4,801 research outputs found
Harmony and discord within the English ‘counter-culture’, 1965-1975, with particular reference to the ‘rock operas’ Hair, Godspell, Tommy and Jesus Christ Superstar
No full textPhDThis thesis considers the discrete, historically-specific theatrical and musical sub-genre of ‘Rock Opera’ as a lens through which to examine the cultural, political and social changes that are widely assumed to have characterised ‘The Sixties’ in Britain. The musical and dramatic texts, creation and production of Hair (1967), Tommy (1969), Godspell (1971), Jesus Christ Superstar (1970) and other neglected ‘Rock Operas’ of the period are analysed. Their great popularity with ‘mainstream’ audiences is considered and contrasted with the overwhelmingly negative and often internally contradictory reaction towards them from the English ‘counter-culture’. This examination offers new insights into both the ‘counter-culture’ and the ‘mainstream’ against which it claimed to define and differentiate itself.
The four ‘Rock Operas’, two of which are based upon Christian scriptures, are considered as narratives of spiritual quest. The relationship between the often controversial quests for re-defined forms of faith and the apparently precipitous ‘secularization’ and ‘de-Christianization’ of British society during the 1960s and 1970s is considered.
The thesis therefore analyses the ‘Rock Operas’ as significant, enlightening prisms through which to view many of the profound societal debates – over ‘faith’ and ‘belief’ in the widest senses, sexuality, the Vietnam war, generational conflict, drugs and ‘spiritual enlightenment’, and race – which were, to some considerable extent, elevated onto the national, political agenda by the activities of the broadly-defined ‘counter-culture’. It considers subsequent representations of the ‘counter-culture’ as the root of a contested but enduring popular legacy of ‘The Sixties' as a period of profound cultural change
Author interview: Q&A with Rachel O’Neill on Seduction: men, masculinity and mediated intimacy
No full textIn this author interview, we speak to Rachel O’Neill about her recent book, Seduction: Men, Masculinity and Mediated Intimacy, which offers an ethnographic study of the ‘seduction industry’. In the interview, she discusses the seduction industry as part of a continuum of mediated intimacy, the ways in which neoliberal rationalities are shaping masculine subjectivity today, how the book relates to contemporary discussions surrounding consent and women’s sexual agency and the particular challenges of undertaking this fieldwork. If you are interested in this interview, you can read a review of Seduction on LSE RB here. Q&A with Rachel O’Neill, author of Seduction: Men, Masculinity and Mediated Intimacy (Polity, 2018
A holistic approach for quality in participatory arts: Impacts on practice experienced by artists in Scotland, Wales and Portugal
No full textRachel Blanche - ORCID 0000-0001-7067-5108 https://orcid.org/0000-0001-7067-5108A sector-facing report of survey and interview evidence gathered from 44 artists applying tools and approaches in Scotland, Wales and Portugal operationalising a quality approach recommended by the author. The report shares for artist practitioners, funders and policymakers examples of how artists use this approach and the perceived benefits for practice.https://www.qmu.ac.uk/research-and-knowledge-exchange/working-paper-series/pubpu
How arts-based methods can enrich your evaluation of impact [podcast]
No full textRachel Blanche - ORCID: 0000-0001-7067-5108
https://orcid.org/0000-0001-7067-5108This week, Mark interviews Rachel Blanche from Queen Margaret University Edinburgh to find out how arts-based methods can provide depth and rigour to an impact evaluation. They discuss a range of approaches including visual, performative and narrative methods, the types of evidence these methods can generate, how these approaches can empower participants in determining what’s meaningful, and how evaluating in this way can itself generate further impacts.
Rachel shares two examples of arts-based methods used to evaluate impact in healthcare research – a theatre project capturing data on dementia care (citing this paper) and (a participative creative inquiry on osteoporosis.https://www.fasttrackimpact.com/podcast/episode/50189383/episode-39-how-arts-based-methods-can-enrich-your-evaluation-of-impact-with-dr-rachel-blanchepubpu
Episode 3: Rachel Wightman, CSP Staff and Author
No full textIn this episode, CSP\u27s Associate Director of Instruction and Outreach, Rachel Wightman, shares about her new book, Faith and Fake News: A Guide to Consuming Information Wisely, including how she became interested in the topic, what led to the creation of this book, and why this topic is so important today
Rachel Swarns Book Event: The 272
No full textA conversation with Rachel Swarns, author of The GU272: The Families Who Were Enslaved And Sold To Build The American Catholic Church (Penguin Random House 2023). The conversation was moderated by Georgetown Professor Adam Rothman and hosted by Georgetown's Center for the Study of Slavery and Its Legacies
Poetics of the same: a philosophical poetic recourse into sameness
No full textPhDThis study endeavours to investigate the philosophical and poetological
dimensions, the philological origins, and significant philosophical-literary
representations of the Same. It also assesses sameness as a philosophical and
poetological modus operandi; that is to say, it analyzes the ways in which the
Same operates in different types of discourses both as an object of investigation
and as an agent of (poetic) thought. The concept of the Same or the operation of
sameness as the philosophical question par excellence will be considered in the
development of Continental philosophy and philosophical poetics from classical
antiquity to Postmodernism, and its transposition into poetry.
