Skip to main contentCambridge University Reporter

No 6193

Wednesday 16 June 2010

Vol cxl No 34

pp. 969–1008

Notices By Faculty Boards, etc.

History of Art Tripos, Parts IIa and IIb, 2010–11: Special subjects

The Faculty Board of Architecture and History of Art give notice of the special subjects for the History of Art Tripos, 2010–11. 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. 340, Reg. 11(b)).

The Faculty Board are satisfied that no candidate’s preparation for the examination in 2011 will be affected by the late publication of this notice.

Paper 3/4. Art in Early Medieval Europe: The age of migrating ideas (6th to 9th centuries)

The period of transition from Late Antiquity to the Middle Ages has traditionally been labelled as ‘the Dark Ages’. Far from a gloomy picture of decline, more recent studies have stressed how we can actually perceive dynamic transformations and innovations of great relevance to today’s changing times. This Special Subject explores as a case-study the reception of the Roman heritage in Anglo-Saxon England with the momentous changes that the advent of a new religion and social values brought with them. This artistic period will be studied in a wide context, and consider contacts with immediate neighbours in the Insular world (the Irish and the Picts – and the ‘local’ Romano-British), those on the Continent, and with the Mediterranean and Islamic world. Questions of continuity and change, patronage and experiment, the relationship between a text-based religion and images, travel and the migration of ideas and sources will be investigated using a wealth of material: manuscripts, sculpture, metalwork, and architecture as well as the coinage of the time.

Paper 5/6. Gothic art and architecture in France 1100–1300

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.

Paper 7/8. Constructing the Golden Age: Dutch art in the seventeenth century

The view of the age of Rembrandt and Vermeer as a singular time of unrivalled peace, prosperity, and creativity has framed discussions of Dutch art since the seventeenth century and has been one of the most important – and largely unchallenged – narratives in Dutch art-historiography. This course will examine the construction of the concept of the Golden Age in the seventeenth-century Netherlands and its reception in subsequent periods. The first part of the course will be concerned with the religious, political, and military circumstances surrounding the separation of the northern and southern Netherlands, a dramatic shift in allegiances and professed ideals that led to the recalibration of historical self-definition in the north. We will examine the use of the visual arts to establish and convey this identity in the form of the pastoral (landscape and portraiture), biblical imagery (the Netherlands as the New Jerusalem), and ancient history (the construction of the Batavian past). The second part of the course will consider the events of 1672, known as the ‘rampjaar’ or year of disaster, which has traditionally been seen as the beginning of a precipitous decline that brought the Golden Age to an end. The nexus of circumstances that led to the ‘rampjaar’ and their effect on the political, economic, and artistic climate of the northern Netherlands will be examined. Finally we will look at the impact of the ‘Glorious Revolution’ (1688–89) on Dutch art, the concept of cultural decline, and the subsequent historiographical framing of the period in the 18th, 19th, and early 20th centuries in England, France, and America.

Paper 9/10. Dürer and his time

A study of Dürer as a painter, an engraver, a draughtsman, and a theorist demonstrates his prevailing place in the Northern Renaissance. His travels are studied and the impact of new ideas and forms on the development of his art. This involves a comparative analysis of Italian and Northern trends. However, the principal aim is to show the place of Dürer’s production within his social and cultural environment (humanist, popular, religious, etc.). This approach should allow an understanding not only of the artistic but also of the cultural aspects of Dürer’s art.

Paper 11/12. Bernini and Borromini

GianLorenzo Bernini (1598–1680) and Francesco Borromini (1599–1667) were almost exact contemporaries, yet they came from very different backgrounds. Bernini, born in Naples, was the son of a Florentine sculptor, whereas Borromini was a stonemason from Lugano. This course is set in the context of the papacies of Urban VIII, Innocent X, and Alexander VII, all of whom were ambitious patrons of the arts, promoting both family identity and the glorification of the Catholic Church. Bernini was a precocious and brilliant sculptor who soon turned to architecture, while Borromini was an intensely professional and individual architect. During their long careers, Bernini and Borromini, together with gifted contemporaries such as Pietro da Cortona, helped to shape the face of Baroque Rome. The works to be studied span many media, and will include urban planning, churches, chapels, tombs, monuments, fountains, gardens, family palaces, and portraits.

