culture which resulted, from the imposing portraits of the eighteenth-century court, to the iconoclastic antics of the pre-Revolutionary avant-garde. By focusing both on painters unfamiliar in the West and on works as canonical as Malevich’s Black Square, the course will challenge standard interpretations of the modernist mainstream, and consider the role which Russia played in the wider development of Western European art.
Against the perceived complacency of post-war modernist painting, movements like Pop Art, Fluxus, and Conceptual Art renewed the promise of the early 20th century avant-gardes. Again, art was to dismantle or at least resist culturally dominant patterns of thinking and doing. The lectures will critically examine how these ambitions played out over the next 50 years. We will interrogate three ideas that have informed recent artistic production: (i) that art can offer a critique of consumer culture; (ii) that it can offer new models for political action; and (iii) that it advances its own forms of thought and knowledge. Emphasis will be placed on recent forms such as installation, performance, and video, from their beginnings in the American and European context to their apogee in the contemporary, global art world. In recognition of the fluidity of the canon of recent art, students will be especially encouraged to tackle case studies beyond those used in the lectures.
The century from c. 1750 to c. 1850 was one of almost unprecedented development in British architecture. New relationships with the ruined buildings of the ancient Græco-Roman world emerged in response to the effects of the Grand Tour and of the incipient science of archaeology, while an indigenous antithesis was represented by surviving or revived Gothic forms. The ideologies of the Picturesque and of Romanticism incorporated both classicism and medievalism, as well as more exotic forms of architecture inspired by Britain’s trading links with the Far East. This was also the period in which Britain emerged as the world’s first industrial nation, leading not just to new building materials and building types but also to rapid expansion of cities. In this special subject, the architectural effects of changing political and social imperatives in the late eighteenth and early nineteenth centuries will be studied against the background of longstanding British traditions in building and landscape design.
This course offers a broad examination of the emergence and development of the field of Islamic art from the 19th to the 21st century. It will begin with an exploration of the rich artistic output of individuals like Owen Jones and Jules Bourgoin whose borrowings of patterns from sites like the Alhambra almost instantaneously sparked global interest in Islamic ornament and architecture. The course will go on to examine the effects of these discoveries on artisanal productions worldwide and their role in major movements such as the Arts and Crafts and Art Nouveau. It will navigate through the rooms of collectors like Frederic Leighton and Albert Goupil, look closely at the Orientalist oeuvre of artists like Jean-Léon Gérôme and his one-time disciple Osman Hamdi Bey, and cast a critical eye on modern modes of displaying Islamic art in exhibitions and museums. Through these examples, participants will have the opportunity to discuss such concepts as Orientalism and Islamic aniconism and look in depth at the complicated history of archaeology and the circulation of objects that affected the formation of the field. The course will include visits to the Fitzwilliam Museum to study its Islamic art collections onsite.
The Faculty Board of Human, Social, and Political Science gives notice of a correction to the form and conduct of two of the papers listed for the Human, Social, and Political Sciences Tripos, Part II for the examination in 2015–16 (Reporter, 6395, 2014–15, p. 824). The text should have read as follows:
The examination for this paper will take the form of a three-hour examination paper, worth 80% of the overall mark, and a report on summer fieldwork worth 20% of the overall mark.
The examination for this paper will take the form of a three-hour examination paper, worth 70% of the overall mark, and two essays each worth 15% of the overall mark.
The Faculty Board is satisfied that no candidate’s preparation for the examination will be adversely affected.