The Long and the Short and the Tall – Willis Hall Version 1
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Leeds Civic Trust Newsletter April 2020 Message From
OUTLOOK LEEDS CIVIC TRUST NEWSLETTER APRIL 2020 MESSAGE FROM MARTIN The Trust Director writes a special piece about our response to the current Covid-19 pandemic. SEE PAGE 2 PLANNING NEWS Technology allows our Planning Committee to keep ‘meeting’ with Mike Piet on the line to report. SEE PAGE 4 WASTE NOT Claude Saint Arroman considers what we throw away after a visit to Martin HW Waste facility. SEE PAGE 6 MERCURY RETROGRADE Roderic Parker reports on a Trust visit to a printers with a collection of very special vintage postcards. SEE PAGE 8 KEITH WATERHOUSE HONOURED The Hunslet born author and journalist now has his own blue plaque. SEE PAGE 10 ALTHOUGHWHERE WAS THE THIS OFFICE PHOTO IS TAKENCURRENTLY FROM? CLOSED, FIND OUT A RAINBOW IN NEXT MONTH’S HAS APPEARED OUTLOOK... IN ITS WINDOW. ENCOURAGING DEVELOPMENT CONSERVING AND ENHANCING PROMOTING THE IMPROVEMENT THAT IS A SOURCE OF PRIDE THE HERITAGE OF LEEDS OF PUBLIC AMENITIES 2 APRIL 2020 A MESSAGE FROM THE DIRECTOR A message from Trust Director, Martin, regarding the Trust’s response to Covid-19. It doesn’t need me to tell you that these are extraordinary times. Back in January we were looking forward to a full year here at the Trust. Events were being finalised, a full schedule of blue plaque unveilings scheduled, our spring season of corporate lunches with a new caterer booked and plans to implement our five year Vision were progressing. We now have the proofs for the much- anticipated second Blue Plaques book, and we were looking forward to launch this in late Spring. -
Course Proposals 97-8
אוניברסיטת בן-גוריון בנגב BEN-GURION UNIVERSITY OF THE NEGEV FACULTY OF HUMANITIES AND SOCIAL SCIENCES ABRAHAMS-CURIEL DEPARTMENT OF FOREIGN LITERATURES AND LINGUISTICS Professor Efraim Sicher THE POSTWAR BRITISH NOVEL THIRD YEAR SEMINAR 4 PTS MONDAYS AND THURSDAYS 14-16 FIRST SEMESTER Course Description Postwar British prose fiction reflects the changes in society, politics and literature since 1945. From the postwar new wave to post-colonialism, from the Angry Young Man to postmodernism, we look at the best writers of the last 70 years. Course objectives This course gives students knowledge of basic concepts in postwar British fiction in the context of postmodernism. It provokes basic questions about the relation of fiction and truth, history and literature. Keywords: Britain 1945-2020; postmodernism; history; fiction. Course requirements Active participation required 4 Preparatory questions 20% 1 Seminar Paper 15-18 pages 40% (due March 10). 1 Presentation (to be handed in as a 5-6 page written paper by March 10) 40% Required Reading George Orwell, Nineteen Eighty-Four William Golding, Lord of the Flies Ian McEwan, Atonement Salman Rushdie Midnight's Children Norton Anthology of English Literature, volume 2 Additional texts (choose one for presentation) The campus novel (Kingsley Amis, Lucky Jim) Dystopia now (Anthony Burgess, Clockwork Orange) Anger and after (Keith Waterhouse, Billy Liar; Alan Sillitoe, The Loneliness of the Long-Distance Runner) Women Writers (Angela Carter, Fay Wheldon, Emma Tennant, Penelope Lively) Other voices: Salman Rushdie (The Moor’s Last Sigh); Kazuo Ishiguro (The Remains of the Day); Ben Okri; Clive Sinclair (Blood Libels). Postmodernism: Julian Barnes; Martin Amis; Ian McEwan; Graham Swift. -
A Writer's Calendar
A WRITER’S CALENDAR Compiled by J. L. Herrera for my mother and with special thanks to Rose Brown, Peter Jones, Eve Masterman, Yvonne Stadler, Marie-France Sagot, Jo Cauffman, Tom Errey and Gianni Ferrara INTRODUCTION I began the original calendar simply as a present for my mother, thinking it would be an easy matter to fill up 365 spaces. Instead it turned into an ongoing habit. Every time I did some tidying up out would flutter more grubby little notes to myself, written on the backs of envelopes, bank withdrawal forms, anything, and containing yet more names and dates. It seemed, then, a small step from filling in blank squares to letting myself run wild with the myriad little interesting snippets picked up in my hunting and adding the occasional opinion or memory. The beginning and the end were obvious enough. The trouble was the middle; the book was