Documents pour «University of Exeter Press»

Documents pour "University of Exeter Press"
Affiche du document Water in the City

Water in the City

Mark Stoyle

2h48min45

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225 pages. Temps de lecture estimé 2h49min.
The city of Exeter was one of the great provincial capitals of late medieval and early modern England, possessing a range of civic amenities fully commensurate with its size and importance.  Among the most impressive of these was its highly sophisticated system of public water supply, including a unique network of underground passages.  Most of these ancient passages still survive today. Water in the City provides a richly illustrated history of Exeter's famous underground passages—and of Exeter’s system of public water supply during the medieval and early modern periods. Illustrated with full colour throughout, Mark Stoyle shows how and why the passages and aqueducts were originally built, considers the technologies that were used in their construction, explains how they were funded and maintained, and reveals the various ways in which the water fountains were used and abused by the townsfolk.Illustrations   Acknowledgments Glossary of archaic words and phrases used in the text and documents Abbreviations                                                                                               1        Introduction Part I: The History of Exeter’s Underground Passages and Aqueduct Systems 2        The Aqueducts of Medieval Exeter, 1226-1420              3        The Development of the New Conduit, 1420-1536          4        After the Dissolution of the Monasteries                           5        The City Aqueducts under the Early Stuarts                     6        After the Restoration                                                         Part II: The Life of the City Aqueducts 7        The Role of the Aqueducts in Exeter’s daily life               Part III: Documents relating to the City Aqueducts The Exeter Receivers and their Accounts                1.       Extracts from the City Receivers’ Accounts, 1424-1603  2.       ‘Outgoings for making of Exeter’s New Conduit’, 1441  3.       Account of Work on the Great Conduit, 1534-35             Notes Bibliography Index
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Affiche du document The Censorship of British Drama 1900-1968 Volume 1

The Censorship of British Drama 1900-1968 Volume 1

Steve Nicholson

4h33min00

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364 pages. Temps de lecture estimé 4h33min.
This is the first volume in a new paperback edition of Steve Nicholson's well-reviewed four-volume analysis of British theatre censorship from 1900-1968, based on previously undocumented material in the Lord Chamberlain's Correspondence archives. It charts the period before 1932, when theatre was seen as a crucial medium with the power to shape society, determining what people believed and how they behaved. It uncovers the differing views and the disputes which occurred among and between the Lord Chamberlain and his Readers and Advisers, and discusses the extensive pressures exerted on him by bodies such as the Public Morality Council, the Church, the monarch, government departments, foreign embassies, newspapers, powerful individuals and those claiming to represent national or international opinion. The book explores the portrayal of a broad range of topics in relation to censorship, including the First World War, race and inter-racial relationships, contemporary and historical international conflicts, horror, sexual freedom and morality, class, the monarchy, and religion. This new edition includes a contextualising timeline for those readers who are unfamiliar with the period, and a new preface. DOI: https://doi.org/10.47788/LXOK1281 Preface  Acknowledgements Introduction: Because Lions Ain't Rabbits Section One: 1900-1918 1.  From Ibsenity to Obscenity: Principles and Practice 1900-1909 2.  People Who Eat Peas With Their Knife: The Government Enquiry of 1909 3.  Cats, Canaries and Guinea Pigs: Principles and Practice 1909-1913 4.  A Clique of Erotic Women: The First World War (Part One) 5.  The Hidden Hand: The First World War (Part Two) Section Two: 1919-1932 6. The Dead Men: Principles and Practice 7.  No Screams from Rabbit: Horror and Religion 8.  Merchandisers in Muck: The Immoral Maze 9.  Our Good Humoured Community: Domestic Politics 10.  Foreign Bodies: International Politics Conclusion: A Gentler Process of Prevention Notes Select Bibliography Index    
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Affiche du document The Censorship of British Drama 1900-1968 Volume 3

