The Festival of Britain 1951
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“Music-Making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts
“Music-making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts Daniel Hautzinger Candidate for Senior Honors in History Oberlin College Thesis Advisor: Annemarie Sammartino Spring 2016 Hautzinger ii Table of Contents 1. Introduction 1 2. Historiography and the Origin of the Festival 9 a. Historiography 9 b. The Origin of the Festival 14 3. The Democratization of Music 19 4. Technology, Modernity, and Their Dangers 31 5. The Festival as Community 39 6. Conclusion 53 7. Bibliography 57 a. Primary Sources 57 b. Secondary Sources 58 Hautzinger iii Acknowledgements This thesis would never have come together without the help and support of several people. First, endless gratitude to Annemarie Sammartino. Her incredible intellect, voracious curiosity, outstanding ability for drawing together disparate strands, and unceasing drive to learn more and know more have been an inspiring example over the past four years. This thesis owes much of its existence to her and her comments, recommendations, edits, and support. Thank you also to Ellen Wurtzel for guiding me through my first large-scale research paper in my third year at Oberlin, and for encouraging me to pursue honors. Shelley Lee has been an invaluable resource and advisor in the daunting process of putting together a fifty-some page research paper, while my fellow History honors candidates have been supportive, helpful in their advice, and great to commiserate with. Thank you to Steven Plank and everyone else who has listened to me discuss Britten and the Aldeburgh Festival and kindly offered suggestions. -
Donald Gibson and Coventry
Original citation: Campbell, Louise (2007) Paper dream city/modern monument : Donald Gibson and Coventry. In: Boyd Whyte, Iain, (ed.) Man-made future : planning, education and design in mid-twentieth-century Britain. London ; New York: Routledge, pp. 121-144. ISBN 9780415357883. Permanent WRAP URL: http://wrap.warwick.ac.uk/53223 Copyright and reuse: The Warwick Research Archive Portal (WRAP) makes this work by researchers of the University of Warwick available open access under the following conditions. Copyright © and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable the material made available in WRAP has been checked for eligibility before being made available. Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. Publisher’s statement: This is an Accepted Manuscript of a book chapter published by Routledge in Man-made future : planning, education and design in mid-twentieth-century Britain on 2007, available online: http://www.routledge.com/Man-Made-Future-Planning-Education-and-Design-in- Mid-20th-Century-Britain/Whyte/p/book/9780415357883 A note on versions: The version presented here may differ from the published version or, version of record, if you wish to cite this item you are advised to consult the publisher’s version. -
8. Festival Guide
8. Festival Guide Dr Harriet Atkinson is a leading historian of design and culture based at the University of Brighton. She is one of the foremost experts on the Festival of Britain. In this response she brings her extraordinary knowledge of this event to bear on a commonplace piece of Festival ephemera. In doing so she reveals powerful themes of patriotism, land, refugees, and a whole series of intersections between design and identity that feel as relevant today as they did seven decades ago. Ian Cox, The South Bank Exhibition: A Guide to the Story It Tells (London: HMSO, 1951) As memories of a day out at the Festival of Britain’s South Bank Exhibition faded, the guidebook was often the only thing that remained. A substantial, handsome book printed on luxuriously thick paper, it bore designer Abram Games’s Festival of Britain emblem, Britannia in profile, on the front cover. She was festooned with bunting and mounted on the four points of the compass indicating the nationwide reach of the events, all in the patriotic colours of the Union Jack. Cover of the Exhibition Guide featuring the Abram Games festival logo (MERL Library 1770-COX) What was this ‘magical city’, as one designer described the Festival’s London centrepiece, the South Bank Exhibition held from May to September 1951, this temporary world that so enchanted and amazed its visitors? And what kind of Britain do we encounter as we turn the Guide’s mustard cover seventy years on? 1 While advertising was banned at the South Bank Exhibition itself, here, in the Guide, was the chance to sell things to the Festival’s many visitors. -
Museum of London Annual Report and Financial Statements Year Ended 31St March 2012
