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Film After Authority: the Transition to Democracy and the End of Politics Kalling Heck University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2017 Film After Authority: the Transition to Democracy and the End of Politics Kalling Heck University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Film and Media Studies Commons Recommended Citation Heck, Kalling, "Film After Authority: the Transition to Democracy and the End of Politics" (2017). Theses and Dissertations. 1484. https://dc.uwm.edu/etd/1484 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. FILM AFTER AUTHORITY THE TRANSITION TO DEMOCRACY AND THE END OF POLITICS by Kalling Heck A Dissertation SubmitteD in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English at The University of Wisconsin-Milwaukee May 2017 ABSTRACT FILM AFTER AUTHORITY THE TRANSITION TO DEMOCRACY AND THE END OF POLITICS by Kalling Heck The University of Wisconsin-Milwaukee, 2017 Under the Supervision of Professor Patrice Petro A comparison of films maDe after the transition from authoritarianism or totalitarianism to Democracy, this Dissertation aDDresses the ways that cinema can Digest anD extenD moments of political transition. By comparing films from four Different nations—the Italian Germany Year Zero, Hungarian Sátántangó, South Korean Woman on the Beach, anD American Medium Cool—in relation to iDeas Drawn from critical anD political theory, this project examines how anD why these wilDly Diverse films turn to ambiguity as their primary means to Disrupt the ravages of unchecked authority. -
Strategies of Political Theatre Post-War British Playwrights
Strategies of Political Theatre Post-War British Playwrights Michael Patterson published by the press syndicate of the university of cambridge The Pitt Building,Trumpington Street,Cambridge cb2 1rp,United Kingdom cambridge university press The Edinburgh Building,Cambridge, cb2 2ru,UK 40 West 20th Street,New York, ny 10011–4211,USA 477 Williamstown Road,Port Melbourne, vic 3207,Australia Ruiz de Alarcon´ 13, 28014 Madrid,Spain Dock House,The Waterfront,Cape Town 8001,South Africa http://www.cambridge.org C Cambridge University Press 2003 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printed in the United Kingdom at the University Press,Cambridge Typefaces Trump Mediaeval 9.25/14 pt. and Schadow BT System LATEX 2ε [tb] A catalogue record for this book is available from the British Library isbn 0 521 25855 3 hardback Contents Acknowledgments ix Brief chronology, 1953–1989 x Introduction 1 Part 1: Theory 1 Strategies of political theatre: a theoretical overview 11 Part 2: Two model strategies 2 The ‘reflectionist’ strategy: ‘kitchen sink’ realism in Arnold Wesker’s Roots (1959) 27 3 The ‘interventionist’ strategy: poetic politics in John Arden’s Serjeant Musgrave’s Dance (1959) 44 Part 3: The reflectionist strain 4 The dialectics of comedy: Trevor Griffiths’s Comedians (1975) 65 5 Appropriating middle-class comedy: Howard Barker’s Stripwell -
Searching for New States of Being: the Cultural Energies and Contested Spaces of Colin Macinnes's London
Searching for New States of Being: The Cultural Energies and Contested Spaces of Colin MacInnes’s London Sam Wiseman (University of Potsdam, Germany) The Literary London Journal, Volume 12 Number 1–2 (Spring/Autumn 2015) Abstract: This article examines Colin MacInnes’s (1914–76) ‘London trilogy’—City of Spades (1957), Absolute Beginners (1959) and Mr Love and Justice (1960)—in terms of their representation of subcultures (gay, ethnic minority and teenage)—within the welfare capitalist society of postwar London. It initially considers MacInnes’s attempts to contextualise the experience of these subcultural groups alongside new developments in urban planning and social organisation. I then go on to analyse the role of MacInnes’s specific narrative approaches in tackling this problem, discussing the tension between his journalistic and romantic literary inclinations. The final section considers the presence of competing cultural energies within the London presented in these three novels and the sense of subterranean and historical forces at work. Finally, I