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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 I
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In Spite of History? New Leftism in Britain 1956 - 1979
In Spite of History? New Leftism in Britain 1956 - 1979 Thomas Marriott Dowling Thesis Presented for the Degree of PhD Department of History University of Sheffield August 2015 ii iii Contents Title page p. i Contents p. iii Abstract p. vi Introduction p. 1 On the Trail of the New Left p. 5 Rethinking New Leftism p. 12 Methodology and Structure p. 18 Chapter One Left Over? The Lost World of British New Leftism p. 24 ‘A Mood rather than a Movement’ p. 30 A Permanent Aspiration p. 33 The Antinomies of British New Leftism p. 36 Between Aspiration and Actuality p. 39 The Aetiology of British New Leftism p. 41 Being Communist p. 44 Reasoning Rebellion p. 51 Universities and Left Review p. 55 Forging a Movement p. 58 CND p. 63 Conclusion p. 67 iv Chapter Two Sound and Fury? New Leftism and the British ‘Cultural Revolt’ of the 1950s p. 69 British New Leftism’s ‘Moment of Culture’? p. 76 Principles behind New Leftism’s Cultural Turn p. 78 A British Cultural Revolt? p. 87 A New Left Culture? p. 91 Signifying Nothing? p. 96 Conclusion p. 99 Chapter Three Laureate of New Leftism? Dennis Potter’s ‘Sense of Vocation’ p. 102 A New Left ‘Mood’ p. 108 The Glittering Coffin p. 113 A New Left Politician p. 116 The Uses of Television p. 119 History and Sovereignty p. 127 Common Culture and ‘Occupying Powers’ p. 129 Conclusion p. 133 Chapter Four Imagined Revolutionaries? The Politics and Postures of 1968 p. 135 A Break in the New Left? p. -
Dias Difíceis a Representação Da Violência Na Dramaturgia Britânica De Matriz Realista Do Pós-Segunda Guerra Mundial (1951-1967)
UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS Dias difíceis A representação da violência na dramaturgia britânica de matriz realista do pós-Segunda Guerra Mundial (1951-1967) Rui Pina Coelho DOUTORAMENTO EM ESTUDOS ARTÍSTICOS ESPECIALIDADE ESTUDOS DE TEATRO 2013 2 UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS Dias difíceis A representação da violência na dramaturgia britânica de matriz realista do pós-Segunda Guerra Mundial (1951-1967) Rui Pina Coelho Tese orientada pela Professora Doutora Maria Helena Serôdio, especialmente elaborada para a obtenção do grau de Doutor em Estudos Artísticos, Especialidade Estudos de Teatro. 2013 3 4 Resumo A violência na sociedade e a sua representação artística têm sido desde sempre objecto de vibrantes debates. Na criação contemporânea, a violência continua a ser um dos mais insistentes refrãos temáticos motivando trabalhos que fazem confundir a realidade e a ficção, a violência e a sua representação. Este estudo analisa um corpus seleccionado de dramaturgia britânica de matriz realista do pós-Segunda Guerra Mundial, incluindo textos de John Whiting (Saints’s Day, 1951), Brendan Behan (The Quare Fellow, 1954), John Osborne (Look Back in Anger, 1956), Harold Pinter (The Birthday Party, 1958), Arnold Wesker (Chicken Soup with Barley, 1958; Roots, 1959; e I’m Talking about Jerusalem, 1960), John Arden (Serjeant Musgrave’s Dance, 1959), David Rudkin (Afore Night Come, 1962), Giles Cooper (Everything in the Garden, 1962), Edward Bond (Saved, 1965) e Charles Wood (Dingo, 1967). São textos reportados a uma geração de dramaturgos conhecidos como “Angry Young Men” e por uma Segunda Vaga de dramaturgos dos anos sessenta que a, seu modo, respondem às profundas alterações na geometria política e social, motivadas, em grande medida, pela Segunda Guerra Mundial. -
The British War Film, 1939-1980: Culture, History, and Genre