Registered Charity No: 1139250 MUSEUM OF LONDON Governors’ Report and Financial Statements for the year ended 31 March 2012 Museum of London Annual Report and Financial Statements Year Ended 31st March 2012 CONTENTS Reference and administrative details 2 - 4 Annual Report 5 – 23 Independent Auditors’ Report 24 – 25 Consolidated Statement of Financial Activities 26 Consolidated Balance Sheet 27 Museum of London Balance Sheet 28 Consolidated Cash Flow Statement 29 - 30 Notes to the Financial Statements 31 - 52 1 Museum of London Annual Report and Financial Statements Year Ended 31st March 2012 REFERENCE AND ADMINISTRATIVE DETAILS Name Museum of London Address 150 London Wall London EC2Y 5HN Board of Governors A Board of Governors, consisting of 18 members of whom the Greater London Authority (GLA) (prior to April 2008: the Prime Minister) and the City of London Corporation (COL), each appoints 9 members, is responsible for the general management and control of the Museum. The following Governors served throughout the financial year, except where indicated. Appointed by the Kenneth Ayers (ceased to be a Trustee 22 March 2012) City of London Rt Hon the Lord Boateng P.C. D.L. Corporation Sir Steve Bullock (appointed 20 April 2011) Michael Cassidy CBE Rev Dr Martin Dudley Robert Dufton Tom Hoffman Julian H Malins QC John Scott (appointed 21 June 2012) Michael Welbank Appointed by the GLA Jennette Arnold (prior to April 2008 : by the Blondel Cluff Prime Minister) Rosemary Ewles Gillian Day (appointed 5 October 2011) Andrew Macdonald Camilla Mash Mark Palmer-Edgecumbe Eric Reynolds Eric Sorensen Administration Under the Museum of London Acts 1965 and 1986, the Board is required to appoint a Director of the Museum to be responsible to the Board for: . -
The Lutyens Trust America Have Been Working Together to Find at Least a Partial Substitute for the Members’ Events Programme, Which Is in Forced Suspension
THE LUTYENS TRUST To protect and promote the spirit and substance of the work of Sir Edwin Lutyens O.M. NEWSLETTER WINTER 2020 REPORT ON PROGRESS MADE AT DROGO AND LINDISFARNE CASTLES BEFORE AND AFTER THE SPRING LOCKDOWN Castle Drogo By Ben Dale, Collections & House Manager Like all National Trust houses, Castle Drogo went into lockdown in mid-March, which seems an age away now. Everything was put on hold – our interpretation plans, collections conservation work and a major building project to address the long- term water ingress issues at Drogo. All but a handful of staff were put on furlough and the whole site was closed with the exception of the countryside. This has remained open throughout to offer everyone an escape to nature, which has been and continues to be so important at this time. Nine weeks later, in June, we got the green light to resume our building project, although strict Castle Drogo and exterior, post-conservation work. measures were in place to operate safely while we © National Trust/ Alice Ealdmoor were in the grips of the pandemic. The lantern window in the kitchen has been reinstated and the pointing has been completed. The masonry to the west of the window has also been rebuilt as has the roof over the scullery and larders. Above: The kitchen’s lantern window. Courtesy of the National Trust/ Castle Drogo Right: An aerial view of the lightwell for Drogo’s larders. This drew indirect light into them and helped keep the rooms at a low temperature. Courtesy of the National Trust/ Castle Drogo 1 In early August, the builders gave us access again to the kitchens and scullery; it was a breathtaking moment for me to see them without scaffolding and site equipment. -
Jacquetta Hawkes, a Land (London: Cresset Press, 1951)
13. A Land In this piece, the brilliant Dr Amara Thornton shares her reflections on the 1951 work of trowel blazer Jacquetta Hawkes, who played a major role in presenting prehistory and landscape at the Festival of Britain. In doing so, Amara recontextualises an archaeological narrative—A Land—and reveals it as part of a Britain actively reshaped by post-war change. Jacquetta Hawkes, A Land (London: Cresset Press, 1951) Frontispiece and title page of Hawkes’ A Land, featuring a sketch by Henry Moore (MERL Library 1840-HAW) Jacquetta Hawkes’ Festival Lands Published a month after the opening of the Festival of Britain, Jacquetta Hawkes' book A Land (1951) has been said to compliment her work as "Theme Convenor" for the Festival's People of Britain pavilion. Her exploration of British archaeology and geography was writ large through the physical display, the introductory section to the Festival's "Downstream Circuit". This part of the Festival defined 'Britain' through the artefacts in its landscape, its attitudes, literature, society, culture, sport, and technological innovations. Hawkes' book, and her pavilion, were focused on the deep history of the British Isles, emerging from the landscape through the painstaking process of excavation and interpretation. She is now primarily remembered for her engagement with and ruminations on Britain and its archaeology. This included a BBC Radio series in 1935 entitled "Ancient Britain Out of Doors", subsequently published in The Listener, and her books Prehistoric Britain (1943, co-authored with husband Christopher Hawkes) and Early Britain (1945) before the publication of A Land (followed later in 1951 by her Guide to the Prehistoric Monuments of England and Wales). -