The Censorship of British Drama 1900-1968 Volume 3

Steve Nicholson

3h34min30

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286 pages. Temps de lecture estimé 3h34min.
This is the third volume in a new paperback edition of Steve Nicholson’s comprehensive four-volume analysis of British theatre censorship from 1900-1968, based on previously undocumented material in the Lord Chamberlain's Correspondence Archives in the British Library and the Royal Archives at Windsor. Focusing on plays we know, plays we have forgotten, and plays which were silenced for ever, Censorship of British Drama demonstrates the extent to which censorship shaped the theatre voices of this decade. The book charts the early struggles with Royal Court writers such as John Osborne and with Joan Littlewood and Theatre Workshop; the stand-offs with Samuel Beckett and with leading American dramatists; the Lord Chamberlain’s determination to keep homosexuality off the stage, which turned him into a laughing stock when he was unable to prevent a private theatre club in London's West End from staging a series of American plays he had banned, including Arthur Miller's A View from the Bridge and Tennessee Williams's Cat on a Hot Tin Roof; and the Lord Chamberlain’s attempts to persuade the government to give him new powers and to rewrite the law. This new edition includes a contextualising timeline for those readers who are unfamiliar with the period, and a new preface. DOI: https://doi.org/10.47788/SEEA6021 Acknowledgements Introduction: 'That Happy State' 1. Censorship in a Golden Age 2. 'Packed with Nancies': Homosexuality and the Stage (I) 3. Breaking the Rules, Breaking the Lord Chamberlain: Unlicensed Plays in the West End 4. Speaking the Unspoken: Homosexuality and the Stage (II) 5. Not Always on Top: The Lord Chamberlain's Office and the New Wave 6. Dirty Business: Sex, Religion and International Politics 7. The Tearing Down of Everything: Class, Politics and Aunt Edna Afterword Biographies of the principal people working for the Lord Chamberlain's Office Notes Select Bibliography Index
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Affiche du document Picture Perfect

Picture Perfect

Bryony Dixon

1h58min30

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158 pages. Temps de lecture estimé 1h58min.
The British cinema has drawn extensively on our national landscapes. Filmmakers have explored the entrenched myth of an idyllic rural tradition, intimately bound up with a popular definition of national heritage. Conversely, within a documentary-realist framework, they have looked at the contemporary urban aesthetic, derived partly from a Victorian tradition of social investigation. The fifth in a series of volumes from the annual British Silent Cinema Festival held in Nottingham (and the first to be published by Exeter), this collective study offers an original treatment of the relationship between pre-1930 cinema and landscape. The Nottingham festival from which this collection derives brought together a group of leading specialists – practitioners, academics and individual researchers – who between them provide a detailed investigation into the national cinema before the sound era. Contents: Notes on Contributors; Introduction; Alan Burton and Laraine Porter; Location, Location, Location: Landscape, Place and Travel in British Cinema Before 1930; Bryony Dixon (Curator of Silent Film at the BFI's National Film and Television Archive); On Location in Edwardian Britain: Urban and Rural Violence; Tony Fletcher (founder member of The Cinema Museum in London); The Marketing of Landscapes in Silent British Cinema; Paul Moody (lecturer in Media Studies at Uxbridge College); Narrative and Pictorialism in Post-Pioneer Hepworth Films; Simon Brown (senior lecturer in Film Studies at Kingston University); Pastoral Transformations in 1920s British Cinema; Christine Gledhill (Professor of Cinema Studies at the University of Sunderland); "The Plucky Girl" and the "Pigeon to Pluck": Characters, Locations and Entertainment Forms in Rogues of London; Judith Cowan (archive researcher at the ITN archive working on the Reuters Collection); Trainers and Temptresses: The British Racing Drama; Judith McLaren (teacher of English at St Paul's School in London); The First Cameraman in Iceland: Travel Film and Travel Literature; Ivo Blom (lecturer in Film Studies at the Department of Comparative Arts Studies of the Vrije Universiteit, Amsterdam); The Anglo-Boer War in North London: A Micro-Study; Ian Christie (Professor of Film and Media History, Birkbeck College London); Everyone's Doing the Riviera Because It's So Much Nicer in Nice; Amy Sargeant (Senior Research Fellow at the Paul Mellon Centre for the Study of British Art and Architecture); The City of the Future; Patrick Keiller (films include London (1994) and Robinson in Space (1997); research fellow at the Royal College of Art in London); Co-operation and the Contestation of Public Space; Alan Burton (teacher at the University of Klagenfurt in Austria); Billy Merson's Monologue: Blighted My Life; Mick Eaton (recent TV work includes 'Shipman', a factual drama about Britain's most prolific serial murderer); Index.
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Affiche du document Sacrament an Alter/The Sacrament of the Altar