The British War Film, 1939-1980: Culture, History, and Genre by Kevin M. Flanagan B.A., College of William and Mary, 2006 M.A., North Carolina State University, 2009 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2015 UNIVERSITY OF PITTSBURGH KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Kevin M. Flanagan It was defended on April 15, 2015 and approved by Colin MacCabe, Distinguished Professor, Department of English Adam Lowenstein, Associate Professor, Department of English David Pettersen, Assistant Professor, Department of French and Italian Dissertation Advisor: Lucy Fischer, Distinguished Professor, Department of English ii Copyright © by Kevin M. Flanagan 2015 iii THE BRITISH WAR FILM, 1939-1980: CULTURE, HISTORY, AND GENRE Kevin M. Flanagan, Ph.D. University of Pittsburgh, 2015 This dissertation argues that discussions of war representation that privilege the nationalistic, heroic, and redemptively sacrificial strand of storytelling that dominate popular memory in Britain ignore a whole counter-history of movies that view war as an occasion to critique through devices like humor, irony, and existential alienation. Instead of selling audiences on what Graham Dawson has called “the pleasure culture of war” (a nationally self-serving mode of talking about and profiting from war memory), many texts about war are motivated by other intellectual and ideological factors. Each chapter includes historical context and periodizing arguments about different moments in British cultural history, explores genre trends, and ends with a comparative analysis of representative examples. -
1 Unit 1: ―Romantic Movement‖ 1-Literature: Any Piece of Written
Unit 1: ―Romantic Movement‖ 1-Literature: any piece of written text having artistic quality. Some concepts: 2-Pre-Victorian female writers *Jane Austen: she was born on the 16th December 1775 in Steventon Rectory, Hampshire, England and died on the 18th July 1817 in Winchester, Hampshire, England. She is one of the first women writer in English. She is different from other writers of her time because her main interest is in moral, social and psychological behavior of the character. She writes mainly about young women as they grow up and search for personal happiness. Austen pictures are detailed often ironic and always about a small number of people. She gives her main characters choices and then shows how and why they make their choices. She criticized novels of sensibility. Her plots are fundamentally comic; she also highlighted the dependence of women on marriage to secure social standing and economic security. WORKS: Sense of sensibility (1811); Pride and Prejudice (1815); Mansfield Pride (1814); Emma (1816); Northanger Abbey (1818); Persuasion (1818). *The Bronte Sisters: Charlotte, Emily and Anne were all writers of great talent, although it is probably Charlotte who is remembered today as the most gifted. Their family was poor and in the early years the sisters tried to earn money by working as governesses and later by opening a village school. Then, they gave up teaching and started to write, first poetry and then novels. Because of the difficulties of writers as women in 19th c, they wrote under the pseudonyms of Currer, Ellis and Acton Bell: 1)- Charlotte: was born in Yorkshire in 1816 into a truly remarkable literary family. -
Personalbibliographien
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hochschulschriftenserver - Universität Frankfurt am Main Prof. Dr. Wolf-D. Weise J A M E S S A U N D E R S BIBLIOGRAPHIE (allen in meinem Archiv verfügbaren Materials) [Stand: 06.03.03] Auberlen, Eckhard, "Die Nutzung des dramatischen Mediums in James Saunders' 'Next Time I'll Sing to You", Germanisch-Romanische Monatsschrift 30 (1980) 191-210. Berger, Dieter A., "Komik und Tragik des Paradoxen bei James Saunders" [ SA/SF ], Maske und Kothurn 20 (1974) 2, 191-207. Berger, Dieter A., "James Saunders: The Borage Pigeon Affair ", in: Horst Oppel (ed.), Das englische Drama der Gegenwart , Berlin 1976, 174-191. Brown, Dennis, "James Saunders (8 January 1925-)", in: Stanley Weintraub (ed.), British Dramatists Since WWII , (Dict. of Lit.Biogr.13), Detroit 1982, 440-444. Coveney, Michael, "Not-so-tall Stories on the Block" [rev.