Paper 13/14. The poetics and politics of Surrealism

Born out of the ashes of World War I, Surrealism dominated the European art world through the 1930s, spread to America by World War II, and continued to play a leading role in the cultural arena up to the events of May 1968. Emphatically international, and spreading across the globe to Dublin, Prague, Mexico, New York, and Tokyo, it involved male and female, heterosexual, gay, lesbian, and ‘queer’ artists. It had an impact on high and low culture, from painting to film to advertising. Its legacy is present already in the performance and Pop art of the Sixties and continues today – one cannot begin to appreciate the sensationalism of the Chapman brothers, the vision of Alexander McQueen, or the black humour of Sarah Lucas without first having a knowledge of Surrealism. This course begins with dada and ends with yBa. In between, we explore many Surrealist techniques, themes, and political agendas across a range of sources (Surrealist manifestoes, writings, novels, and exhibition catalogues) and media (automatic drawings, paintings, film, photography, and performance). We also consider the impact of Surrealism on the American avant-garde, the Happening, and Pop art and its legacy for feminist and contemporary art practice.

Paper 15/16. Byzantine art and architecture in Constantinople 843–1204

This course will focus on the art of the capital, Constantinople, in the period between the end of Iconoclasm in 843 and the capture and sack of the city by the Fourth Crusade in 1204. In these centuries Constantinople was embellished with churches and palaces filled with mosaics, icons, and other treasures which were the wonder and envy of the medieval world. Visual representation was at the core of both Orthodox worship and imperial ideology; as political, economic, and social circumstances changed so did imagery. An important aspect of the course will be to locate Byzantine art in its historical context (including the audiences for and their reception of this art) and seek to draw out its essentially dynamic nature through the study of patronage and church and palace decoration. The course will also examine various conceptual issues, encompassing the function and meaning of icons, the notion of ‘metropolitan’ and ‘provincial’ production, the problems of Byzantine ‘style’, and the so-called ‘renaissances’ which took place in the period. Other themes will be the urban architecture and spaces of Constantinople and Middle Byzantine architecture. These topics will be addressed through the study of contemporary texts and the principal monuments of Constantinople, both in the city and those which were erected beyond it by metropolitan craftsmen, such as the churches at Ochrid, Hosios Loukas, Daphni, Nea Moni, and Nerezi. The material will include all the major forms of artistic expression – mosaics, wall paintings, icons, manuscript illumination, enamels, metalwork, and ivories.

Paper 19/20. British architecture in the age of enlightenment, industry, and reform

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 Graeco-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.

Paper 21/22. Painting in Britain: from Hogarth to Turner

This course will study painting in Britain during a period of unprecedented change. It will consider the importance of institutions as well as individuals, and will examine artists’ careers in the light of political and social developments during the eighteenth and early nineteenth centuries. The course begins with the emergence of William Hogarth as a painter and a propagandist for his profession, before looking at the impact of the early Industrial Revolution upon the output of artists such as Joseph Wright and George Stubbs. It will then proceed to what may legitimately be labelled as ‘the age of Reynolds’, whose Discourses will provide the critical text for an examination of artistic theory and practice in the closing decades of the century. Finally attention will turn to landscape painting, and that ‘decade of English naturalism’ at the beginning of the nineteenth century which is associated with both Constable and Turner, before following the very different, though parallel trajectories of their respective careers.