Sacrament an Alter/The Sacrament of the Altar

3h22min30

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270 pages. Temps de lecture estimé 3h22min.
Holyer an Gof Winner 2024: Non-Fiction Class 5a ‘Sacrament an Alter’ (The Sacrament of the Altar) is a Cornish patristic catena selected and translated from Foxe’s Book of Martyrs, which is attached to the translation of Bishop Bonner’s Homilies in the Tregear Manuscript (BL Add. MS 46397). No complete critical edition of the Tregear Homilies has been published since the manuscript’s discovery, yet it is the longest surviving example of Cornish prose. The so-called thirteenth homily, ‘Sacrament an Alter’ is a work in its own right, of a later period than the other twelve homilies, and represents a distinctive form of Cornish. In addition to establishing authorship, date, sources and historical context of this important text, the present book offers a complete and accurate transcription of the manuscript, along with an edited version thereof, a translation and all the relevant source passages—largely taken from the account of the 1555 Oxford Disputations given in John Foxe’s ‘Acts and Monuments’. A full commentary then explores hermeneutical, theological and dialectic issues arising from the text. Extensive notes concentrate on interesting features of the Cornish—making a significant contribution to the study of the late evolution of Cornish, since the language can be dated to around 1576, halfway between that of John Tregear and William Jordan, author of the Creation of the World. This first ever critical edition of a pivotal Cornish-language text opens to the Tudor historian—and the general reader—a previously closed window (due to its language) on a crucial example of the reception of Foxe, and gives fascinating insights into a possible alliance between Church Papism and recusancy in Tudor Cornwall.Acknowledgements Abbreviations INTRODUCTION 1 THE TREGEAR MANUSCRIPT Introduction to the Tregear Manuscript as a whole The palaeography and scribes of the manuscript 1.3 The purpose of Bonner’s homilies 1.4 The printing of Bonner used by Tregear 1.5 The Tregear Manuscript: increasingly significant for Cornish studies 2 SACRAMENT AN ALTER (SA) 2.1 The specific nature of SA 2.2 The scope of this critical edition of SA 2.3 The authorship, form, date and language of SA 2.4 The source of SA—Foxe’s account of the 1554 Oxford Disputations 2.5 The context of the Disputations 2.6 The specific edition of Foxe used and date of SA 2.7 How did the author compile and translate SA? 2.8 Tregear and Stephyn in the wider orbit of Glasney 3 JOHN TREGEAR—TRANSLATOR OF BONNER 3.1 John Tregear, vicar of Allen, 1544–1583 3.2 Tregear and Lawrence Godfrey 3.3 Tregear and John Tristeane—clues to place of birth and ordination 3.4 Tregear’s ‘church papism’ 4 THOMAS STEPHYN—COMPILER OF SACRAMENT AN ALTER 4.1 Thomas Stephyn, vicar of Newlyn East in 1557 4.2 Thomas Stephyn, curate of Newlyn East in 1536 4.3 The possible involvement of Stephyn in an illicit pilgrimage 4.4 Distinguishing Stephyn from Cornwall, Stevyns from Devon 4.5 Thomas Stephyn’s ‘recusancy’ 4.6 Other Thomas Stephyns, elsewhere in the country 5 RALPH TRELOBYS—THE LINK WITH GLASNEY COLLEGE 5.1 Ralph Trelobys, vicar of Crowan 1512–1557 and Newlyn 1518–1557 5.2 Trelobys and Glasney College 5.3 Trelobys and ‘Rad Ton’ 6 JOHN FOXE 6.1 Foxe’s use of his sources 6.2 The reception of Foxe and his vision of history 6.3 Foxe and Stephyn in the light of current historiography 7 CONCLUSIONS 7.1 The end of the Marian years 7.2 Tregear, Stephyn and the journey of the manuscript   EDITION [SA 59r–66v] Editorial Method Edition COMMENTARY Hermeneutical Method Quotations 1–71 NOTES General Notes Textual Notes and Apparatus Appendix A Appendix B BIBLIOGRAPHY Primary Sources:       Manuscripts   Early Printed Books Printed and Online Source Editions and Records   Cornish Language Texts       Other Primary Sources and Records Secondary Sources:   Published Works   Privately Circulated/Unpublished Works   Glossary Index
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Affiche du document Making Theatre in Northern Ireland