like a concertina — infinitely expandable. And I found, so much fun had the exercise become, that I was reluctant to say to myself, no more. Understandably, I’ve been dependent on other people’s memories and record- keeping and have learnt that even the weightiest of tomes do not always agree on such basic ‘facts’ as people’s birthdays. So my apologies for the discrepancies which may have crept in. In the meantime — Many Happy Returns! Jennie Herrera 1995 2 A Writer’s Calendar January 1st: Ouida J. D. Salinger Maria Edgeworth E. M. Forster Camara Laye Iain Crichton Smith Larry King Sembene Ousmane Jean Ure John Fuller January 2nd: Isaac Asimov Henry Kingsley Jean Little Peter Redgrove Gerhard Amanshauser * * * * * Is prolific writing good writing? Carter Brown? Barbara Cartland? Ursula Bloom? Enid Blyton? Not necessarily, but it does tend to be clear, simple, lucid, overlapping, and sometimes repetitive. -
Boxoffice Barometer (March 6, 1961)
MARCH 6, 1961 IN TWO SECTIONS SECTION TWO Metro-Goldwyn-Mayer presents William Wyler’s production of “BEN-HUR” starring CHARLTON HESTON • JACK HAWKINS • Haya Harareet • Stephen Boyd • Hugh Griffith • Martha Scott • with Cathy O’Donnell • Sam Jaffe • Screen Play by Karl Tunberg • Music by Miklos Rozsa • Produced by Sam Zimbalist. M-G-M . EVEN GREATER IN Continuing its success story with current and coming attractions like these! ...and this is only the beginning! "GO NAKED IN THE WORLD” c ( 'KSX'i "THE Metro-Goldwyn-Mayer presents GINA LOLLOBRIGIDA • ANTHONY FRANCIOSA • ERNEST BORGNINE in An Areola Production “GO SPINSTER” • • — Metrocolor) NAKED IN THE WORLD” with Luana Patten Will Kuluva Philip Ober ( CinemaScope John Kellogg • Nancy R. Pollock • Tracey Roberts • Screen Play by Ranald Metro-Goldwyn-Mayer pre- MacDougall • Based on the Book by Tom T. Chamales • Directed by sents SHIRLEY MacLAINE Ranald MacDougall • Produced by Aaron Rosenberg. LAURENCE HARVEY JACK HAWKINS in A Julian Blaustein Production “SPINSTER" with Nobu McCarthy • Screen Play by Ben Maddow • Based on the Novel by Sylvia Ashton- Warner • Directed by Charles Walters. Metro-Goldwyn-Mayer presents David O. Selznick's Production of Margaret Mitchell’s Story of the Old South "GONE WITH THE WIND” starring CLARK GABLE • VIVIEN LEIGH • LESLIE HOWARD • OLIVIA deHAVILLAND • A Selznick International Picture • Screen Play by Sidney Howard • Music by Max Steiner Directed by Victor Fleming Technicolor ’) "GORGO ( Metro-Goldwyn-Mayer presents “GORGO” star- ring Bill Travers • William Sylvester • Vincent "THE SECRET PARTNER” Winter • Bruce Seton • Joseph O'Conor • Martin Metro-Goldwyn-Mayer presents STEWART GRANGER Benson • Barry Keegan • Dervis Ward • Christopher HAYA HARAREET in “THE SECRET PARTNER” with Rhodes • Screen Play by John Loring and Daniel Bernard Lee • Screen Play by David Pursall and Jack Seddon Hyatt • Directed by Eugene Lourie • Executive Directed by Basil Dearden • Produced by Michael Relph. -
Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 I
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Uneconomic Rag Ball to Be Replaced
Friday, Feb. 2nd, 1968 UNION NEWS No. 342 Price 3d. THREE DAYS TO POLLING DAY BUT IN R.S.H. HUSTINGS VOTERS UNMOVED % CANDIDATES GRILLED ON POLICIES by U.N. Election Correspondent 'J’HE three Presidential candidates put their cases for election to the voters in the Riley Smith on Wed nesday. Union President Jack Straw chaired the hustings and was seen to flush all three candidates referred to the danger of a President too committed to outside bodies such as N.U.S. AH the candidates called for more frequent General Meetings and better communications with the ordinary Union member. i—— , + , and that he would represent Tony Boyden, De Lee’s | the interests of the students proposer, opened the hust- nationally, ings with a call to elect De Lee because he was a- MORE O.GJVLs political, made rational Philip Kelly follow ed this by saying that he was standing speeches and had the inter- because the Union accepts Philip Kelly answering a ques sets of all members at heart. certain goals. There should be tion from the floor. more student representation in ORGANIZATION the University and this would Nigel De Lee said that he be his main priority if he was would not enforce his opinions elected. To bring the ordinary Nigel de Lee addresses the electorate in the Riley Smith. Jack Straw sits in the chair. On the on anybody, his principal aim student more into the Union left are the othei' candidates and their proposei's. Exec in being organisation. “The fortnightly general meetings Union” he claimed “is a loose would be held and a weekly brief mass of people united by social newsletter would be issued. -