Paper 23/24. Modernism, Postmodernism, and after

This course examines the major developments in the theory and practice of art from the late 1940s until the end of the 1990s, paying particular attention to the art of the 1960s and its legacy. The explosion of 1960s artistic innovations overturned formalist modernism and ushered in a postmodern era whose status and significance remains contested. While the course focuses on American, British, and Western European artists it also considers the transnational character of many post-war artistic practices. Particular emphasis is placed on the challenge to painting and sculpture mounted first by the neo-avant-garde and then, most comprehensively, by conceptual art. The collapse of medium-specific conventions continues to present a challenge for the definition of art up to the present day. The course is grouped into two blocks ‘Modernism’ and ‘Postmodernism and after’. There are two lectures and a seminar every week. A survey introduces each block and the major artistic movements are presented in broad historical sequence. However, artistic problems bleed across neat periodizing boundaries and students are asked to reflect critically on this fact.

History of Art Tripos, Parts IIa and IIb, 2011–12: Special subjects

The Faculty Board of Architecture and History of Art give notice of the special subjects for the History of Art Tripos, 2011–12. 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. 340, Reg. 11(b)).

Paper 3/4. Art in Early Medieval Europe: The age of migrating ideas (6th to 9th centuries)

The period of transition from Late Antiquity to the Middle Ages has traditionally been labelled as ‘the Dark Ages’. Far from a gloomy picture of decline, more recent studies have stressed how we can actually perceive dynamic transformations and innovations of great relevance to today’s changing times. This Special Subject explores as a case-study the reception of the Roman heritage in Anglo-Saxon England with the momentous changes that the advent of a new religion and social values brought with them. This artistic period will be studied in a wide context, and consider contacts with immediate neighbours in the Insular world (the Irish and the Picts – and the ‘local’ Romano-British), those on the Continent, and with the Mediterranean and Islamic world. Questions of continuity and change, patronage and experiment, the relationship between a text-based religion and images, travel and the migration of ideas and sources will be investigated using a wealth of material: manuscripts, sculpture, metalwork, and architecture as well as the coinage of the time.

Paper 5/6. Gothic art and architecture in France 1100–1300

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.

Paper 7/8. Titian

Tiziano Vecellio, called Titian (c. 1488–1576) was the dominant Venetian painter of the 16th century and has remained one of the most universally admired of Western artists. Famed above all as an incomparable colourist, Titian was a remarkably adventurous and varied artist who essayed all the genres currently practised and left his mark upon them all. His career has few parallels in longevity and productiveness and he has been very much studied. However, many major problems remain to be resolved: of attribution, of dating, and of meaning. This course will aim to provide a coherent account of Titian’s artistic production, with particular attention paid to the different phases of his art, its variety, and the painter’s constant experimentation. The focus will be on issues of style, development, dating, and meaning, and the approach will be primarily visual. Some attention will be paid to Titian’s relations with other painters such as Giovanni Bellini, Giorgione, and Tintoretto and with his most significant patrons, but his art will stand centre-stage.

Paper 9/10 Dürer and his time

A study of Dürer as a painter, an engraver, a draughtsman, and a theorist demonstrates his prevailing place in the Northern Renaissance. His travels are studied and the impact of new ideas and forms on the development of his art. This involves a comparative analysis of Italian and Northern trends. However, the principal aim is to show the place of Dürer’s production within his social and cultural environment (humanist, popular, religious, etc.). This approach should allow an understanding not only of the artistic but also of the cultural aspects of Dürer’s art.

Paper 11/12. Bernini and Borromini

GianLorenzo Bernini (1598–1680) and Francesco Borromini (1599–1667) were almost exact contemporaries, yet they came from very different backgrounds. Bernini, born in Naples, was the son of a Florentine sculptor, whereas Borromini was a stonemason from Lugano. This course is set in the context of the papacies of Urban VIII, Innocent X, and Alexander VII, all of whom were ambitious patrons of the arts, promoting both family identity and the glorification of the Catholic Church. Bernini was a precocious and brilliant sculptor who soon turned to architecture, while Borromini was an intensely professional and individual architect. During their long careers, Bernini and Borromini, together with gifted contemporaries such as Pietro da Cortona, helped to shape the face of Baroque Rome. The works to be studied span many media, and will include urban planning, churches, chapels, tombs, monuments, fountains, gardens, family palaces, and portraits.

