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In the last ten years of his life Charles Dickens related to his adoring public in a number of different ways; as novelist, as journalist, as public speaker, and in public readings of his own work.
Prokofiev’s piano music struck his contemporaries as matching the new era: its dynamism was compared to sport (“football music”), and its grinding repeated patterns to industrial sounds (“machine music”).
Nurse Ratched is the evil nurse in Ken Kesey’s One Flew Over the Cuckoo’s Nest (1962). She is the Evil Woman as autocratic, the absolute power in a psychiatric ward, which is the ultimate “total institution”.
Canons of taste and value in other media, such as literature, art and music, have been challenged in recent decades by proponents of sexual and ethnic equality.
Mata Hari was an erotic dancer who, in 1917, was executed by the French army for treason. She has been portrayed as the ultimate femme fatale, extracting information from hapless men through exploiting her sensual charms.
For nearly seventy years, what might be called ‘the canon’ of greatest films has been arbitrated by an international poll of critics delivering a ‘ten best’ list every decade, published in the BFI’s Sight & Sound.
Amelia Dyer was one of the most prolific murderers in Victorian Britain. She made a living as a “baby farmer”, or someone paid to care for unwanted or abandoned infants – except she killed around 400 of them. How could a mother and nurse murder so many defenceless babies?
Is the jury system the bulwark of individual liberty? This lecture will look at the role of the so-called “perverse jury” in acquitting defendants where the law, or the charge itself, is deemed unjust.