Theatre Archive Project: Interview with Colin George
THEATRE ARCHIVE PROJECT http://sounds.bl.uk Colin George – interview transcript Interviewer: Kate Harris 21 November 2005 Actor and Director. A Man for All Seasons; audiences; Birmingham Rep; children's theatre; Coventry Belgrade theatre; The Crucible Theatre, Sheffield; drama students; The Elizabethan Theatre Company; Albert Finney; Tyrone Guthrie; Peter Hall; Laurence Olivier; Look Back in Anger; Harold Pinter; The Playhouse Nottingham; The Playhouse, Sheffield; repertory; Maggie Smith; television. KH: This is an interview on the 21st of November with Colin George. Can I just confirm that I've got your permission to put this into the archive? CG: You have. KH: Brilliant, I'd just like to start by asking about how you began working in the theatre? CG: Yes, I began straight from Oxford. I'd been… I suppose inspired by Laurence Olivier principally and his film Henry V, but also I saw him as a boy, in his first Richard III, his first great performance, at the New Theatre, with Olivier, with Richardson and those great seasons they had, Hotspur, you know and so on and decided I'd go into the theatre. And my mother, God bless her, said, ‘Well, get a degree first darling, then you'll always have something to fall back on’, which proved absolutely right, because when I was middle aged - not middle aged, but getting on, three kids and that and no money having left Sheffield and all that - I went to Australia to set up a drama department and later worked for twelve years in Hong Kong, was head of acting at the drama… and that saved my life. -
From Real Time to Reel Time: the Films of John Schlesinger
From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative. -
HOBA Newsletter 2015
Heath Old Boys Association Newsletter Summer 2015 Another special year very year is special at The Crossley Heath School but 2014 has been particularly memorable. E Looking back over 2014, this has been a year of heritage, history and tradition as we celebrated 150 years of education in the Crossley and Porter building. But, of course, our present-day school has another strong thread of history because in 1985, Crossley and Porter merged with Heath Grammar School, founded by Dr John Favour, Vicar of Halifax, in 1600. During the course of 2014, I have learned so much about Friday, 25 September 2015 Reunion Dinner at the origins of the school and feel even more strongly Heath RUFC, West Vale, Halifax 6.45pm AGM that I am a custodian, here for a short period of time, 7 for 7.45pm Reunion Dinner playing my part in keeping the school secure for the Dress: Lounge suits/smart casual. future. £17 per person payable to HOBA via Jon Hamera Mob: 07770 697176/Duncan Turner. The birthday gave us a wonderful opportunity to come aClick on the magenta text for the link or email address. together as a community and enjoy many activities. I shall always remember climbing the precarious stairs In a world where it seems harder than ever for children into the clock tower and actually writing my name on to be happy, where bullying is inescapable because of the wall alongside the names of Head Boys from the social media, where Childline gets more calls of distress past. We have deposited a time capsule in the tower, than ever before — as a school we have an important hidden from view, which we hope will be discovered role to play. -
The University of Liverpool Racism, Tolerance and Identity: Responses
