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Corpus Christi College the Pelican Record
CORPUS CHRISTI COLLEGE THE PELICAN RECORD Vol. LI December 2015 CORPUS CHRISTI COLLEGE THE PELICAN RECORD Vol. LI December 2015 i The Pelican Record Editor: Mark Whittow Design and Printing: Lynx DPM Limited Published by Corpus Christi College, Oxford 2015 Website: http://www.ccc.ox.ac.uk Email: [email protected] The editor would like to thank Rachel Pearson, Julian Reid, Sara Watson and David Wilson. Front cover: The Library, by former artist-in-residence Ceri Allen. By kind permission of Nick Thorn Back cover: Stone pelican in Durham Castle, carved during Richard Fox’s tenure as Bishop of Durham. Photograph by Peter Rhodes ii The Pelican Record CONTENTS President’s Report ................................................................................... 3 President’s Seminar: Casting the Audience Peter Nichols ............................................................................................ 11 Bishop Foxe’s Humanistic Library and the Alchemical Pelican Alexandra Marraccini ................................................................................ 17 Remembrance Day Sermon A sermon delivered by the President on 9 November 2014 ....................... 22 Corpuscle Casualties from the Second World War Harriet Fisher ............................................................................................. 27 A Postgraduate at Corpus Michael Baker ............................................................................................. 34 Law at Corpus Lucia Zedner and Liz Fisher .................................................................... -
Issues of Image and Performance in the Beatles' Films
“All I’ve got to do is Act Naturally”: Issues of Image and Performance in the Beatles’ Films Submitted by Stephanie Anne Piotrowski, AHEA, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English (Film Studies), 01 October 2008. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which in not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (signed)…………Stephanie Piotrowski ……………… Piotrowski 2 Abstract In this thesis, I examine the Beatles’ five feature films in order to argue how undermining generic convention and manipulating performance codes allowed the band to control their relationship with their audience and to gain autonomy over their output. Drawing from P. David Marshall’s work on defining performance codes from the music, film, and television industries, I examine film form and style to illustrate how the Beatles’ filmmakers used these codes in different combinations from previous pop and classical musicals in order to illicit certain responses from the audience. In doing so, the role of the audience from passive viewer to active participant changed the way musicians used film to communicate with their fans. I also consider how the Beatles’ image changed throughout their career as reflected in their films as a way of charting the band’s journey from pop stars to musicians, while also considering the social and cultural factors represented in the band’s image. -
“Gödel's Modernism: on Set-Theoretic Incompleteness,” Revisited
“G¨odel'sModernism: on Set-Theoretic Incompleteness," revisited∗ Mark van Atten and Juliette Kennedy As to problems with the answer Yes or No, the con- viction that they are always decidable remains un- touched by these results. —G¨odel Contents 1 Introduction 1.1 Questions of incompleteness On Friday, November 15, 1940, Kurt G¨odelgave a talk on set theory at Brown University.1 The topic was his recent proof of the consistency of Cantor's Con- tinuum Hypothesis, henceforth CH,2 with the axiomatic system for set theory ZFC.3 His friend from their days in Vienna, Rudolf Carnap, was in the audience, and afterward wrote a note to himself in which he raised a number of questions on incompleteness:4 (Remarks I planned to make, but did not) Discussion on G¨odel'slecture on the Continuum Hypothesis, November 14,5 1940 There seems to be a difference: between the undecidable propo- sitions of the kind of his example [i.e., 1931] and propositions such as the Axiom of Choice, and the Axiom of the Continuum [CH ]. We used to ask: \When these two have been decided, is then everything decided?" (The Poles, Tarski I think, suspected that this would be the case.) Now we know that (on the basis of the usual finitary rules) there will always remain undecided propositions. ∗An earlier version of this paper appeared as ‘G¨odel'smodernism: on set-theoretic incom- pleteness', Graduate Faculty Philosophy Journal, 25(2), 2004, pp.289{349. Erratum facing page of contents in 26(1), 2005. 1 1. Can we nevertheless still ask an analogous question? I.e. -