-art. Making it Better ], Observer (1992) 16 Feb., 56. Crowley, Jeananne, "A Scent of Flowers" [re: TV series Bloomers ], Radio Times [no further data]. Dace, Tish, "Saunders, James A.", in: James Vinson (ed.), Contemporary Dramatists , New York 31982, 691-695. Dace, Tish, "Saunders, James A.", in: K.A. Berney/N.G. Templeton (eds.), Contemporary British Dramatists , London etc.: St James Press, 1994, 626- 630. Dörfel, Hanspeter, "James Saunders: A Scent of Flowers (1964), in: Klaus-Dieter Fehse/Norbert H. Platz (eds.), Das zeitgenössische englische Drama: Einführung, Interpretation, Dokumentation , Frankfurt/M. 1975, 199-217. Gentile, Kathy J., "A Hermit Dramatized", Modern Drama 28 (1985) 3, 490-499. Hammerschmidt, Hildegard, Das historische Drama in England (1956-1971): Erscheinungsformen und Entwicklungstendenzen , Frankfurt/M. -
THE IMPORTANCE of BEING the Autobiographical Subject in the Drama and Memoirs of Ronald Duncan
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2001 THE IMPORTANCE OF BEING The Autobiographical Subject in the Drama and Memoirs of Ronald Duncan TRUSSLER, ANNA CLAIRE http://hdl.handle.net/10026.1/2207 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. THE IMPORTANCE OF BEING The Autobiographical Subject in the Drama and Memoirs of Ronald Duncan by ANNA CLAIRE TRUSSLER A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF PLYMOUTH School of Humanities and Cultural Interpretation Faculty of Arts and Education in collaboration with THE RONALD DUNCAN FOUNDATION August 2001 University of Plymouth Library Anna Claire Trussler THE IMPORTANCE OF BEING: The Autobiographical Subject in the Drama and Memoirs of Ronald Duncan This study developed after considerable time spent collating and cataloguing data contained in Ronald Duncan's archive. Familiarisation with the material led to my identifying a need to explore the elusive nature of the personality that biographical material should hope to uncover. Duncan was prone to mainly confessional writing, a kind of writing that demands a causal inference between life and work. Further more, the archive supplies multiple data sources that serve to aid chronology, trace reliability, provide external corroboration and investigate truth-value. -
1958 the Witness, Vol. 45, No. 6. March 13, 1958
The ESS MARCH 13, 1958 lol publication. and reuse for Ryth mic Interpretation required For Permission Lenten DFMS. Study / Church PAGE ELEVEN Episcopal the of NEXT WEEK Archives First Of Two Articles 2020. Copyright The Crucifixion As Seen By A Surgeon Church and the International Scene I 9 - SERVICES The WITNESS SERVICES In Leading Churches For Christ and His Church In Leading Churches CHRIST CHURCH THE CATHEDRAL CHURCH CAMBRIDGE, MASS. OF ST. JOHN THE DIVINE EDITORIAL BOARD The Rev. Gardiner M. Day, Rader 112th St. and Amsterdam The Rev. Frederic B. Kellogg, Clpdu Sunday: Holy Communion 7, 8, 9, 10; Sunday Services: 8, 10 and 11 amu BROWN, Editor, W. B. SwO:- Nming Prayer, Holy Commnio JOziN PAsIMA Wednesday and Holy Days 12:10 p.m and Sermon, 11; Evensong and see. Ponn, Managing Editor; KaNNEvTE R. FoRnuS, man, 4. Gonns C.. GRnAas, RoBEaT HAaavsinaa, Gamaes H. MACMURsnAx, JosEPS H. Trna. Weekdays: Holy Communion, 7:30 ST. JOHN'S CATHEDRAL Columnists: CLIFTON J. Kaw, Religion and the DErvEa, COLORADO (and 10 Wed.); Morning Prayer, Mind: MAssEY H. SrmPSvnsa Ja., Living 8:30; Very Rev. Wiliama Lee, De.. Evensong, 5. Li wgy FanRncx A. SCEILLINO,Epl Rev. Harry Watts, Canon theospls; OHNELLs~ LARon; Sundays: 7:30, 8:30, 9:30 and 11. SmnsurrTZ; PHILIP MCNAxnY. 4:30 in., THE HEAVENLY BEST NEW YORK p. recitals. 5th Avenue at 9Otis Street Weekdays: Holy Communion, Wedne. publication. Rev. John Ellis Large, D.D. day, 7:15; Thursday, 10:30. - Holy Days: Holy Communion, 10.30. Sundays: Holy Communion, 7:30 and 9 CornTRrIN Enrrons: Frederick C. -