The elaboration of the issue of sameness encompasses any philosophical
inquiry which seeks to establish the essence of Being and make it susceptible to a
general, unifying principle: as a search for an underlying element; for a
metaphysical unity or universal, preceding division or difference and amounting
to the harmony in the Universe; or for a transcendental absolute totality.
Postulations of the pure conceptual difference are likewise examined as part of the
elaboration of sameness, and will be viewed as indispensable for revealing the
genuine plenitude of sameness.
Part One traces the inception of sameness as a concept of pure identity,
amounting to the harmony of the Universe by virtue of the operations of
belonging (Presocratics), participation (Plato), and emanation (Plotinus), anchored
in the relationships between the One and the many, between the Whole and its
parts, between the Original and the copy. Part Two inquires into the limits of
postulating sameness in terms of pure identity and points to two possible solutions
to this problem: a philosophical-aesthetic digression from sameness (Kant and
related aesthetic theories of the seventeenth and eighteenth centuries) and the
return to sameness as an absolute totality in Part Three (Schelling and Hegel).
Part Four investigates the re-postulation of sameness as pure Difference
(Nietzsche, Heidegger, Derrida), hence the entire re-organization of thought in
terms of the other. Part Five analyzes the transposition of sameness from
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philosophy into the poetic language of repetition, using Rilke’s Sonnets to
Orpheus as its prime poetic example.
It will be argued that the philosophical displacement of the Same from a
concept of identity into that of difference does not amount to an abandonment of
its plenitude, but rather points to the need for a precarious balance between
sameness and difference, the simultaneous quest for unity and the absolute
singularity of the other. This balance, it will be argued, must be sought for in
every genuine creation
Theodore Clement Steele: A Lecture by Rachel Perry
No full textJoin author and curator Rachel Perry for a lecture on the life and artwork of Theodore Clement (TC) Steele. Perhaps the most well-known artist of the “Hoosier Group,” Steele created impressionist portraits and landscape paintings from his studio in Nashville, Indiana.https://scholarship.depauw.edu/peeler_event/1084/thumbnail.jp
'Pilings of Thought Under Spoken': The Poetry of Susan Howe, 1974-1993.
No full textPhDThis thesis discusses the poetry published by contemporary American poet Susan
Howe over a period of almost two decades. The dissertation is chiefly concerned with
articulating the relationship between poetic form, history, and authority in this body
of' work. Howe's poetry dredges the past for the linguistic effects of patriarchy,
colonialism and war. My reading of the work is an exploration of the ways in which a
disjunctive poetics can address such historical trauma. The poems, rather than
attempting to reinstate voices lifted from what Howe has called "the dark side of
history", are a means of reflecting the resistance that the past offers to contemporary
investigation. It is the effacement, and not the recovery, of history's victims, that is
discernible in the contours of these highly opaque texts. Notions of authority are most
often addressed in the poetry through the figure of paternal absence, which has a
threefold function in the work, serving to represent social authority, an aporetic
conception of divinity and an autobiographical narrative. Alongside the antiauthoritarian
currents in the writing - critiques, for example, of the doctrine of
Manifest Destiny or of scapegoating versions of femininity - my thesis stresses Howe's
engagement with negative theology and with a strain of American Protestant
enthusiasm that has its roots in 17th century New England. The dissertation explores
the dissonance caused by the co-existence in the poetry of elements of political dissent
and religious mysticism. Finally, I consider Howe's engagement with literary history
and authors such as Shakespeare, Swift, Thoreau and Melville. The manner in which
Howe deploys the words of others in her work, I argue, allows for a mixture of textual
polyphony and a more conventional notion of authorial 'voice'
Relationality, polemics, incommensurability: thinking the political at the intersections of the work of Jacques Derrida and Michel Foucault
No full textPhDThis thesis is focused on the intersections of ontology and politics in the work of Michel
Foucault and Jacques Derrida. In particular it concerns the ways in which these two thinkers
offer accounts of (ethical, social, political) relations which exceed a traditional dichotomy
between transcendentalism and empiricism. Both Derrida and Foucault show universal
foundations to originate in an anterior play of differences 'between' the transcendental and
empirical. However, as this thesis shows, each thinks this anterior 'medium' of relations in
radically incommensurable ways: as differance or aporia in Derrida and as power and
problematization in Foucault. As such, each necessarily views the other as failing to account
for the ‘true medium’ of relationality and so of its violent effacement and disavowal. This
incommensurability, it is argued, results in a polemic between them which is explicit in their
competing accounts of Descartes’ Meditations and implicit throughout all of their work. This
thesis traces the polemic between Derrida and Foucault across their accounts of subjectivity,
ethics and politics. It is argued that in their engagements with each of these fields they
employ parallel politicizing strategies which are nevertheless wholly exclusive of one another.
The incommensurability between Derrida and Foucault reflects a broader problematic
which any political thought affirming its own finitude cannot explicitly recognize. Postfoundational
accounts of relationality, it is claimed, violently exclude competing
philosophical strategies without the capacity of accounting for this exclusion
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