No 6508
Thursday 31 May 2018
Vol cxlviii No 32
pp. 623–660
The Faculty Board of Architecture and History of Art gives notice of the special subjects for the History of Art Tripos, 2018–19. 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. 354, Regulation 11(b)).
Paper 1. Approaches to the history of art, with reference to works of criticism
This paper investigates the ways in which art has been written about through its history. It examines the philosophical arguments of classical antiquity; religious debates about images in the Middle Ages; approaches to art and architecture in the Renaissance; the birth of aesthetics in Europe; and the emergence of the history of art as a discipline in the eighteenth and nineteenth centuries. The second half of the course is devoted to more recent developments: twentieth-century contributions to the discipline, such as formalism, iconography, and the New Art History; the influence of broader intellectual trends, such as Marxism, Feminism, Psychoanalysis, and Postmodernism; and the future of the history of art in a changing academic landscape.
Paper 2. The display of art
Spread over two terms, this course explores the relationship between art and its various publics through a study of the ways in which art is collected, displayed, and experienced. The Michaelmas Term (‘The Birth of the Museum’) will focus on the evolution of the Western art museum up to the end of the 19th century. The Lent Term (‘The Critique of the Museum’) will focus on the 20th century, examining the avant-gardes’ radical challenge to the museum and the ways in which the institution changed in response to such critique.
Paper 3/4. Drawing in Renaissance and Early Modern Italy, c. 1450–1600
The art and practice of drawing witnessed an unsurpassed explosion of creativity in Renaissance and Early Modern Italy, galvanized by the dramatic expansion of functions, media, and techniques. Within this process, artistic centres such as Florence, Rome, and Venice developed their own schools with idiosyncratic graphic practices and styles. Gradually, drawing in this period became emancipated from its role in the preparation of other types of art and acquired the characteristics of an independent art form. This special subject focuses on the protagonists of this ‘revolution’: Leonardo da Vinci, Raphael, Michelangelo, Titian, and their circles, extending to the Carracci in Bologna, who famously synthesized many of the regional styles. Including close study of original drawings in classes to be held in the Prints and Drawings Study Rooms of the Fitzwilliam Museum and the British Museum, this course embraces the practical and technical aspects of drawings, as well as the theories that informed this art.
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 9/10. Art and architecture in Paris from the First to the Second Empire, 1799–1870
Art and architecture in Paris from the rise to power of Napoleon Bonaparte to the defeat of Napoleon III has long been overshadowed by the Impressionist revolution and the break with the Academic tradition. In fact in this period many major French artists worked, from Géricault and Ingres to Delacroix and Courbet, or from Percier and Fontaine to Labrouste and Garnier. The art world and its institutions changed profoundly: the Académie lost its authority; the classical past was no longer accepted as the model for contemporary art and architecture; where the Louvre originally had been devoted to Western high art, the Expositions d’art industriel and the World Exhibitions introduced the public to high and low art, unique works, and mass-produced manufactures, from all over the world; the most influential voices in art criticism were no longer the members of the Académie or École des Beaux-Arts, but poets, novelists, journalists, and collectors such as Musset and Baudelaire, Stendhal, or the Goncourt Brothers.
This course will not rehearse existing overviews of this period in Paris. Instead it will reconstruct the art world and the visual culture as it developed in these years. It will reconstruct the object scapes that emerged after the major upheavals of 1799, 1815, 1830, 1848, and 1851, and the successor state behaviour that motivated official art politics, major art and architectural commissions, and the transformations of the Louvre and other major museums. The course is structured around a series of major ensembles: the Hôtel de Beauharnais, Dampierre, the completion of the Louvre, the Bibliothèque Sainte-Geneviève, the Maison Pompéïenne and the Hôtel de la Païva. This enables us to see how the greatest artists, architects, and sculptors of the period – Percier and Fontaine, David, Géricault, Ingres, Hittorff, Labrouste, Duban, Gérôme, to name but a few – collaborated to create these monuments. But we will also look at a few major outsiders, such as the animal sculptor Barye and the visual work of Victor Hugo, and we will look at the art criticism produced by some of the greatest French writers.
Paper 11/12. Italian art and architecture in the age of Giotto
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.
Paper 13/14. The poetics and politics of Surrealism
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.
Paper 15/16. Painting and patronage in Imperial Russia
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.