Paper 13/14. The poetics and politics of Surrealism

Born out of the ashes of World War I, Surrealism dominated the European art world through the 1930s, spread to America by World War II, and continued to play a leading role in the cultural arena up to the events of May 1968. Emphatically international, and spreading across the globe to Dublin, Prague, Mexico, New York, and Tokyo, it involved male and female, heterosexual, gay, lesbian, and ‘queer’ artists. It had an impact on high and low culture, from painting to film to advertising. Its legacy is present already in the performance and Pop art of the Sixties and continues today – one cannot begin to appreciate the sensationalism of the Chapman brothers, the vision of Alexander McQueen, or the black humour of Sarah Lucas without first having a knowledge of Surrealism. This course begins with dada and ends with yBa. In between, we explore many Surrealist techniques, themes, and political agendas across a range of sources (Surrealist manifestoes, writings, novels, and exhibition catalogues) and media (automatic drawings, paintings, film, photography, and performance). We also consider the impact of Surrealism on the American avant-garde, the Happening, and Pop art and its legacy for feminist and contemporary art practice.

Paper 15/16. Byzantine art and architecture in Constantinople 843–1204

This course will focus on the art of the capital, Constantinople, in the period between the end of Iconoclasm in 843 and the capture and sack of the city by the Fourth Crusade in 1204. In these centuries Constantinople was embellished with churches and palaces filled with mosaics, icons, and other treasures which were the wonder and envy of the medieval world. Visual representation was at the core of both Orthodox worship and imperial ideology; as political, economic, and social circumstances changed so did imagery. An important aspect of the course will be to locate Byzantine art in its historical context (including the audiences for and their reception of this art) and seek to draw out its essentially dynamic nature through the study of patronage and church and palace decoration. The course will also examine various conceptual issues, encompassing the function and meaning of icons, the notion of ‘metropolitan’ and ‘provincial’ production, the problems of Byzantine ‘style’, and the so-called ‘renaissances’ which took place in the period. Other themes will be the urban architecture and spaces of Constantinople and Middle Byzantine architecture. These topics will be addressed through the study of contemporary texts and the principal monuments of Constantinople, both in the city and those which were erected beyond it by metropolitan craftsmen, such as the churches at Ochrid, Hosios Loukas, Daphni, Nea Moni, and Nerezi. The material will include all the major forms of artistic expression – mosaics, wall paintings, icons, manuscript illumination, enamels, metalwork, and ivories.

17/18. Raphael

Although his working career hardly extended more than twenty years, Raphael Sanzio (1483–1520) was one of the most productive and influential of all Renaissance artists and perhaps the one whose art developed most radically and rapidly. He was an artist capable of absorbing and setting to his own purposes the innovations of his major contemporaries and he never remained static. From his early career in the Marches and Umbria, though a sojourn in Florence, to his final period in Rome, where he was responsible for the world-famous frescoes in the Stanze (including the School of Athens, the Expulsion of Heliodorus and the Fire in the Borgo), he revitalized all the genres and traditions that he touched. A painter on panel, canvas, and fresco he also made innovatory designs for tapestries, and became an important architect and archaeologist. He was a prolific and exceptionally versatile draughtsman and, indeed, his drawings have been prized even at periods when his painting has sunk in popularity. All the phases of his work had an incalculable effect on later Western European art and in all genres: representations of the New and Old Testaments, Madonnas and Holy Families, altarpieces, portraiture, ideal assemblages, historical scenes, mythologies, none would have developed as they did without his example.

While this course will cover the whole of Raphael’s career, it will place more stress than usual on his Roman period, which lasted over a decade and which was the most important for later 16th and 17th century art. It will not be possible to do more than glance at Raphael’s architecture, but some attention will be given to his studio organization, the communication of his visual ideas in engravings and woodcuts, and the work of his most immediate assistants, associates, and followers such as Giovanni Francesco Penni, Giulio Romano, Perino dela Vaga, and Polidoro da Caravaggio.