Making Theatre in Northern Ireland

TOM MAGUIRE

2h54min45

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233 pages. Temps de lecture estimé 2h55min.
Making Theatre in Northern Ireland examines the relationships between theatre and the turbulent political and social context of Northern Ireland since 1969. It explores in detail key theatrical performances which deal directly with this context. The works examined are used as exemplars of wider approaches to theatre-making about Northern Ireland. The book is aimed at a student readership: it is largely play-text-based, and it contains useful contextualising material such as a chronological list of Northern Ireland’s plays in the modern period, a full bibliography, and a brief chronology. Students find it hard to obtain any detailed and informed perspective on this key element of the theatre of Ireland and Britain: Northern Ireland’s theatrical traditions are normally discussed only as an adjunct to discussions of Irish theatre more generally, or as so exceptional as to be beyond comparison with others. This book sets out to fill this gap. Contents: Introduction; Arguing for a distinctive treatment of Northern Irish theatre, this chapter locates the study's focus on the discussion of performances as events at the nexus of political, social and cultural contexts over thirty years in Northern Ireland; A Direct Engagement; Beyond the cliched 'Troubles play', two distinct formal traditions of representing the conflict are examined through a detailed exploration of Martin Lynch's The Interrogation of Ambrose Fogarty and Vincent Woods's At the Black Pig's Dyke; Authentic History; Here authenticity is examined in the relationship between personal and collective memory and public history with a focus on Brian Friel's The Freedom of the City and JustUs/DubbbelJoint's Binlids; Failed Origins; The focus of this chapter is the staging of missed opportunities of the past in Martin Lynch's Dockers and Stewart Parker's Northern Star at points where the possibilities for a political resolution to the contemporary conflict were again opened up; Myths and Myth making; This chapter explores how theatre makers have invoked three sources of residual mythology to address Northern Ireland's contemporary reality: Christian in Stewart Parker's Pentecost; Greek in Tom Paulin's The Riot Act; and Irish in Big Telly's Diarmuid and Grainne; Women's Troubles; This chapter addresses the intersections between representations of gender and the Troubles focusing on resistant representations in Charabanc's Somewhere Over the Balcony and Derry Frontline's Inside Out; Let the People Speak; In this chapter, the ways in which the theatre has been used to articulate the concerns of specific communities, traditionally disenfranchised from theatrical representation are examined in Charabanc's Now You're Talkin' and Martin Lynch's The Stone Chair; Staging the Peace; The response to the peace process has been an emphasis on the partial and personal: through the use of story-telling performance in Marie Jones's A Night in November, the implication of the audience in Tim Loane's Caught Red-Handed; and the creation of constituency theatre in works by Gary Mitchell such as As the Beast Sleeps; Conclusion; This chapter discusses the issues of perspective and balance in the representation of conflict and the phases in the development of stage representations of the Troubles over the period; Playography; Brief Chronology; Bibliography.
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