conclude that the trilogy ultimately draws its strength from the combination of transition, liminality and vital energy which MacInnes’s tapestry of characters and subcultures provides. Keywords: Colin MacInnes, postwar Britain, London, place, postcolonialism, teenagers, queer fiction Introduction Colin MacInnes is, in several ways, a figure whose identity and existence embodies transience, liminality, marginality and transgression. Born in London in 1914, his early years were overshadowed by war; in 1917 his parents divorced, and his mother Angela (herself a prolific novelist) married an Australian, George Thirkell. The family moved to Australia in 1920, and MacInnes lived there for ten formative years before moving to Brussels at the age of sixteen. -
The Influence of Kitchen Sink Drama in John Osborne's
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 23, Issue 9, Ver. 7 (September. 2018) 77-80 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Influence of Kitchen Sink Drama In John Osborne’s “ Look Back In Anger” Sadaf Zaman Lecturer University of Bisha Kingdom of Saudi Arabia Corresponding Author: Sadaf Zaman ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission:16-09-2018 Date of acceptance: 01-10-2018 ----------------------------------------------------------------------------------------------------------------------- ---------------- John Osborne was born in London, England in 1929 to Thomas Osborne, an advertisement writer, and Nellie Beatrice, a working class barmaid. His father died in 1941. Osborne used the proceeds from a life insurance settlement to send himself to Belmont College, a private boarding school. Osborne was expelled after only a few years for attacking the headmaster. He received a certificate of completion for his upper school work, but never attended a college or university. After returning home, Osborne worked several odd jobs before he found a niche in the theater. He began working with Anthony Creighton's provincial touring company where he was a stage hand, actor, and writer. Osborne co-wrote two plays -- The Devil Inside Him and Personal Enemy -- before writing and submittingLook Back in Anger for production. The play, written in a short period of only a few weeks, was summarily rejected by the agents and production companies to whom Osborne first submitted the play. It was eventually picked up by George Devine for production with his failing Royal Court Theater. Both Osborne and the Royal Court Theater were struggling to survive financially and both saw the production of Look Back in Anger as a risk. -
Enemy Images
ENEMY IMAGES A Resource Manual on Reducing Enmity By Psychologists for Social Responsibility 208 I Street, NE - Washington DC 20002 We don’t see things as they are; We see things as we are. Anais Nin An exaggerated, literally diabolical image of another country—a country that is actually composed of human beings not so very different from the citizens of one’s own country—is in my judgment the very taproot of war in the present-day world. Ralph K. White, Ph.D. Author of Fearful Warriors We are members of a human race that possesses the knowledge required to feed itself and to provide education and a life of relative health, comfort, and cooperation for all in the context of a globally peaceful and ecologically sustainable planet. Yet, we are still polarized and compartmentalized, torn by racial, ethnic, and class hostilities, religious and sectarian antagonism, and competing special-interest groups and ideologies and steeped in politics as usual, lacking the collective will to extricate ourselves from this quagmire. Elena Mustakova-Possardt, Ed.D. Author of Critical Consciousness: Study of Morality in Global Historical Context The challenge to those of us who set a very high priority on moving towards peace is to induce more of our colleagues and our fellow citizens to agree with us—and to bring our skills and resources to bear on government without the support of a national consensus. M. Brewster Smith, Ph.D. Kurt Lewin Memorial Address, 1986 TABLE OF CONTENTS Preface Acknowledgements Introduction Section I: Globalization and Enmity: Toward a Culture of Peace Transcending Beliefs in the Intrinsic Nature of War The United Nations Culture of Peace Initiative Enemy Images and Nonviolence The Nature of Template Enemy Images: The Mask of Enmity Enemy Images and Identity Formation Section II: Effects of Enemy Images: Theory and Examples 1. -