The Festival of Britain
The Festival of Britain Conway Archive Festival of Britain, London – Illustration Catalogue of “Symbols of S1,” Royal Festival Hall, March 1996, Image CON-B04273-F1-03, The Courtauld Institute of Art, CC-BY-NC Festival of Britain, London – Countryside Pavilion, architect: Brian O’Rorke, taken 1951, Image CON-B04273-F1-04, The Courtauld Institute of Art, CC-BY-NC Festival of Britain, London – Countryside Pavilion, architect: Brian O’Rorke, taken 1951, Image CON-B04273-F1-05, The Courtauld Institute of Art, CC-BY-NC Festival of Britain, London – Dome of Discovery, architect: Ralph Tubbs, taken 1951, Image CON-B04273-F1-06, The Courtauld Institute of Art, CC-BY-NC Festival of Britain, London – Festival Hall and Dome of Discovery, taken 1951, Image CON-B04273-F1-09, The Courtauld Institute of Art, CC-BY-NC Festival of Britain, London – Entrance to the Homes and Gardens Pavilion, in foreground: Youth Advances by Jacob Epstein, taken 1951, Image CON-B04273-F1-20, The Courtauld Institute of Art, CC-BY-NC Festival of Britain, London – The Lion and The Unicorn, architects: R.D. Russell and R.Y. Gooden taken 1951, Image CON-B04273-F1-22, The Courtauld Institute of Art, CC-BY-NC Festival of Britain, London – People of Britain Pavilion, architects: H.T. Cadbury-Brown, taken 1951, Image CON-B04273-F1-22, The Courtauld Institute of Art, CC-BY-NC Festival of Britain, London – Power and Production Pavilion, architects: George Grenfell- Baines and H.J. Reifenberg, taken 1951, Image CON-B04273-F1-25, The Courtauld Institute of Art, CC-BY-NC Festival of Britain, London – Sea and Ships Pavilion, architects: Basil Spence and Partners, taken 1951, Image CON-B04273-F1-26, The Courtauld Institute of Art, CC-BY-NC Festival of Britain, London – People of Britain Pavilion, architects: H.T. -
The William Shipley Group
the William Shipley group FOR RSA HISTORY Newsletter 29 September 2011 Forthcoming meetings Friday and Saturday 9-10 September 2011. The Prince Albert Society in Coburg’s 30th conference on Monarchy and the Art of Presentation will be held at the Schloss Ehrenburg in Coburg. For the programme and further details email [email protected] or visit their website http://www.prinz-albert-gesellschaft.uni-bayreuth.de/de/index.html. Thursday 22 September 2011. Following the RSA London Region AGM Susan Bennett will give a talk on ‘The Society that pokes its nose into everything’ in the Durham Street Auditorium, RSA, 8 John Adam Street, London WC2N 6EZ. Contact Elinor Pritchard at [email protected] or phone 0208 546 2613 Thursday 13 October 2011 at 11.00am. Tour of the Garrick Club and their collections by Marcus Risdell, Garrick Club Curator & Librarian. The Garrick Club is located at 15 Garrick Street, London WC2E 9AY Tuesday 15 November 2011 at 12.30pm. ‘The Society that pokes its nose into everything’ highlighting connections with Coventry, by Susan Bennett, Honorary Secretary, WSG. This general overview of the Society’s history is being given as part of the lunchtime series at the Herbert Art Gallery and Museum, Coventry and will include references to Coventry. Thursday 17 November 2011 at 4.30 for 5pm. “Between these…a great deal of my time is engaged”: the contribution of Henry Baker (1698-1774) and the Antiquaries to the Society for the encouragement of Arts, Manufactures and Commerce by Dr David G. C. Allan, FSA, HonFRSA. -
Making New Histories of 20Th Century British Sculpture
University of Huddersfield Repository Crellin, Sarah Bodies of Evidence: Making New Histories of 20th Century British Scuplture Original Citation Crellin, Sarah (2015) Bodies of Evidence: Making New Histories of 20th Century British Scuplture. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/27075/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ BODIES OF EVIDENCE: MAKING NEW HISTORIES OF 20TH CENTURY BRITISH SCULPTURE SARAH CRELLIN A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy by publication September 2015 2 Copyright Statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and she has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes. -
Planning for Accession and Coronation