Paper 19/20. British architecture in the age of enlightenment, industry, and reform

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 Graeco-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.

Paper 21/22. Constructing the Golden Age: Dutch art in the seventeenth century

The view of the age of Rembrandt and Vermeer as a singular time of unrivalled peace, prosperity, and creativity has framed discussions of Dutch art since the seventeenth century and has been one of the most important – and largely unchallenged – narratives in Dutch art-historiography. This course will examine the construction of the concept of the Golden Age in the seventeenth-century Netherlands and its reception in subsequent periods. The first part of the course will be concerned with the religious, political, and military circumstances surrounding the separation of the northern and southern Netherlands, a dramatic shift in allegiances and professed ideals that led to the recalibration of historical self-definition in the north. We will examine the use of the visual arts to establish and convey this identity in the form of the pastoral (landscape and portraiture), biblical imagery (the Netherlands as the New Jerusalem), and ancient history (the construction of the Batavian past). The second part of the course will consider the events of 1672, known as the ‘rampjaar’ or year of disaster, which has traditionally been seen as the beginning of a precipitous decline that brought the Golden Age to an end. The nexus of circumstances that led to the ‘rampjaar’ and their effect on the political, economic, and artistic climate of the northern Netherlands will be examined. Finally we will look at the impact of the ‘Glorious Revolution’ (1688–89) on Dutch art, the concept of cultural decline, and the subsequent historiographical framing of the period in the 18th, 19th, and early 20th centuries in England, France, and America.

Paper 23/24. Modernism, Postmodernism, and after

This course examines the major developments in the theory and practice of art from the late 1940s until the end of the 1990s, paying particular attention to the art of the 1960s and its legacy. The explosion of 1960s artistic innovations overturned formalist modernism and ushered in a postmodern era whose status and significance remains contested. While the course focuses on American, British, and Western European artists it also considers the transnational character of many post-war artistic practices. Particular emphasis is placed on the challenge to painting and sculpture mounted first by the neo-avant-garde and then, most comprehensively, by conceptual art. The collapse of medium-specific conventions continues to present a challenge for the definition of art up to the present day. The course is grouped into two blocks ‘Modernism’ and ‘Postmodernism and after’. There are two lectures and a seminar every week. A survey introduces each block and the major artistic movements are presented in broad historical sequence. However, artistic problems bleed across neat periodizing boundaries and students are asked to reflect critically on this fact.

Philosophy Tripos, 2011: Prescribed texts and subjects

Part Ia

Paper 4. Set texts

Plato, Meno;

Hume, Dialogues concerning natural religion;

J. S. Mill, On liberty and The subjection of women.

Part Ib

Paper 5. Modern and medieval philosophy

Boethius, Consolation of philosophy, Book 5.

William Ockham, Predestination, God’s foreknowledge, and future contingents.

Descartes, Meditations on first philosophy.

Leibniz, Discourse on metaphysics and The monadology.

Locke, Essay concerning human understanding.

Berkeley, The principles of human knowledge and Three dialogues between Hylas and Philonous.

Hume, Atreatise of human nature, Book I and Appendix.

Part II

Paper 1. Metaphysics

Wittgenstein, Tractatus logico-philosophicus.

Candidates also taking Paper 9 may not answer questions in this paper on Wittgenstein’s Tractatus, which will be marked with an asterisk (*). The paper will be set in such a way that there are at least ten questions not marked with an asterisk.

Paper 2. Philosophy of mind

Wittgenstein, Philosophical investigations.

Candidates also taking Paper 9 may not answer questions in this paper on Wittgenstein’s Philosophical investigations, which will be marked with an asterisk (*).

The paper will be set in such a way that there are at least ten questions not marked with an asterisk.

Paper 3. Ethics

Kant, Groundwork of the metaphysics of morals, with special reference to the following topics: the categorical imperative; duty and motive; morality and freedom.