Suez 1956 24 Planning the Intervention 26 During the Intervention 35 After the Intervention 43 Musketeer Learning 55
Learning from the History of British Interventions in the Middle East 55842_Kettle.indd842_Kettle.indd i 006/09/186/09/18 111:371:37 AAMM 55842_Kettle.indd842_Kettle.indd iiii 006/09/186/09/18 111:371:37 AAMM Learning from the History of British Interventions in the Middle East Louise Kettle 55842_Kettle.indd842_Kettle.indd iiiiii 006/09/186/09/18 111:371:37 AAMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Louise Kettle, 2018 Edinburgh University Press Ltd The Tun – Holyrood Road, 12(2f) Jackson’s Entry, Edinburgh EH8 8PJ Typeset in 11/1 3 Adobe Sabon by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain. A CIP record for this book is available from the British Library ISBN 978 1 4744 3795 0 (hardback) ISBN 978 1 4744 3797 4 (webready PDF) ISBN 978 1 4744 3798 1 (epub) The right of Louise Kettle to be identifi ed as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 55842_Kettle.indd842_Kettle.indd iivv 006/09/186/09/18 111:371:37 AAMM Contents Acknowledgements vii 1. Learning from History 1 Learning from History in Whitehall 3 Politicians Learning from History 8 Learning from the History of Military Interventions 9 How Do We Learn? 13 What is Learning from History? 15 Who Learns from History? 16 The Learning Process 18 Learning from the History of British Interventions in the Middle East 21 2. -
David Hare Plays 1: Slag; Teeth N Smiles; Knuckle; Licking Hitler; Plenty Pdf
FREE DAVID HARE PLAYS 1: SLAG; TEETH N SMILES; KNUCKLE; LICKING HITLER; PLENTY PDF David Hare | 496 pages | 01 Apr 1996 | FABER & FABER | 9780571177417 | English | London, United Kingdom David Hare Plays 1 | Faber & Faber Plenty is a play by David Harefirst performed inabout British post-war disillusion. The inspiration for Plenty came from the fact that 75 per cent of the women engaged in wartime SOE operations divorced in the immediate post-war years; the title is derived from the idea that the post-war era would be a time of "plenty", which proved untrue for most of England. The play premiered Off-Broadway on 21 Octoberat the Public Theaterwhere it ran for 45 performances. Plenty was revived at Chichester inin the Festival Theatre between June. Susan Traherne, a former secret agent, is a woman conflicted by the contrast between her past, exciting triumphs and her present, more ordinary David Hare Plays 1: Slag; Teeth n Smiles; Knuckle; Licking Hitler; Plenty. However, she regrets the mundane nature of her present life, as the increasingly depressed wife of a diplomat whose career she has destroyed. Susan Traherne's story is told in a non-linear chronologyalternating between her wartime and post-wartime lives, illustrating how youthful dreams rarely are realised and how a person's personal life can affect the outside world. Sources: Playbill; [3] Lortel [2]. From Wikipedia, the free encyclopedia. Official London Theatre Guide. Archived from the original on 18 January Retrieved 4 December BBC News. Archived from the original on 27 February Retrieved 5 May CS1 maint: archived copy as title link sheffieldtheatres. -
2020-00 NTDA Tyre & Automotive Aftercare Directory
UK TYRE & AUTOMOTIVE AFTERCARE DIRECTORY 2020 UK TYRE & AUTOMOTIVE AFTERCARE DIRECTORY UK Tyre & Automotive Aftercare DIRECTORY 2020 Maritime Cargo Services Freight Forwarding Agents NOT ALL SUPPLY CHAINS ARE EQUAL.... PROUD TO BE FIRST IN MIND FOR TYRE IMPORTERS FOR OVER 25 YEARS www.maritimecargo.com edicated to D hel pin Del g ive yo ri u U n g Frank Ruggles Walter Marr Don Gibson Mike West Brian BrownProud winnersDerek of Mossthe K g President President President President PresidentNTDA’s Tyre WholesalerPresident rategic r st all ’s a o 1973 1974 1975 1976 1977 of the Year1978 2019 11 y p l w Call u la la l s FR c r o EE e g v y d o to e e d w s r u a y a t t r f r d h b r e o h i e u Derek Peaker Richard Davies