Spring 2011 Issn 1476-6760
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Origen De La Enfermería En El Cine: El Género Histórico-Documental Y Biográfico
ORIGEN DE LA ENFERMERÍA EN EL CINE: EL GÉNERO HISTÓRICO- DOCUMENTAL Y BIOGRÁFICO José Siles González Universidad de Alicante INTRODUCCIÓN El cine y las películas constituyen una herramienta fundamental para transmitir los fe- nómenos humanos en toda su complejidad, sin renunciar a ninguna de las dimensiones que intervienen en los acontecimientos. Ya Terencio y Shakespeare formularon la famosa frase: «Nada de lo humano me es ajeno». La enfermedad, el dolor, la muerte forman parte de la na- turaleza humana y, más tarde o temprano, de una u otro forma, acaban arribando a la existen- cia de todos los seres humanos que experimentan sus vivencias de forma tan diversa como compleja; es decir, mediante un determinado tipo de estética experiencial. Al cine, nada de lo humano le es ajeno y, particularmente, aquellos fenómenos vinculados a situaciones que producen cambios notables en quienes las viven (enfermedades, dolencias, pérdidas, etc.). Carper (1999) incluyó la dimensión estética como la cuarta integrante de los cuatro niveles del conocimiento enfermero (empírico-científico, ético, personal y estético). Otros autores desarrollaron modelos basándose en estos diferentes patrones y reinterpretando el conoci- miento estético desde las necesidades tanto del paciente como de la práctica profesional de enfermería partiendo de la base de la pertinencia de la estética ante situaciones –como el sufrimiento ante la enfermedad– donde el pensamiento subjetivo adquiere una gran intensi- dad (Chinn, 1994). Debido a su potencial de configuración ideológica (Lebel, 1973), el cine ha desempeña- do un papel determinante en el desarrollo de clichés, estereotipos y en una amplia gama de modelado de todos aquellos asuntos que forman parte de la realidad histórica. -
Annual Report and Accounts 2004/2005
THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to -
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6 Women and the war The Great War, most people would have agreed at the time, was a male cre- ation. Politicians, statesmen and kings bred it and soldiers fought and fed it. Thus far, this study has regarded those women within Bloomsbury whose aes- thetic reactions to the conflict provide such a good starting point when examin- ing the war in this context. What of other women, existing independently from that hot-house of creativity, but who felt similarly? Due to their status in soci- ety as a whole, women necessarily operated within a different cultural milieu to that of men – even when sharing an enlightened, liberal background with them, as within Bloomsbury and its circle. But women emerged from a range of back- grounds and contexts – including that of political agitation linked to specific political aims – whose motivation towards protest, when confronted by the specifics of war, became more individualistic in character and less a part of an organised ‘movement’ or liable to be led by the propaganda of the war-state. Many women in the period leading up to the outbreak of the conflict could lay claim to a history of opposition; during the pre-war period one of the prin- cipal focal points of public dissent against the existing political structure had been the women’s suffrage movement. This cause, by the nature of its specific political goals, had also been largely political in organisation, character and aspiration, though precepts of greater equality for women outside the political sphere – once they had achieved the vote – were meshed to hopes for the ulti- mate cultural emancipation of the female sex. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
Of Australia's First Woman Sculptor and Her War Memorials