Paper 4. European philosophy from Kant

Kant, Critique of pure reason to the end of the Transcendental Dialectic (A704, B732);

Hegel, The phenomenology of spirit, Introduction, Consciousness, Self-consciousness (paragraphs 73–230); Hegel’s logic: being part of the Encyclopaedia of the philosophical sciences, paragraphs 1–111; Introduction to lectures on the philosophy of history, as far as (but not including) The geographical basis of world history;

Nietzsche, On the genealogy of morality, The gay science, The birth of tragedy, Beyond good and evil.

Paper 9. Special subject specified by the Faculty Board

In 2011: Wittgenstein

Tractatus

Philosophical investigations

On certainty

Study of the following topics is also included: the development throughout Wittgenstein’s work of his views on solipsism and the self, and the nature of philosophy.

Candidates taking this paper are barred from answering asterisked (*) questions in Paper 1, Metaphysics, and in Paper 2, Philosophy of mind.

Paper 11. Aesthetics

Plato, Ion, Symposium, and Republic (Books II, III, X).

Hume, ‘On the standard of taste’ in Essays, moral, political, and literary.

Bachelor of Theology for Ministry, 2011: Special subjects and prescribed texts

The Faculty Board of Divinity give notice that they have selected the following special subjects and prescribed texts for the Bachelor of Theology for Ministry in 2011 (Statutes and Ordinances, p. 446):

Paper 1   Introduction to Biblical Hebrew 2 Samuel 9–12

Paper 2   Elementary HebrewGenesis 37 and 40–43, and 45

Paper 3   Introduction to New Testament Greek John 1–5

Paper 4   New Testament GreekText set for Paper A1b

Paper 6   Introduction to the New TestamentMatthew 5:17–20; Mark 8:27–9:1; Luke 4:14–21; John 16:1–11; Galatians 3:6–14; Philippians 2:5–11; I Timothy 2:8–15

Paper 15   Biblical exegesis Genesis 1–11; Deuteronomy; Ruth and Jonah; Daniel; Hosea; The Gospel of Mark; Romans

Paper 16   Further Old Testament studies Genesis 1–11; Deuteronomy; Ruth and Jonah; Daniel; Hosea

Paper 17   Further New Testament studies The Gospel of Mark; Romans

Paper 22   Topics in Christian doctrineThe prescribed topics are ‘Church and sacraments’; ‘Biblical theology’; and ‘The Gospel and Western culture’.

Paper 23   Further studies in Christian doctrine The prescribed topic is ‘Political theology’.

Paper 24   Schism, conflict, and unity in Christian history The prescribed topics are ‘The continental reformations 1517–1562: the renewal of faith and the separation of the faithful’; and ‘Reformations in the Atlantic archipelago 1530–1603: religion, ethnicity, and identity’.

Paper 27   One special subject, specified by the Faculty Board The specified subjects are ‘The reformed tradition’ and ‘Anglicanism’.

Paper 28   One further subject, specified by the Faculty Board The specified subjects are ‘Advanced ethics’; ‘Christian hope’; and ‘Feminist Biblical interpretation’.

Examination in Archaeology for the degree of Master of Philosophy, 2010–11: Notice

The Degree Committee of the Faculty of Archaeology and Anthropology give notice of the following list of modules to be offered for examination in 2010–11. The methods of examination will be as follows:

Option A. Archaeological Heritage and Museums

(a) The socio-politics of the past

Three-hour written examination (67%) and an essay of not more than 3,000 words (33%)

(b) Museums: history, theory, and practice

Three-hour written examination (67%) and an essay of not more than 3,000 words (33%)

(c) Management of archaeological heritage

Two essays of not more than 4,000 words (50% each)

Option B. Archaeological Science

(a) Archaeological science

Three-hour written examination (67%) and an essay of not more than 3,000 words (33%)

(b) Practical application of scientific methods

Two written reports upon practical projects of not more than 4,000 words (50% each)

(c) Any other module offered in the Department of Archaeology, if all necessary prerequisites are fulfilled and by consent of the instructor and the option coordinator, to be assessed through the mode of assessment specified for that module.