John Reeves Gordon Bain Trevor Allen Allan Murray m s President President President President President President o s t U 1979 1980 1981 1982 1983 1984 i u r l K n a s i b e n e u d s s u p s l i f t n w o o t e o r r s i t c 8 Peter Fearn Findlay Picken Charles Hespin Malcolm Shields Ivan Smith David Stanton a o h u President President President President President President n f t 1985 1986 1987 1988 1989 1990 s d S i t p m t o m a a m o e p s b s e l s i e r l e a e t c s n o o d o g n n n a Liz Wright John Holland Mike Craddock Peter Gaster John Thurston Hugh Pitcher v 0 e ’ y 8 President President President President President President s e 0 r 8 n 1991 1992 1993 1993 1994 1995-1996 1 r c i 3 1 e 1 4 2 3 a a n c r n e , g 4 x e 4 s a o e r n y d t f v n a r e t a i Tony Cooke Ashley Croft Martin Rowlands John Tarbox Peter Gaster David White l s President National Chairman National Chairman National Chairman National Chairman National Chairman u s p n p o 1997-1998 1999-2002 2002-2005 2005-2007 2007-2010 2010-2012 i o t r u t l s o To our forefathers and all the Past Presidents, National Chairmen and the many Regional Officers who have voluntarily and selflessly served the www.profitlink.co.uk Call us free today from landlines and mobiles onAssociation over the last 90 years we say THANK YOU. -
To Revel in God's Sunshine
To Revel in God’s Sunshine The Story of RSM J C Lord MVO MBE Compiled by Richard Alford and Colleagues of RSM J C Lord © R ALFORD 1981 First Edition Published in 1981 Second Edition Published Electronically in 2013 Cover Pictures Front - Regimental Sergeant Major J C Lord in front of the Grand Entrance to the Old Building, Royal Military Academy Sandhurst. Rear - Army Core Values To Revel in God’s Sunshine The Story of the Army Career of the late Academy Sergeant Major J.C. Lord MVO MBE As related by former Recruits, Cadets, Comrades and Friends Compiled by Richard Alford (2nd Edition - Edited by Maj P.E. Fensome R IRISH and Lt Col (Retd) A.M.F. Jelf) John Lord firmly believed the words of Emerson: “Trust men and they will be true to you. Treat them greatly and they will show themselves great.” Dedicated to SOLDIERS SOLDIERS WHO TRAIN SOLDIERS SOLDIERS WHO LEAD SOLDIERS The circumstances of many contributors to this book will have changed during the course of research and publication, and apologies are extended for any out of date information given in relation to rank and appointment. i John Lord when Regimental Sergeant Major The Parachute Regiment Infantry Training Centre ii CONTENTS 2ND EDITION Introduction General Sir Peter Wall KCB CBE ADC Gen – CGS v Foreword WO1 A.J. Stokes COLDM GDS – AcSM R M A Sandhurst vi Editor’s Note Major P.E Fensome R IRISH vii To Revel in God’s Sunshine Introduction The Royal British Legion Annual Parade at R.M.A Sandhurst viii Chapter 1 The Grenadier Guards, Brighton Police Force 1 Chapter 2 Royal Military College, Sandhurst. -
Le Strade Di Londra Nel Romanzo Absolute Beginners (1958) Di Colin Macinnes E Nella Sua Versione Cinematografica
Representing Spaces, Performing Places: le strade di Londra nel romanzo Absolute Beginners (1958) di Colin MacInnes e nella sua versione cinematografica di Carla Tempestoso [T]his is London, not some hick city in the provinces. This is London, man, a capital, a great big city where every kind of race has lived ever since the Romans! (MacInnes 136) ABSTRACT: Uno dei modi per rivivere Londra di fine anni '50 è attraverso il film musical Absolute Beginners (1986), diretto da Julien Temple, e la sua fonte narrativa, ovvero l’omonimo romanzo di Colin MacInnes (1958). Mentre il film musical è stato criticato per la mancanza di sviluppo del protagonista e per l’attacco al razzismo solo alla fine della pellicola, l'Absolute Beginners di MacInnes ha riscosso grande successo. La storia in entrambe le forme artistiche è quella delle sottoculture giovanili nella Londra del dopoguerra e, in questo articolo, esaminerò il modo in cui la città di Londra e la sua trasformazione sono ritratte come uno spazio/luogo urbano in cui i giovani creano e stabiliscono nuovi luoghi e spazi per i loro incontri/scontri. Quindi, Londra come ambientazione non è funge soltanto da background, bensì diventa una forza trainante all’interno delle storie dei personaggi. Cercando di comprendere Londra come luogo di incontri locali, scambii globali, rilevanza nazionale e memoria sociale, l'analisi dei luoghi e degli spazi sia del film musical che del romanzo fagocita il pubblico/lettore e rivela la ricchezza dell'esperienza umana della capitale vista attraverso gli occhi e l'obiettivo della fotocamera di un fotografo diciottenne senza nome. -