Film Movements
FILM MOVEMENTS Early Experimental Cinema U.S., France, England (1893-1903) For centuries, humans had experimented with what would become the two key elements of cinema: the projection of images using light (such as with the camera obscura and the Magic lantern); and the illusion of motion created by exploiting the optical phenomenon called "persistence of vision" (such as with the zoetrope, introduced in the 1830s). The invention and spread of photography in the mid-19th century provided the key missing element. Even from here, the "birth" of the movies was actually a gradual process of evolution with many blind alleys and crisscrossing paths. It involved a number of individuals in Europe, the United Kingdom, and the United States, who, from the 1860s on, worked on often similar inventions with varying degrees of success. Eadward Muybridge, Louis Le Prince and Ottomar Anschütz were among those who designed pioneering machines for projection of rapidly moving images. George Eastman, the American founder of Eastman Kodak, Hannibal Goodwin and William Friese Greene all worked on early prototypes of motion picture film. W.K. Laurie Dickson, a researcher at the Edison Laboratories, is credited with the invention of a practicable form of celluloid strip containing a sequence of images, the basis of a method of photographing and projecting moving images. In 1894, Thomas Edison introduced to the public the Kinetograph, the first practical moving picture camera, and the Kinetoscope. The latter was a cabinet in which a continuous loop of film (powered by an electric motor) was projected by a lamp and lense onto a glass. -
BRITISH DRAMA (Paper Code: MAEG1002)
PONDICHERRY UNIVERSITY (A Central University) DIRECTORATE OF DISTANCE EDUCATION BRITISH DRAMA (Paper Code: MAEG1002) MA (English) – I Year DDE – WHERE INNOVATION IS A WAY OF LIFE PONDICHERRY UNIVERSITY ( A Central University) DIRECTORATE OF DISTANCE EDUCATION MASTER OF ARTS In ENGLISH First Year Course Code:60 Paper Code:MAEG1002 British Drama Master of Arts in English British Drama Units I to V Written by Dr. Sujatha Vijayaraghavan Reader Dept of English Pondicherry University Pondicherry – 605 014. All rights are reserved. For Private Circulation only. Printed at PONDICHERRY UNIVERSITY (A Central University) DIRECTORATE OF DISTANCE EDUCATION MA - English British Drama TABLE OF CONTENTS Title Page No. I Introduction 1-43 II Christopher Marlowe- Dr. Faustus, William Shakespeare- King Lear: :A Midsummer Night’s Dream 44-210 III G.B. Shaw-Pygmalion, T.S. Eliot-Murder in the Cathedral 211-276 IV Samuel Beekett-Waiting for Godot, John Osborne - Look Back in Anger 277-329 V Edward Bond-Lear, Harold Pinter-The Birthday Party 330-372 1 COURSE CODE 41 BRITISH DRAMA PAPER CODE H 1020 UNIT ONE Aristotle’s Poetics (selections from chapter Four) 1.Sophocles : Oedipus Rex UNIT TWO 2. Christopher Marlowe : Dr. Faustus 3.William Shakespeare : King Lear- Detailed Study 4. : A Midsummer Night’s Dream UNIT THREE 5. G B Shaw : Pygmalion 6. T S Eliot : Murder in the Cathedral- Detailed Study UNIT FOUR 7. Samuel Beckett : Waiting for Godot 8. John Osborne : Look Back in Anger UNIT FIVE 9. Edward Bond : Lear 10. Harold Pinter : The Birthday party . ******************************************************************** 2 UNIT - I In this unit we shall study Selections from Aristotle’s Poetics by way of introduction & Sophocles’ Oedipus Rex INTRODUCTION Why start with Aristotle? It is first of all necessary to know why we have to look at what Aristotle has said when the course we are about to begin studying is British Drama. -