Option C. Archaeology

(a) Core archaeology

Three-hour written examination (67%) and an essay of not more than 3,000 words (33%)

(b) Any two other modules offered in the Department of Archaeology, if all necessary prerequisites are fulfilled and by consent of the instructor and the option coordinator, to be assessed through the modes of assessment specified for those modules.

Option D. Archaeology of the Americas

(a) Archaeology of the Americas

Three-hour written examination (67%) and an essay of not more than 3,000 words (33%)

(b) Core archaeology

Three-hour written examination (67%) and an essay of not more than 3,000 words (33%)

(c) Any other module offered in the Department of Archaeology, if all necessary prerequisites are fulfilled and by consent of the instructor and the option coordinator, to be assessed through the mode of assessment specified for that module.

Option E. Egyptian Archaeology

(a) Either:

Historical Archaeology of Ancient Egypt I

Three-hour written examination (67%) and an essay of not more than 3,000 words (33%)

Or: Landscapes, built environment, and material

culture of Ancient Egypt

Two 4,000-word essays (each 50%)

Or: Topics in Egyptology

Two 4,000-word essays (each 50%)

(b) Core archaeology

Three-hour written examination (67%) and an essay of not more than 3,000 words (33%)

(c) Any other module offered in the Department of Archaeology, if all necessary prerequisites are fulfilled and by consent of the instructor and the option coordinator, to be assessed through the mode of assessment specified for that module.

Option F. European Prehistory

(a) European Prehistory

Three-hour written examination (67%) and an essay of not more than 3,000 words (33%)

(b) Core archaeology

Three-hour written examination (67%) and an essay of not more than 3,000 words (33%)

(c) Any other module offered in the Department of Archaeology, if all necessary prerequisites are fulfilled and by consent of the instructor and the option coordinator, to be assessed through the mode of assessment specified for that module.

Option G. Medieval Archaeology

(a) Either Medieval Europe, 5th–11th centuries ad or Medieval Europe: 11th–16th centuries ad

Three-hour written examination (67%) and an essay of not more than 3,000 words (33%)

(b) Core archaeology

Three-hour written examination (67%) and an essay of not more than 3,000 words (33%)

(c) Any other module offered in the Department of Archaeology, if all necessary prerequisites are fulfilled and by consent of the instructor and the option coordinator, to be assessed through the mode of assessment specified for that module.

Option H. Mesopotamian Archaeology

(a) either:

The archaeology of Mesopotamia

Three-hour written examination (67%) and an essay of not more than 3,000 words (33%)

or: Topics in Mesopotamian Archaeology

Two essays of 4,000 words each (each 50%)

(b) Core archaeology

Three-hour written examination (67%) and an essay of not more than 3,000 words (33%)

(c) Any other module offered in the Department of Archaeology, if all necessary prerequisites are fulfilled and by consent of the instructor and the option coordinator, to be assessed through the mode of assessment specified for that module.

Option I. Palaeolithic and Mesolithic Archaeology

(a) Palaeolithic and Mesolithic archaeology

Three-hour written examination (67%) and three essays of not more than 1,000 words each (11% each, totalling 33%)

(b) Core archaeology

Three-hour written examination (67%) and an essay of not more than 3,000 words (33%)

(c) Any other module offered in the Department of Archaeology, if all necessary prerequisites are fulfilled and by consent of the instructor and the option coordinator, to be assessed through the mode of assessment specified for that module.

Option J. South Asian Archaeology

(a) South Asian archaeology

Three-hour written examination (67%) and three essays of not more than 1,000 words each (11% each, totalling 33%)

(b) Core archaeology

Three-hour written examination (67%) and an essay of not more than 3,000 words (33%)

(c) Any other module offered in the Department of Archaeology, if all necessary prerequisites are fulfilled and by consent of the instructor and the option coordinator, to be assessed through the mode of assessment specified for that module.