Western Europe
Western Europe Great Britain National Affairs JL HE DOMINANT EVENT of 1983 was the general election in June, which gave the Conservatives an overall majority of 144 seats. The election results led to the immediate eclipse of Michael Foot as Labor leader and Roy Jenkins as head of the Liberal-Social Democratic alliance; Neil Kinnock took over as Labor head and David Owen as leader of the Social Democrats. The Conservative victory was attributable in part to a fall in the inflation rate; in May it stood at 3.7 per cent, the lowest figure in 15 years. The "Falklands factor" also contributed to the Conserva- tive win, in that the government of Prime Minister Margaret Thatcher appeared resolute in the pursuit of its aims. Finally, the Conservative victory owed something to disunity in Labor's ranks. The extreme right-wing parties fielded about 66 per cent fewer candidates in 1983 than in 1979; there were 59 National Front (NF) candidates, 53 British National party candidates (this party had broken away from the NF in 1980), and 14 can- didates belonging to other right-wing groups. The extreme-left Workers' Revolu- tionary party fielded 21 candidates. In October Home Secretary Leon Brittan announced plans to raise the electoral deposit to an "acceptable minimum," thus making it more difficult for extremist candidates to run for office. A report issued in October by the national advisory committee of the Young Conservatives maintained that "extreme and racialist forces are at work inside the Conservative party." Despite this, however, Jacob Gewirtz, director of the Board of Deputies of British Jews' defense and group relations department, indicated in December that in recent years the focus of antisemitism in Britain had shifted dramatically from the extreme right to the extreme left. -
The Attlee Governments
Vic07 10/15/03 2:11 PM Page 159 Chapter 7 The Attlee governments The election of a majority Labour government in 1945 generated great excitement on the left. Hugh Dalton described how ‘That first sensa- tion, tingling and triumphant, was of a new society to be built. There was exhilaration among us, joy and hope, determination and confi- dence. We felt exalted, dedication, walking on air, walking with destiny.’1 Dalton followed this by aiding Herbert Morrison in an attempt to replace Attlee as leader of the PLP.2 This was foiled by the bulky protection of Bevin, outraged at their plotting and disloyalty. Bevin apparently hated Morrison, and thought of him as ‘a scheming little bastard’.3 Certainly he thought Morrison’s conduct in the past had been ‘devious and unreliable’.4 It was to be particularly irksome for Bevin that it was Morrison who eventually replaced him as Foreign Secretary in 1951. The Attlee government not only generated great excitement on the left at the time, but since has also attracted more attention from academics than any other period of Labour history. Foreign policy is a case in point. The foreign policy of the Attlee government is attractive to study because it spans so many politically and historically significant issues. To start with, this period was unique in that it was the first time that there was a majority Labour government in British political history, with a clear mandate and programme of reform. Whereas the two minority Labour governments of the inter-war period had had to rely on support from the Liberals to pass legislation, this time Labour had power as well as office. -
Sydney Program Guide
Page 1 of 28 Sydney Program Guide Sun Jun 7, 2015 06:00 TV SHOP - HOME SHOPPING WS G Home shopping programme. 06:30 TASTY CONVERSATIONS Captioned Repeat HD WS G Butterflied Grilled Perch Inspired by a recent trip to Japan, Audra cooks the perfect summer seafood grill. 06:40 UP THE FRONT 1972 Captioned Repeat WS PG Up The Front Lurk is a cowardly servant for an affluent family when World War I breaks out, but under hypnosis, he joins the cause and winds up in France. Can he make it back home before the enemy nabs him? Starring: Zsa Zsa Gabor, Bill Frazer, Frankie Howerd, Lance Percival Cons.Advice: Sexual References, Mild Coarse Language 08:30 TV SHOP - HOME SHOPPING WS G Home shopping programme. 09:30 ADVENTURES IN RAINBOW COUNTRY Repeat G Eye Of The Needle Follows the adventures of a teenager named Billy Williams and his friend Pete Gawa in northern Ontario. 10:00 ANTIQUES ROADSHOW Captioned Repeat G Burghley House Viewers from all corners bring their items to be appraised by the show's antiques experts. Are they valuable, priceless items, or will they go home disappointed? 11:00 JOHNNY YOU'RE WANTED 1956 Captioned Repeat WS G Johnny You're Wanted Johnny, a truck driver, offers a lift to an attractive hitch-hiker only to later be accused of her murder. Starring: Alfred Marks, John Slater 12:30 SUBARU NATIONAL ROAD SERIES WS NA Battle On The Border Now in its 7th year, the Battle of the Border has grown to hundreds of recreational and seasoned competitive cyclists. -
