WEA courses

Interested in Nature writers who have worked with prose and poetry? This day school will explore the works of John Clare, Emily Bronte, and Gretel Ehrlich, with a glance at other relevant authors. Resources will be available on for pre- and post-course reading. The day will include presentations and group discussions on each writer’s work, moving between specific writings and the broader cultural context. This will help us understand how fiction connects to the ‘real’ world.

Over 5 hours in one weekend, you’ll set a daily achievable goal, refresh an element of story craft through the tutor’s stimulating exercises and extracts from published texts and write! We’ll immerse ourselves in short and longer writing exercises and get feedback from the tutor and peers when you share in pairs. Imagine the amount of work and momentum you’ll build over these two mornings. Set yourself up for success.

As the National Gallery stages an exhibition of van Gogh’s paintings in the Autumn, it is a good occasion to deepen our understanding of the Dutch master’s art. In this session, we will look at the central role and place given to the natural world in his paintings. In this session we will focus on a specific group of paintings, representing a variety of flowers, skies, fields, blossoming trees, and more. As we discover what meaning van Gogh imbued the natural world with, we will also look at the colours, lines, and brushwork.

Explore the rise and fall of Napoleon Bonaparte and the complicated legacy he still holds: villain to some, hero to others, and architect of the French state. This course takes you on a journey through Napoleon’s rapid rise to power, his dramatic military campaigns, and the changes he brought to Europe. We’ll look at his leadership, his impact on society, and the lasting effects of his rule. By examining different perspectives and historical evidence, you’ll get a balanced view of one of history’s most fascinating and controversial figures.

When people ask why someone does something (for example why they lie) or what the reason for something is (for example for flooding or increased support for a political movement,) what exactly are they asking ? This course introduces you to three philosophical answers to this question. The first is to distinguish types of reason – ‘explanatory’, ‘motivating’, and ‘normative’. The second consists in pointing out that there are different reasons for accepting a statement as valid – truth, rightness (e.g. moral), and truthfulness. The third is to specify criteria for what creates or maintains moral or political justification. The course is intended to help you think more clearly about the ‘why question’ and to bring useful insights to what can be contentious topics.

If you have contact with deaf people in your day-to-day life, you may want to take a British Sign Language course. Knowing how to sign can make your communication more inclusive for everyone you interact with. This BSL course is suitable for you if you need to communicate with deaf people in a voluntary or community role, or simply through social interactions. This course is aimed at complete beginners. You will start from scratch to learn foundational BSL skills.

This intriguing course delves into the history of epidemics, focusing on the cultural, social, and scientific responses to diseases spread through coughing and sneezing. From the bubonic plague to the flu pandemics and COVID-19, students will explore how societies have understood and managed infectious diseases over time. Through historical case studies, primary sources, and discussions, participants will gain insight into the development of public health measures, the impact of epidemics on societies, and the lessons learned from past outbreaks.

Explore the rich history of the River Thames and other London waterways with our comprehensive course. Learn about the historical, cultural, and economic significance of these iconic waterways. Ideal for history enthusiasts and those interested in London's heritage.

What does it take to keep the audience on the edge of their seat for the classic film thriller experience? What happens when crime is thrown into the mix? We explore five examples now regarded as classics of this genre and question – do they all have far more than ‘just’ generic entertainment value? For a brief period in the 1980s, it appeared as though the crime thriller expressed something about what was perhaps a changing, or changed Britain – we examine two of these films, The Long Good Friday and Mona Lisa. Classics such as Brighton Rock provide an interesting and historical British cinematic parallel to the gangster and noir films of 30s and 40s U.S. Whereas, Get Carter, a film now regarded as an icon of national cinema was initially conceived as a trashy ‘pot-boiler’ for the U.S drive-in market, leaving some to argue it could be viewed as more of a ‘revenge Western’ set in North East England? Whilst Danny Boyle’s Shallow Grave seemingly reinvigorates the genre into something arguably more sophisticated and/or accessible in the 1990s? What common techniques do these films employ and what do they say thematically about reoccurring anxieties and tensions of the societies which produced and consumed them? Can filmmakers still learn from these or have some now dated in their power to keep us on the edge of the seat? Mona Lisa (1986), The Long Good Friday (1980), Get Carter (1971), Brighton Rock (1948), Shallow Grave (1994).

From the Academy Awards (nicknamed - ‘The Oscars’) to Cannes and the BAFTAs, sometimes it seems as though one film often dominates major categories, in 2024 this was Oppenheimer, but what were the judges really looking for, are box office figures really enough to stand the test of time with audiences? We compare this to films such as Gone With the Wind, a film still well known and highly regarded but now increasing questioned for its representation of slavery and questionable moments of morality. Do we need to remember and appreciate what this film won its awards for in the first place? Smaller scale, more micro-budget film productions such as Bait as perhaps just as important for their creative innovation and social commentary on a moment in time/history - yet it takes a different kind of award to recognise this – are awards more important for getting emerging talent recognised way from the box office. How important are awards for ‘International’ cinema such as The Power of the Dog, The Boy and the Heron and Perfect Days – what does this term really mean? Do award winning films say as much if not more about the sociological, political, technological and/or pop-cultural moments in time they were made as much as anything else? From the big hits to a near miss or two, we have fun, discuss and come to understand and appreciate the themes, approaches and creative decisions behind each of these films, broaden our knowledge of the subject area and cinema in general. The Holdovers (2023), Oppenheimer (2023), Three Billboards Outside Ebbing, Missouri (2017), Perfect Days (2023), The Conversation (1974), Gone with the Wind (1939), The Power of the Dog (2021) Bait (2019), The Boy and the Heron (2023) Oliver! (1968).