Examination in Assyriology for the degree of Master of Philosophy, 2010–11: Notice

The Degree Committee of the Faculty of Archaeology and Anthropology give notice of the following list of modules to be offered for examination in 2010–11 for the degree of Master of Philosophy in Assyriology. The methods of examination will be as follows:

1. Akkadian

   1A. Elementary Akkadian language and texts

One three-hour written examination

   1B. Advanced Akkadian language and texts

One three-hour written examination

2. Sumerian language and texts

One three-hour written examination

3B. Mesopotamian culture: religion and science

Two essays of not more than 4,000 words (each 50%)

4A. Archaeology of Mesopotamia: prehistory to early states

One three-hour written examination (67%) and one essay of not more than 3,000 words (33%)

5. Topics in Mesopotamian history and archaeology

Two essays of not more than 4,000 words (each 50%)

6. Another M.Phil. module offered in the Department of Archaeology

Mode of assessment specified for that module

Candidates will take three modules as follows:

(a) One module chosen from the following:

(i) 1A: Elementary Akkadian language and texts

(ii) 1B: Advanced Akkadian language and texts

(iii) 2: Sumerian language and texts

(b) A second module chosen from the following:

(i) 2: Sumerian language and texts

(ii) 3: Mesopotamian culture

(iii) 4: Archaeology of Mesopotamia

(iv) 5: Topics in Mesopotamian archaeology

(c) A third module chosen from the list in (b) above or a module borrowed from any other M.Phil. course offered in the Department of Archaeology, if all necessary prerequisites are fulfilled and by consent of the instructor.

Examination in Egyptology for the degree of Master of Philosophy, 2010–11: Notice

The Degree Committee of the Faculty of Archaeology and Anthropology give notice of the following list of modules to be offered for the examination in Egyptology for the degree of Master of Philosophy, 2010–11. The methods of examination will be as follows:

1. Introduction to Egyptian language

One three-hour written examination

2. Advanced Egyptian language

One three-hour written examination

3. Coptic*

One three-hour written examination

4. Demotic**

One three-hour written examination

5. Landscapes, built environment, and material culture of Ancient Egypt

Two 4,000-word essays (each 50%)

6. Historical archaeology of Ancient Egypt I

Three-hour written examination (67%) and one 3,000-word essay (33%)

7. Historical archaeology of Ancient Egypt II

Not available in 2010–11

8. Topics in Egyptology

Two 4,000-word essays (each 50%)

9. Another M.Phil. module offered in the Department of Archaeology

Mode of assessment specified for that module

Candidates will either take three modules from 1–8, or two modules from 1–8 and module 9, if all necessary prerequisites are fulfilled and by consent of the instructor.

* The paper will be divided into two sections. Candidates will answer questions from one section only.

Section A is designed for candidates with no prior knowledge of Coptic. The set texts for this section correspond to the Chrestomathie from W. C. Till, Koptische Grammatik (Saïdische Dialekt), pp. 260–318.

Section B is designed for candidates with some prior knowledge of Coptic. This will comprise questions on texts in the standard Saidic dialect, as well as in Bohairic, the dialect of the Delta. The set texts are as follows:

Saidic

E. A. Wallis Budge (ed.) Coptic Biblical Texts, 114–21 (Jonah)

J. Drescher (ed.) Three Coptic Legends, 32–67 (The Seven Sleepers)

J. Leipoldt (ed.) ‘Sinuthii Archimandritae Vita et opera omnia, Scriptores Coptici (series secunda, Tomus IV), III, 30–67

W. E. Crum, Varia Coptica, nos. 5, 6, 8, 19, 25, 33, 34, 45, 50, 58.

Bohairic

A. Mallon, Grammaire copte (4th edn.), Chrestomathie, pp. 1–121

** The set text will be the first story of Setne, as given in W. Erichsen, Demotische Lesestücke, 1–40.