In Memoriam: World War I memorials by the Australian sculptor Margaret Baskerville (1861-1930). Margaret A. Rose, FAHA, FRHistS Margaret Francis Ellen (“Nell”) Baskerville was born in Melbourne, Victoria in 1861 and was one of the first Australian-born women artists to become a professional sculptor. This brief illustrated account of her war memorials is based on my study of her work and that of her husband and fellow sculptor C. Douglas Richardson, which was published for the Brighton (now Bayside) City Council collection of their paintings and sculpture under the title Victorian Artists. Margaret Baskerville (1861-1930) and C. Douglas Richardson (1853-1932) in 1988. Several memorials to the fallen were commissioned and completed by sculptors as well as by stonemasons in Australia in the aftermath of the “Great War”. Many are recorded, and some are illustrated, in the numerous editions of Sacred Places: War Memorials in the Australian Landscape by K.S. Inglis, assisted by Jan Brazier, of 1998, as well as – more recently – on websites such as those for the “Monument Australia” and “Victorian Heritage” databases. As Inglis has noted, the majority of the war memorials unveiled in the public spaces of Australian towns following World War I had been for – and had illustrated – the male soldiers who had fought and fallen in battle. Amongst the memorials built and unveiled following World War I were, however, also two by the Australian sculptor Margaret Baskerville (1861-1930) for the British nurse Edith Louisa Cavell. Cavell (born in Norfolk, England in 1865) had trained as a nurse in London under a friend of Florence Nightingale (Matron Eva Luckes), had taken up work in Belgium and been executed there at dawn on 12 October 1915 by order of the German Military Governor of Brussels for having assisted in the escape of allied soldiers, and despite the fact that she had tended the wounded of both sides. -
Nurse-Martyr-Heroine: Representations of Edith Cavell in Interwar Britain, France and Belgium
This is a repository copy of Nurse-Martyr-Heroine: Representations of Edith Cavell in Interwar Britain, France and Belgium. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/136299/ Version: Accepted Version Article: Fell, AS and Sternberg, C (2018) Nurse-Martyr-Heroine: Representations of Edith Cavell in Interwar Britain, France and Belgium. Journal of War & Culture Studies, 11 (4). pp. 273-290. ISSN 1752-6272 https://doi.org/10.1080/17526272.2018.1530524 © 2018 Informa UK Limited, trading as Taylor & Francis Group. This is an Accepted Manuscript of an article published by Taylor & Francis in Journal of War & Culture Studies on 16 Oct 2018, available online: http://www.tandfonline.com/10.1080/17526272.2018.1530524. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Nurse-Martyr-Heroine: Representations of Edith Cavell in Interwar Britain, France and Belgium Alison S. -
Florence ',Nightingale
-.. ~ .~. HEROINE , OUT OF ,,; FOCus: media images of . '. Florence ',Nightingale :::~r:-T II: RADIO, ~ lIl.V\JLvU\TIZA nONS BEATRICE J, KAUSCH and PHIUP A, KAUSCH ilm, radio, and television dramatizations of Florence myth. This process is the· result of both conscious FNightingale's life are particularly important in pro design on the part of actors, directors, and producers jecting a leading nurse's image to the public because and their unconscious integration and rep roduction of they dramatize her actions within he r social world and cultural paradigms. Through representations of Miss provide a role modeling effect that can be very useful in Nightingale, these productions have conveyed implicit acquiring support fo r the nursing profession. Such pro theories, beliefs, criticisms, and legitimations of the ductions do not "mirror" reality, but create an impres nursing profession's founder. Ideas about Nightingale sion of reality. like other forms of artistic and cultural arising in one generation are thus transformed and, in expression, they blend fact and fiction, history and turn, exert an influence on public perceptions within a changed historical setting. These forms of cultural ex pression provide resources of meaning about nursing Beatrice J. Kalisch. RN, EdD, FAAN, is Titus Professor of nursing and chairpe~n. parent·child nursing: Philip A. KlIlisch, PhD, is professor of that should be reinterpreted and adapted to new cir h;51ory, politics. lind economics of nursing. both at the University of cumstances. Michigan, Ann Arbor. This study was supPOrtlld by a research grllnt Florence Nightingale has inspired three feature fil m from the U.S. -