DEPARTMENT OF POLITICAL SCIENCE INAUGURATING A NEW REIGN: PLANNING FOR ACCESSION AND CORONATION BOB MORRIS INAUGURATING A NEW REIGN: PLANNING FOR ACCESSION AND CORONATION Dr Bob Morris The Constitution Unit University College London May 2018 i ISBN: 978-1-903903-82-7 Published by: The Constitution Unit School of Public Policy University College London 29-31 Tavistock Square London WC1H 9QU United Kingdom Tel: 020 7679 4977 Email: [email protected] Web: www.ucl.ac.uk/constitution-unit © The Constitution Unit, UCL, 2018 This report is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. First published May 2018 Front cover image: Nathan Hughes Hamilton; licenced under Creative Commons, https://creativecommons.org/licenses/by/2.0/legalcode ii CONTENTS Preface……………………………………………………………………………….v Executive summary………………………………………………………………….vi 1.1-1.25 Conceptual changes since 1952……………………………………………...1 1.1-1.5 Social…………………………………………………………..1 1.6-1.8 Religion……...………………………………………………....1 1.9-1.10 Political…………………………………………………….....2 1.11-1.14 Geopolitics and security……………………………………..2 1.15-1.23 Constitutional……………………………………………….3 1.24-1.25 Machinery of government…………………………………...5 2.1-2.22 Accession…………………………………………………………………....6 2.1 Demise…………………………………………………………….6 2.2-2.4 -
Bank of England: a Rough Sketch
Journal of Accountancy Volume 49 Issue 2 Article 2 2-1930 Bank of England: A Rough Sketch Walter Mucklow Follow this and additional works at: https://egrove.olemiss.edu/jofa Part of the Accounting Commons Recommended Citation Mucklow, Walter (1930) "Bank of England: A Rough Sketch," Journal of Accountancy: Vol. 49 : Iss. 2 , Article 2. Available at: https://egrove.olemiss.edu/jofa/vol49/iss2/2 This Article is brought to you for free and open access by the Archival Digital Accounting Collection at eGrove. It has been accepted for inclusion in Journal of Accountancy by an authorized editor of eGrove. For more information, please contact [email protected]. The Bank of England A ROUGH SKETCH By Walter Mucklow “Benk! Benk! Benk!” One evening, when looking over some English newspapers, I could have sworn that I heard this cry as I came across a picture showing the additions which were to be made to the fabric of the Bank of England, and suddenly I felt as if I had been transported three thousand miles, carried backwards for a little more than a generation and all my senses brought successively into intense activity. I could see the crowded streets on a week day, the deserted spaces on a London Sunday. I could taste the smoke of a No vember fog which shut out all sights. I could feel the push of passers-by rushing for a bus. I could smell the pavement on a hot August afternoon. But above all, more insistent than all, I heard the bus conductor standing on his small step, hanging on to his leather strap or slapping the side of the bus with it as a sign to the driver to go on, and calling “Benk! Benk! Benk!” “Newgate, Cheapside, Benk!” “City road, Moorgate street, Benk!” “Bishopgate street, Cornhill, Benk!” From all directions north of the river the bus lines seemed to end at the “benk” and the busses, having reached that terminus, set forth again and used it as a starting point. -
Appolo Study Centre
APPOLO STUDY CENTRE GENERAL AWARENESS PRACTICE MCQs FOR BANK EXAMINATIONS 2014 1. Who headed the committee which submitted its report on February 7, 2014 regarding Financial Bench Marks (appointed by RBI)? a) Prakash Bakshi b) Damodaran c) Vijaya Bhaskar d) D.Subba Rao e) None of the above 2. Which among the following is correct and full form of CAS in context with banking markets in India? a) Cash Authorized Scheme b) Credit Authorized Scheme c) Credit Access Systemd) Credit Arrangement System e) Cash Accreditation Scheme 3. Money laundering refers to which of the following? a) Conversion of assets into cash b) Conversion of Black money gained from illegal activities to white money c) Conversion of cash into gold d) Conversion of gold into cash e) Conversion of shares into cash 4. Account for conversion of physical securities into electronic form is know as? a) NRI Account b) Foreign Account c) Trio Account d) Current Account e) DEMAT (Dematerialisation)Account 5. What is "Hot Money"? a) Flow of funds (or capital) from one country to another in order to earn a short-term profit on interest rate differences and/or anticipated exchange rate shifts. b) Hard Currency c) Soft Currency d) Foreign Assets e) All of these 6. RBI has decided to prescribe a minimum CRAR for StCBS /CCBs of 9% to be achieved in a phased manner over a period of 3 years as indicated below a) 3 years b) 4 years c) 5 yeasrs d) 2 years e) No such restriction 7. PFRDA stands for? a) Provident Fund Regulatory and Development Authority b) Preferential Fund Regulatory and Development Authority c) Permanent Fund Regulatory and Development Authority d) Pension Fund Regulatory and Development Authority e) None of these PH: 24339436, 42867555, 9840226187 8.