WEA courses

For the last century, crime fiction has been the most popular and lucrative of literary subgenres. But this commercial success belies a formal inventiveness and experiment, a constant drive to ‘make it new’, which has long been central to the genre. In this course we will read six crime novels (and three short stories) which chart the development of crime fiction. As well as considering each of these novels in isolation from week to week, we will also use the eight week course to ask ourselves: how has crime fiction changed through the years, and how has it remained the same? No previous knowledge of crime fiction is necessary – everybody is most welcome!

This course will examine the publishing phenomenon of Nordic Noir, locating its roots in the early twentieth century, before exploring four contemporary novels from the genre. Our texts will be Doctor Glas by Hjalmar Soderberg; Smilla’s Sense of Snow by Peter Hoeg; The Bird Tribunal - Agnes Ravatn; The Flatey Enigma - Viktor Arnor Ingolfson and Missing - Karin Alvtegen. These texts will take us inside the mind of Nordic Noir and we will evaluate the common features of the genre and its relationship with crime-fiction, horror and recent forms of Gothic literature. There will be ample scope for lively discussion in our sessions

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).

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.

A fun, friendly and structured approach to our develop fiction writing knowledge, skills and importantly aid you in finding inspiration, putting pen paper and getting writing. Whatever you might like to write or already enjoy writing, be it short stories, longer tales, mystery, crime, a touch of the gothic or whatever takes your interest - there will be a plot to suit your idea and/or help you find inspiration and take it further. Find inspiration as we consider the how a different plot may aid with a specific theme or topic, the development of characters and your choice of words and description. This course will make use of a mix of informal feedback, lecture using PowerPoint slides, some focused group discussion/creative tasks in smaller breakout groups and feedback. Session by session we examine a different ‘plot’ and apply some creative craft to it, might it yield the perfect motivation for a crime, is three a secret a character wishes to keep? What kind of story suits a particular plot – flash fiction, a cautionary tale or a longer and more complex tale? We examine the varied forms and approaches, how have others approached similar tales and what might work best for us now. Suitable for the curious beginner and/or the seasoned scribbler.

For the last century, crime fiction has been the most popular and lucrative of literary subgenres. But this commercial success belies a formal inventiveness and experiment, a constant drive to ‘make it new’, which has long been central to the genre. In this course we will read six crime novels (and three short stories) which chart the development of crime fiction. As well as considering each of these novels in isolation from week to week, we will also use the seven week course to ask ourselves: how has crime fiction changed through the years, and how has it remained the same? No previous knowledge of crime fiction is necessary – everybody is most welcome!

A talk on the insidious process of changing hearts and minds - from humanity to inhumanity. The talk follows the experience of the author's mother who was 14 when Hitler's Nazi government came to power in her home town of Saarbrucken in Germany. It will consist of historical information and lively readings from Burying the Ghosts to allow the audience to understand these momentous times from a personal perspective.

What makes an artist forger artworks?, what motivates them?, which famous artists do they copy?, what techniques do they use?, and do they get away with it?. This course explores the answers to these questions, as well as how many fakes are produced, and the money that can be made. Above all, when the forger is caught how they can became celebrities in their own right with exhibitions of their artworks in their own name. The course will also examine the challenges and opportunities and above all the controversies surrounding AI-generated Art, is it original, a copy or a fake?

This is the second course of six aimed at Upper Intermediate (B2) level learners of English. This six-week course is for those whose first language is NOT English and we will practice all four major skills in each session to further develop reading, writing, speaking, and listening. Lessons will be delivered in a face-to-face setting using a range of teacher led and freer interactive activities to develop learners’ proficiency and confidence. In addition to a focus on general pronunciation, grammar and vocabulary, students will be encouraged to focus on colloquial English and develop an awareness of the local English being used in their contexts.

This is the second course of six aimed at Upper Intermediate (B2) level learners of English. This six-week course is for those whose first language is NOT English and we will practice all four major skills in each session to further develop reading, writing, speaking, and listening. Lessons will be delivered in a face-to-face setting using a range of teacher led and freer interactive activities to develop learners’ proficiency and confidence. In addition to a focus on general pronunciation, grammar and vocabulary, students will be encouraged to focus on colloquial English and develop an awareness of the local English being used in their contexts.