Lindsay Anderson - Romantisk Ironiker Lindsay Anderson Blev Født I 1923 I Bangalore I Det Erklæres Det, at »Hitchcock Aldrig Har Været En Alvorlig Sydlige Indien
Lindsay Anderson - romantisk ironiker Lindsay Anderson blev født i 1923 i Bangalore i det erklæres det, at »Hitchcock aldrig har været en alvorlig sydlige Indien. Faderen var officer. To år gammel kom instruktør«. Med tanke på senere tiders eksegeser fore Lindsay til England, hvor han i tidens fylde gik i skole på kommer udtalelsen næsten blasfemisk, men der er ikke sydkysten. Senere kom han til Cheltenham College (hvor noget at stille op. Anderson finder filmene veldrejede »If ...« er optaget) og endelig på Oxford. Her tilknyttedes men som helhed uinteressante. Uden historie, idé eller han en gruppe filminteresserede men fik i øvrigt sit op mennesker. »Ingen af de tidlige melodramaer kan siges hold afbrudt af krigen. Senere grundlagde og redigerede at bringe noget budskab. Og når det så endelig fore han sammen med Karel Reisz tidsskriftet Sequence (1947- kommer - som i »Foreign Correspondent« eller »Life- 1952) og blev dets mest indflydelsesrige skribent. Han boat« - er det banalt indtil det uhyrlige«. Med Andersons har også leveret bidrag til Sight and Sound, The Times, antilitterære, indædte forhold til alt, hvad der er middle Observer, New Statesman, Encore og her i landet til Kos- brow, må erklæringen undre, for hvor findes en mere morama. I 1952 udsendte han bogen »Making a Film« om uprætentiøs film- og netop ikke litteratur-bevidst instruk tilblivelsesprocessen bag Thorold Dickinson’s film »Secret tør end Hitchcock? Denne inkonsekvens er imidlertid ikke People«; en teknisk detaljeret, dagbogsformet fagbog. den eneste i Andersons kritiske virksomhed. Samtidig Anderson debuterede selv som instruktør med et sponsor med at han foragtende vender sig mod middlebrow-kravet arbejde - en industri-film fra 1948 - og udvidede ni år om polerede virkelighedsskildringer får Elia Kazan at vide, senere sit felt tii teatret, hvor han - først og fremmest at han savner decorum, hvilket vil sige intet mindre end på Royal Court Theatre - har opsat såvel klassikere som sømmelighed! sin egen generations dramatikere. -
PG One Semester Syllabus 2012-13.Docx
PRESIDENCY UNIVERSITY ENGLISH MA PROGRAMME (SEMESTER SYSTEM) THE OBJECTIVE OF THE MA PROGRAMME IN ENGLISH, UNDER THE SEMESTER SYSTEM, IS TO OFFER THE POSTGRADUATE STUDENT OF ENGLISH LITERATURE BOTH BASIC AND SPECIALISED TRAINING AT AN ADVANCED LEVEL. AN OPPORTUNITY WILL BE PROVIDED TO STUDENTS TO PURSUE INTER-DISCIPLINARY STUDY AND THE EMPHASIS ON TERM PAPERS AND DISSERTATION WILL OFFER AN EXCELLENT INTRODUCTION TO A RESEARCH CAREER WHILST DEVELOPING CONFIDENCE AND SKILLS REQUIRED IN OTHER PROFESSIONS. DIVIDED INTO SIXTEEN END-EXAMINATION PAPERS STRETCHED ACROSS FOUR SEMESTERS THE PROGRAMME REQUIRES STUDENTS TO TAKE ELEVEN COMPULSORY COURSES FOR ELEVEN PAPERS AND CHOOSE FIVE OPTIONAL COURSES FOR FIVE PAPERS. THE COMPULSORY REQUIREMENT WILL EQUIP THE STUDENT TO CARRY OUT TEACHING, RESEARCH AND ALLIED ACADEMIC ACTIVITIES IN THE GENERAL FIELD OF ENGLISH STUDIES IN INDIA AND ABROAD. THE OPTIONAL COURSES ARE INTENDED TO DEVELOP SPECIFIC RESEARCH OR PROFESSIONAL INTERESTS. THEY ARE CLASSIFIED UNDER BROAD CHRONOLOGICAL OR THEMATIC HEADS FOR CONVENIENCE OF REFERENCE, BUT THE STUDENT IS FREE TO CHOOSE ANY COMBINATION OF OPTIONS. COURSE REQUIREMENTS 1. AT THE MA LEVEL, STUDENTS WILL HAVE TO TAKE ELEVEN COMPULSORY COURSES, AND FIVE OPTIONAL COURSES. 1. OPTIONAL COURSES ARE GROUPED UNDER CLUSTERS (SEE BELOW). STUDENTS ARE FREE TO CHOOSE ANY COMBINATION OF OPTIONS. 2. EACH COURSE HAS 50 MARKS WHICH IS EQUAL TO 4 CREDITS (25 MARKS= 2 CREDITS). FOR EACH OF THE FIRST THREE SEMESTERS STUDENTS HAVE TO DO TWO TERM PAPERS OF 25 MARKS (2 CREDITS) EACH. AT THE END OF THE FOURTH SEMESTER STUDENTS HAVE TO DO A DISSERTATION OF 50 MARKS (4 CREDITS). OPTIONAL COURSES 1.