Music Outside? the Making of the British Jazz Avant-Garde 1968-1973
Banks, M. and Toynbee, J. (2014) Race, consecration and the music outside? The making of the British jazz avant-garde 1968-1973. In: Toynbee, J., Tackley, C. and Doffman, M. (eds.) Black British Jazz. Ashgate: Farnham, pp. 91-110. ISBN 9781472417565 There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/222646/ Deposited on 28 August 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Race, Consecration and the ‘Music Outside’? The making of the British Jazz Avant-Garde: 1968-1973 Introduction: Making British Jazz ... and Race In 1968 the Arts Council of Great Britain (ACGB), the quasi-governmental agency responsible for providing public support for the arts, formed its first ‘Jazz Sub-Committee’. Its main business was to allocate bursaries usually consisting of no more than a few hundred pounds to jazz composers and musicians. The principal stipulation was that awards be used to develop creative activity that might not otherwise attract commercial support. Bassist, composer and bandleader Graham Collier was the first recipient – he received £500 to support his work on what became the Workpoints composition. In the early years of the scheme, further beneficiaries included Ian Carr, Mike Gibbs, Tony Oxley, Keith Tippett, Mike Taylor, Evan Parker and Mike Westbrook – all prominent members of what was seen as a new, emergent and distinctively British avant-garde jazz scene. Our point of departure in this chapter is that what might otherwise be regarded as a bureaucratic footnote in the annals of the ACGB was actually a crucial moment in the history of British jazz. -
Recall of Mps
House of Commons Political and Constitutional Reform Committee Recall of MPs First Report of Session 2012–13 Report, together with formal minutes, oral and written evidence Ordered by the House of Commons to be printed 21 June 2012 HC 373 [incorporating HC 1758-i-iv, Session 2010-12] Published on 28 June 2012 by authority of the House of Commons London: The Stationery Office Limited £0.00 The Political and Constitutional Reform Committee The Political and Constitutional Reform Committee is appointed by the House of Commons to consider political and constitutional reform. Current membership Mr Graham Allen MP (Labour, Nottingham North) (Chair) Mr Christopher Chope MP (Conservative, Christchurch) Paul Flynn MP (Labour, Newport West) Sheila Gilmore MP (Labour, Edinburgh East) Andrew Griffiths MP (Conservative, Burton) Fabian Hamilton MP (Labour, Leeds North East) Simon Hart MP (Conservative, Camarthen West and South Pembrokeshire) Tristram Hunt MP (Labour, Stoke on Trent Central) Mrs Eleanor Laing MP (Conservative, Epping Forest) Mr Andrew Turner MP (Conservative, Isle of Wight) Stephen Williams MP (Liberal Democrat, Bristol West) Powers The Committee’s powers are set out in House of Commons Standing Orders, principally in Temporary Standing Order (Political and Constitutional Reform Committee). These are available on the Internet via http://www.publications.parliament.uk/pa/cm/cmstords.htm. Publication The Reports and evidence of the Committee are published by The Stationery Office by Order of the House. All publications of the Committee (including press notices) are on the internet at www.parliament.uk/pcrc. A list of Reports of the Committee in the present Parliament is at the back of this volume. -
Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297). -
Encounters with the Neighbour in 1970S' British Multicultural Comedy
Postcolonial Interventions, Vol. IV, Issue 1 Encounters with the Neighbour in 1970s’ British Multicultural Comedy Sarah Ilott “If you don’t shut up, I’ll come and move in next door to you!” Such was the frequent response to audience heckles made by Britain’s first well-known black come- dian, Charlie Williams (Leigh 2006). Williams’s response appropriated racist rhetoric of the time, in which the black neighbour was frequently mobilised as an object of fear, threatening the imagined homogeneity of for- merly white communities. Having frequently been on the receiving end of racist taunts such as “Get back to Af- rica” as a professional footballer for Doncaster Rovers in the 1940s and ’50s, Williams was