Paper 17/18. Vision and representation in contemporary art
This course explores the changing status of the art object from the mid-1980s to the current day, considering how vision and representation took centre stage. While the optical had been fundamental to the Modernist project, with the rise of Minimalism and Conceptualism in the 1960s and 1970s these concerns had been displaced. By the 1980s artists and theorists influenced by political breakthroughs in the decades before, returned to the visual field to explore the limits of representation in a changing world. Beginning with appropriation and moving through to recent returns to image-making in post-internet art, as well as queer experiments with alternative forms of portraiture, we will trace the politics of looking and being looked at. This course will also address changes in technology, exploring artists’ investigations of digital and analogue media and the range of theoretical interests this has supported from Hito Steyerl’s discussion of the ‘poor image’, to Tacita Dean’s fetishization of film, and Ryan Trecartin’s experiments with mimesis. More broadly, this course will provide a framework to consider Contemporary Art in our work as art historians. We will not only address the history of art-making over the last thirty years, but also to think through how we might approach the unstable and changing world of contemporary practice.
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. Collecting Islamic art
This course offers a broad examination of the emergence and development of the field of Islamic art from the nineteenth to the twenty-first century. It begins 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 of ‘medieval’ artisanship worldwide and their role in major global 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, Occidentalism, Colonialism, Postcolonialism, 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, British Museum, and Leighton House to study its Islamic art collections onsite. This academical year, the course will also feature a non-mandatory trip to Granada and Cordoba in the Easter Term.
The Faculty Board of Economics and the Degree Committee for the Faculty of Economics give notice, with the approval of the Student Registry and the General Board, that in the academical year 2018–19 the subjects for the examination in Economic Research for the degree of Master of Philosophy will be as listed below.
|
Core modules |
||
|
R100: |
Microeconomics |
Two-hour written examination |
|
R101: |
Microeconomics II |
Three-hour written examination |
|
R200: |
Advanced macroeconomics I |
Three-hour written examination |
|
R201: |
Advanced macroeconomics II |
Two-hour written examination |
|
R300: |
Advanced econometric methods |
Three-hour written examination |
|
R301a: |
Econometrics II: Time series |
Two-hour written examination |
|
R301b: |
Econometrics II: Cross-section and panel data |
Two-hour written examination |
|
Specialist modules |
||
|
S140: |
Behavioural economics |
Two-hour written examination |
|
S170: |
Industrial organization |
Two-hour written examination |
|
S180: |
Labour: search, matching, and agglomeration |
Two-hour written examination |
|
S500: |
Development economics |
Two-hour written examination |
|
S600: |
Topics in macroeconomic history |
Project |
|
S610: |
British industrialism |
Project |
|
S620: |
Institutions and economic growth in historical perspective |
Two-hour written examination |
|
F300: |
Corporate finance |
Two-hour written examination |
|
F400: |
Asset pricing |
Two-hour written examination |
|
F500: |
Empirical finance |
Project |
|
F510: |
International finance |
Two-hour written examination |
|
F520: |
Behavioural finance |
Two-hour written examination |
|
F530: |
Venture capital in the innovation economy |
Project |
|
F540: |
Topics in applied asset management |
Project |
Further information on the form and conduct of examination papers for the M.Phil. in Economic Research is available at https://www.vle.cam.ac.uk/course/view.php?id=138501§ionid=1852281
The Faculty Board of Economics and the Degree Committee for the Faculty of Economics give notice, with the approval of the Student Registry and the General Board, that in the academical year 2018–19 the subjects for the examination in Economics for the degree of Master of Philosophy will be as listed below.
|
Core modules |
||
|
E100: |
Microeconomics |
Two-hour written examination |
|
E101: |
Applied microeconomics |
Two-hour written examination |
|
E200: |
Macroeconomics |
Two-hour written examination |
|
E201: |
Applied macroeconomics |
One-and-a-half-hour written examination and project |
|
E300: |
Econometric methods |
Three-hour written examination |
|
Specialist modules |
||
|
S140: |
Behavioural economics |
Two-hour written examination |
|
S170: |
Industrial organization |
Two-hour written examination |
|
S180: |
Labour: search, matching, and agglomeration |
Two-hour written examination |
|
S301: |
Applied econometrics |
Two-hour written examination |
|
S500: |
Development economics |
Two-hour written examination |
|
S600: |
Topics in macroeconomic history |
Project |
|
S610: |
British industrialism |
Project |
|
S620: |
Institutions and economic growth in historical perspective |
Two-hour written examination |
|
F300: |
Corporate finance |
Two-hour written examination |
|
F400: |
Asset pricing |
Two-hour written examination |
|
F500: |
Empirical finance |
Project |
|
F510: |
International finance |
Two-hour written examination |
|
F520: |
Behavioural finance |
Two-hour written examination |
|
F530: |
Venture capital in the innovation economy |
Project |
|
F540: |
Topics in applied asset management |
Project |
|
Paper 1: |
Development economics (from the Centre of Development Studies) |
Project |
|
Paper 4: |
Globalization, business, and development (from the Centre of Development Studies) |
Project |
Further information on the form and conduct of examination papers for the M.Phil. in Economics is available online at https://www.vle.cam.ac.uk/course/view.php?id=138501§ionid=1852281
The Faculty Board of Economics and the Degree Committee for the Faculty of Economics give notice, with the approval of the Student Registry and the General Board, that in the academical year 2018–19 the subjects for the examination in Finance and Economics for the degree of Master of Philosophy will be as listed below.