Focus: Media Images of Florence Nightingale
'" ':'.e·, . -.-'. HEROINE ;-::'" '. '. ' OUT OF Focus: media images of Florence Nightingale . - ; ~ ~I.« \1',', PART I: POPULAR BIOGRAPHIES AND STAGE PRODUCTIONS BEATRICE J, KAUSCH and PHI UP A, KAUSCH Florence Nightingale ( 1820-1910). Covrtesy of the His tory of Nvrslng Collection, University of M ichigan. he legend of Florence Nightingale (1 820-19101, slender, graceful lady walking through miles of dark Tthe reclusive Victorian reformer known primarily as ened wards full of wounded soldiers, carrying a lantern to the founder of modern nursing, continues to exercise a dispel the gloom; soldiers kissing her shadow as she powerful hold on the popular imagination 12 decades passes by; Florence easing pain by her gentle manner, aher her retirement from public life. transforming morbid, filthy barracks into a clean hospital; The legend recalls a series of specific images. all of and championing the cause of the British soldier in the which originated during her 21-month mission in the guise of his beloved, determined lady-in-Chief. During Crimea, 1854-1856. These images include visions of a her lifetime, these images reverberated in hundreds of songs and poems, depicting her as an angel incarnate. Beatrice J. Kalisch. AN. EdD, FAAN. is Titus Professor of nursing and Since her death, biographers have sought to discover the c;h ! irperson, parl!!nl-child nursing; Phi lip A. Kalisc:h. PhD. is professor of woman behind the legend, while dramatists have mined history. pOlitics. and economICS 01 nursing, both III the UnivOBrty 01 both the legend and the revelations of Nightingale's real Michigan, Ann Arbor. This study was sUCPOl1ed by II research gr<lnt life story for material to entertain and to inspire audiences Irom the U.S. -
British Women Surgeons and Their Patients, 1860–1918
Downloaded from https://www.cambridge.org/core. IP address: 170.106.40.40, on 02 Oct 2021 at 06:58:02, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/19ED55AFB1F1D73AF0B101C74ECF9E87 Downloaded from https://www.cambridge.org/core. IP address: 170.106.40.40, on 02 Oct 2021 at 06:58:02, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/19ED55AFB1F1D73AF0B101C74ECF9E87 British Women Surgeons and their Patients, 1860–1918 When women agitated to join the medical profession in Britain during the 1860s, the practice of surgery proved both a help (women were neat, patient and used to needlework) and a hindrance (surgery was brutal, bloody and distinctly unfeminine). In this major new study, Claire Brock examines the cultural, social and self-representation of the woman sur- geon from the second half of the nineteenth century until the end of the Great War. Drawing on a rich archive of British hospital records, she investigates precisely what surgery women performed and how these procedures affected their personal and professional reputation, as well as the reactions of their patients to these new phenomena. Also pub- lished as open access, this is essential reading for those interested in the history of medicine. British Women Surgeons and their Patients, 1860– 1918 provides wide-ranging new perspectives on patient narratives and women’s participation in surgery between 1860 and 1918. This title is also available as Open Access. claire brock is Associate Professor in the School of Arts at the University of Leicester. -
The Film Music of William Alwyn (1905 – 1985), Volume 4
William Alwyn,1960 William © Wolf Suschitzky / Lebrecht Music & Arts Photo Library The Film Music of William Alwyn (1905 – 1985), Volume 4 premiere recordings Suite from ‘The Black Tent’ (1956) 15:21 Reconstructed and arranged by Philip Lane 1 1 Main Titles and Opening Scene. Moderato 2:37 2 2 Arab Scene. Moderato 3:37 3 3 In the Camp. Moderato 4:03 4 4 Nocturne and Finale. Moderato – Poco meno mosso – Moderato 5:02 Suite from ‘On Approval’ (1944) 6:11 Reconstructed and arranged by Philip Lane 5 1 Title Music. Moderato – Vivace – A tempo di valse – 1:08 6 2 Polka. Tempo di polka 1:05 7 3 Proposal Waltz. Moderato – Tempo di valse 1:32 8 4 The Lancers. Vivace – Poco meno mosso – Tempo I – Poco meno mosso – Tempo I 2:23 3 Suite from ‘The Master of Ballantrae’ (1953) 5:52 Reconstructed and arranged by Philip Lane 9 1 Main Titles. Moderato 1:22 10 2 Jamie and Alison. Adagio – [ ] – A tempo I 2:18 11 3 Spanish Dance. Vivace – A tempo giusto ma meno 2:12 12 Prelude from ‘Fortune Is a Woman’ (1957) 4:41 Arranged by Philip Lane Moderato – Broader (Andante espressivo) – Più agitato – Moderato – Più mosso – Più mosso – Con moto 13 Mermaid’s Song (1947) 3:27 Composed for Miranda Arranged by Philip Lane Charlotte Trepass soprano Andante 4 14 Prelude from ‘Saturday Island’ (1952) 2:54 Reconstructed and arranged by Philip Lane Allegro Suite from ‘Shake Hands with the Devil’ (1959) 14:06 Reconstructed and arranged by Philip Lane 15 1 Dublin 1921. -
WAR SIRENS: HOW the SHEET MUSIC INDUSTRY SOLD WORLD WAR I a THESIS in Musicology Presented to the Faculty of the University Of
WAR SIRENS: HOW THE SHEET MUSIC INDUSTRY SOLD WORLD WAR I A THESIS IN Musicology Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF MUSIC By KRISTIN GRIFFEATH B.M, Lawrence University Conservatory of Music, 2003 M.M., University of Arizona, 2008 D.M.A., University of Missouri-Kansas City, 2011 Kansas City, Missouri 2011 ©2011 KRISTIN GRIFFEATH ALL RIGHTS RESERVED WAR SIRENS: HOW THE SHEET MUSIC INDUSTRY SOLD WORLD WAR I Kristin Griffeath, Candidate for the Master of Music Degree University of Missouri-Kansas City, 2011 ABSTRACT During World War I the U.S. Committee on Public Information (CPI) sponsored a national culture of war in posters, speeches, and films. Against this war-soaked cultural backdrop, the sheet music industry echoed the pervasive messages of the CPI, often using images of women to appeal to the American people. Connections between sheet music and CPI poster themes reflect the cultural dominance of war messages, and themes from various CPI-sponsored materials recur as motifs in the era’s sheet music. The sheet music covers, lyrics, and musical cues reinforced prototypical roles for women during the war (from angelic nurses to flirtatious tomboy recruits) as established in the poster art, revealing a gendered cultural code. By purchasing sheet music and carrying it into their homes, American citizens literally bought into the war propaganda, heeding the siren call of the female imagery in CPI advertising to invest materially and emotionally in the war effort. Analysis of cover art, titles, lyrics, and musical examples highlights the use of archetypal images of women from poster and advertising traditions, suggesting that the sheet music industry was an unofficial partner of the CPI. -
An Analysis of the Utilization of Power by Florence Nightingale 1856-1872
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 12-1992 An Analysis of the Utilization of Power by Florence Nightingale 1856-1872 Louise C. Selanders Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Educational Assessment, Evaluation, and Research Commons, and the European History Commons Recommended Citation Selanders, Louise C., "An Analysis of the Utilization of Power by Florence Nightingale 1856-1872" (1992). Dissertations. 1997. https://scholarworks.wmich.edu/dissertations/1997 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. AN ANALYSIS OF THE UTILIZATION OF POWER BY FLORENCE NIGHTINGALE 1856-1872 by Louise C. Selanders A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Education Department of Educational Leadership Western Michigan University Kalamazoo, Michigan December 1992 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. AN ANALYSIS OF THE UTILIZATION OF POWER BY FLORENCE NIGHTINGALE 1856-1872 Louise C. Selanders, Ed.D. Western Michigan University, 1992 This historical analysis sought to determine the types of power utilized by Florence Nightingale while providing leadership to major reforms and how these power acts were implemented- The scope of the study was her productive post- Crimean years from 1856 through 1872. Events which were examined included the reform of the health of the British Army including the Royal Commission, the establishment of modem, secular nursing education and the establishment of public health standards in India during British colonization.