The University of Liverpool Racism, Tolerance and Identity: Responses to Black and Asian Migration into Britain in the National and Local Press, 1948-72 Thesis submitted in accordance with the requirements of The University of Liverpool for the degree of Doctor of Philosophy By Matthew Young September 2012 Abstract. This thesis explores the response of national and local newspapers to issues of race and black and Asian immigration in Britain between 1948 and 1972. Scholars have highlighted the importance of concepts of race, identity and belonging in shaping responses to immigration, but have not yet explained the complex ways in which these ideas are disseminated and interpreted in popular culture. The thesis analyses the complex role newspapers had in mediating debates surrounding black and Asian immigration for public consumption. By engaging with concepts of race and tolerance, newspapers communicated anxieties about the shape British culture and society would take in the postwar years. Their popularity granted them opportunities to lead attitudes towards black and Asian people and multiculturalism. The influences of social, political and cultural developments on both the national and local level meant newspapers often adopted limited definitions tolerance which failed to combat racism. In other cases, newspapers actively encouraged racist definitions of belonging which privileged their largely white audiences. In order to understand newspapers‘ engagement with concepts of race and identity, this thesis analyses the various influences that informed their coverage. While the opinions and ambitions of prominent journalists had a significant impact on newspaper policy, the thesis highlights the language and genres newspapers used to appeal to large audiences. -
Theatre Archive Project: Interview with Timothy West
THEATRE ARCHIVE PROJECT http://sounds.bl.uk Timothy West – interview transcript Interviewer: Catherine Jones 5 January 2004 Actor, born 1934, on his recollections of theatre, 1945-68. CJ: In your autobiography, A Moment Towards the End of the Play, you have noted that from a young age you viewed a play every week by the Rapier Players at The Little Theatre, Bristol. Can you tell me what plays you saw and your initial impressions of them? TW: Well, it's very difficult to remember when I was very sort of….eight or nine at the time, but they were generally plays that had been done in the West End and were then…when they had finished their run in the West End, were available for production purposes by repertory. And, there were new plays by a lot of writers whose names we wouldn't remember now at all. But, there were of course Noel Coward and Terrence Rattigan and - probably not Terrence Rattigan at that time, I think that was a little later, - but they were mostly light comedies and a lot of thrillers, a great many thrillers, and a lot of adaptations of Agatha Christie and people, but mixed with the occasional classic. And they did plays by Shaw and the occasional Shakespeare, the occasional Chekhov, the occasional Ibsen, the occasional Moliere. There would be Irish plays, [such as] O'Casey. [It is a] pity they ever did O'Neill (a bit long), but it was a sort of general mix of stuff which you didn't see so much in the larger touring theatre, (the Hippodrome in Bristol), because that was given over mostly to opera, to ballet, musical theatre and the occasional big tour by the classical companies, (which in those days were the Old Vic Company or the Stratford upon Avon Company, which was not then called the Royal Shakespeare Company). -
Two Types of "Heroes" in Post-War British Fiction Author(S): William Van O'connor Source: PMLA, Vol
Two Types of "Heroes" in Post-War British Fiction Author(s): William van O'Connor Source: PMLA, Vol. 77, No. 1 (Mar., 1962), pp. 168-174 Published by: Modern Language Association Stable URL: http://www.jstor.org/stable/460701 Accessed: 09-02-2018 13:04 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Modern Language Association is collaborating with JSTOR to digitize, preserve and extend access to PMLA This content downloaded from 95.183.184.51 on Fri, 09 Feb 2018 13:04:31 UTC All use subject to http://about.jstor.org/terms TWO TYPES OF "HEROES" IN POST-WAR BRITISH FICTION By William Van O'Connor There was Joyce's impersonal mode, Lawrence's INsays, NOVEL in Forces after in novel," Modern William British York Literature, Tindallcharacters attracting or repelling each other as "sensitive lads are apprenticed to life, formed though by in an emotional-electric field, and Mrs. its forces, rebelling against them, sometimes Woolf fail? insisting on discovering the secret life in- ing, sometimes emerging in victory. side. From Mrs. Brown's head. There was the effaced 1903 onwards almost every first novel was anarrator, novel the novel-of-ideas, stream-of-conscious- of adolescence." Samuel Butler, he adds, started ness, and the novel seen as a poem.