able to claim some 14 Postcolonial Interventions, Vol. IV, Issue 1 of the power of the Teller of the joke through such put-downs, rather than solely occupying the position of the Butt of racist jokes and slurs. However, the fact was that Williams was forced to rely on self-deprecation and the reiteration of racial stereotype gestures to his need to find favour with the predominantly white audiences of the northern working men’s clubs that he toured and the mainstream audiences of ITV’s prime time hit, The Comedians (ITV, 1971-93), on which he was showcased alongside notable racists such as Bernard Manning. De- spite lamenting the “very stupid and very immature” tone of Williams’s self-mocking jokes, comedian Lenny Henry – who lived with the unfortunate legacy of what was expected of black comedians, particularly in the North – acknowledged that Williams did “what you’ve got to do if it’s a predominantly white audience – you’ve got to put yourself, and other people, down” (qtd. -
Georg Kreisel Papers SC0136
http://oac.cdlib.org/findaid/ark:/13030/kt4k403759 No online items Guide to the Georg Kreisel Papers SC0136 Daniel Hartwig & Jenny Johnson Department of Special Collections and University Archives October 2010 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc Note This encoded finding aid is compliant with Stanford EAD Best Practice Guidelines, Version 1.0.This encoded finding aid is compliant with Stanford EAD Best Practice Guidelines, Version 1.0. Guide to the Georg Kreisel Papers SC0136 1 SC0136 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: Georg Kreisel papers creator: Kreisel, Georg Identifier/Call Number: SC0136 Physical Description: 24.75 Linear Feet Date (inclusive): 1957-1984 Language of Material: English Language of Material: English Abstract: Correspondence with professional colleagues, collaborators, students, and others, primarily from 1962 to 1984, lecture notes, manuscripts and other writings. Ownership & Copyright All requests to reproduce, publish, quote from, or otherwise use collection materials must be submitted in writing to the Head of Special Collections and University Archives, Stanford University Libraries, Stanford, California 94304-6064. Consent is given on behalf of Special Collections as the owner of the physical items and is not intended to include or imply permission from the copyright owner. Such permission must be obtained from the copyright owner, heir(s) or assigns. See: http://library.stanford.edu/depts/spc/pubserv/permissions.html. Restrictions also apply to digital representations of the original materials. Use of digital files is restricted to research and educational purposes. Biographical/Historical Sketch Professor of Logic and the Foundations of Mathematics at Stanford University. -
Dialects of London East End and Their Representation in the Media
Vanja Kavgić Dialects of London East End and their representation in the media. Cockney dialect and Multicultural London English in British sitcoms. MASTER THESIS submitted in fulfilment of the requirements for the degree of Master of Arts Programme: Master's programme English and American Studies Alpen-Adria-Universität Klagenfurt Evaluator Univ.-Prof. Mag. Dr. Alexander Onysko Alpen-Adria-Universität Klagenfurt Institut für Anglistik und Amerikanistik Klagenfurt, June 2018 Affidavit I hereby declare in lieu of an oath that - the submitted academic thesis is entirely my own work and that no auxiliary materials have been used other than those indicated, - I have fully disclosed all assistance received from third parties during the process of writing the thesis, including any significant advice from supervisors, - - any contents taken from the works of third parties or my own works that have been included either literally or in spirit have been appropriately marked and the respective source of the information has been clearly identified with precise bibliographical references (e.g. in footnotes), - to date, I have not submitted this thesis to an examining authority either in Austria or abroad and that - - when passing on copies of the academic thesis (e.g. in bound, printed or digital form), I will ensure that each copy is fully consistent with the submitted digital version. I understand that the digital version of the academic thesis submitted will be used for the purpose of conducting a plagiarism assessment. I am aware that a declaration contrary to the facts will have legal consequences. Vanja Kavgic e.h. Klagenfurt, 28.06.2018 1 Table of Contents AKNOWLEDGEMENTS ......................................................................................................................