|
Core modules |
||
|
F100: |
Finance I |
Two-hour written paper |
|
F200: |
Finance II |
Two-hour written paper |
|
F300: |
Corporate finance |
Two-hour written paper |
|
F400: |
Asset pricing |
Two-hour written paper |
|
R100: |
Microeconomics |
Two-hour written paper |
|
E300: |
Econometric methods |
Three-hour written paper |
|
Specialist modules |
||
|
F500: |
Empirical finance |
Project |
|
F510: |
International finance |
Two-hour written paper |
|
F520: |
Behavioural finance |
Two-hour written paper |
|
F530: |
Venture capital in the innovation economy |
Project |
|
F540: |
Topics in applied asset management |
Project |
|
S140: |
Behavioural economics |
Two-hour written examination |
|
S170: |
Industrial organization |
Two-hour written examination |
|
S301: |
Applied econometrics |
Two-hour written examination |
|
E101: |
Applied microeconomics |
Two-hour written examination |
|
E200: |
Macroeconomics |
Two-hour written examination |
|
E201: |
Applied macroeconomics |
One-and-a-half-hour written examination and project |
Further information on the form and conduct of examination papers for the M.Phil. in Finance and Economics is available at https://www.vle.cam.ac.uk/course/view.php?id=138501§ionid=1852281
The Faculty Board of Economics and the Degree Committee for the Faculty of Economics give notice, with the approval of the Student Registry and the General Board, that in the academical year 2018–19 the subjects for examination for the Certificate of Postgraduate Study in Economics will be as listed below.
|
Compulsory component |
||
|
PhD40: |
How to do economics |
Not examinable |
|
Ph.D. modules |
||
|
PhD10: |
Economic theory |
Two-hour written examination |
|
PhD12: |
Empirical microeconomics |
Project and class presentation |
|
PhD20: |
Firms and sectors in the macroeconomy |
Project |
|
PhD21: |
Computational methods |
Project |
|
PhD30: |
Topics in advanced econometrics |
Project |
|
PhD31: |
GMM |
Project |
|
M.Phil. modules |
||
|
R100: |
Microeconomics |
Two-hour written examination |
|
R101: |
Microeconomics II |
Three-hour written examination |
|
R200: |
Advanced macroeconomics |
Three-hour written examination |
|
R201: |
Advanced macroeconomics II |
Two-hour written examination |
|
R300: |
Advanced econometric methods |
Three-hour written examination |
|
R301a: |
Econometrics II: Time series |
Two-hour written examination |
|
R301b: |
Econometrics II: Cross-section and panel data |
Two-hour written examination |
|
S140: |
Behavioural economics |
Two-hour written examination |
|
S170: |
Industrial organization |
Two-hour written examination |
|
S180: |
Labour: search, matching, and agglomeration |
Two-hour written examination |
|
S301: |
Applied econometrics |
Two-hour written examination |
|
S500: |
Development economics |
Two-hour written examination |
|
S600: |
Topics in macroeconomic history |
Project |
|
S610: |
British industrialism |
Project |
|
S620: |
Institutions and economic growth in historical perspective |
Two-hour written examination |
|
F300: |
Corporate finance |
Two-hour written examination |
|
F400: |
Asset pricing |
Two-hour written examination |
|
F500: |
Empirical finance |
Project |
|
F510: |
International finance |
Two-hour written examination |
|
F520: |
Behavioural finance |
Two-hour written examination |
|
F530: |
Venture capital in the innovation economy |
Project |
|
F540: |
Topics in applied asset management |
Project |
|
Research seminars/workshops |
||
|
Microeconomic theory |
||
|
Applied microeconomics |
||
|
Macroeconomic |
||
|
Econometrics |
||
Further information on the form and conduct of examination papers for the Certificate of Postgraduate Study is available at https://www.vle.cam.ac.uk/course/view.php?id=138501§ionid=1852281
The Faculty Board of Economics and the Degree Committee for the Faculty of Economics give notice, with the approval of the Student Registry and the General Board, that in the academical year 2018–19 the subjects for examination for the Advanced Diploma in Economics will be as listed below.
|
Paper 1: |
Microeconomics |
|
Paper 2: |
Macroeconomics |
|
Paper 3: |
Econometrics |
Papers 1 and 2 will each be examined by means of a three-hour written examination, while Paper 3 will be examined by means of a two-hour written examination (60% of the marks) and a project (40% of the marks).