Chapter One a Theoretical Background to the Figure of The
19 Chapter One A Theoretical Background to the figure of the Artist in Literature and Theatre In an article published in Fall 2009, Csilla Bertha maintains that the central place an artist occupies within a work of art adds an additional dimension to plays, since the fictional artist’s point of view, attitudes to the world and evaluation of phenomena, may double or multiply the layers of the connections between art and life. She then adds: If an artist is chosen to be the protagonist of a play or novel, that choice naturally leads to the thematization of questions and dilemmas about the existence of art and the artist; relations between art and life, art/artist and the world; the nature of artistic creation; differences between ways of life, values, and views of ordinary people and artists; relations between individual and community, between the subject and objective reality; and many other similar issues.1 No doubt, with the advent of highly sophisticated and challenging notions such as Formalism2 and the death of the author,3 it is hard to conceive the figure of the artist without paying attention to the interrelations between art and life in which the ideal and reality, subject and object, constitute sharp contrasts. Traditionally, this dialectical relationship forms “binary 1 Csilla Bertha, “Visual Art and Artist in Contemporary Irish Drama”, Hungarian Journal of English and American Studies (HJEAS) v. 15, no. 2 (Fall 2009): 347. 2 Formalism is a Russian literary movement which originated in the second decade of the twentieth century. Its leading figures were both linguists and literary historians such as Boris Eikhenbaum (1886-1959), Roman Jakobson (1895-1982), Viktor Shklovsky (1893-1984), Boris Tomashevskij (1890-1957) and Jurij Tynjanov (1894-1943). -
The Conservative Party & Perceptions of the Middle
THE CONSERVATIVE PARTY & PERCEPTIONS OF THE MIDDLE CLASSES TITLE: THE CONSERVATIVE PARTY AND PERCEPTIONS OF THE BRITISH MIDDLE CLASSES, 1951 - 1974 By LEANNA FONG, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University © Copyright by Leanna Fong, August 2016 Ph.D. Thesis – Leanna Fong McMaster University - Department of History Descriptive Note McMaster University DOCTOR OF PHILOSOPHY (2016) Hamilton, Ontario (History) TITLE: The Conservative Party and Perceptions of the British Middle Classes, 1951 - 1974 AUTHOR: Leanna Fong, B.A., M.A (York University) SUPERVISOR: Professor Stephen Heathorn PAGES: vi, 307 ii Ph.D. Thesis – Leanna Fong McMaster University - Department of History Abstract “The Conservative Party and Perceptions of the British Middle Classes, 1951 – 1974,” explores conceptions of middle-class voters at various levels of the party organization after the Second World War. Since Benjamin Disraeli, Conservatives have endeavoured to represent national rather than sectional interests and appeal widely to a growing electorate. Yet, the middle classes and their interests have also enjoyed a special position in the Conservative political imagination often because the group insists they receive special consideration. It proved especially difficult to juggle these priorities after 1951 when Conservatives encountered two colliding challenges: the middle classes growing at a rapid rate, failing to form a unified outlook or identity, and the limited appeal of consumer rhetoric and interests owing to the uneven experience of affluence and prosperity. Conservative ideas and policies failed to acknowledge and resonate with the changing nature of their core supporters and antiquated local party organization reinforced feelings of alienation from and mistrust of new members of the middle classes as well as affluent workers.