766 research outputs found
Art, Biography, Sexuality: Patrick Procktor and Keith Vaughan
No full textThis critical review forms a reflection on the research published within the following publications:
Patrick Procktor: Art and Life (Unicorn Press, 2010)
Keith Vaughan: The Mature Oils 1946-1977, (Sansom & Co., 2012)
The research is on two artists, Patrick Procktor (1936-2003), and Keith Vaughan (1912-1977). The monograph on Procktor – previously one of the least documented of the generation of artists who came to prominence in London in the Sixties – positions him in a history of art from which he had been notably absent. The research on Vaughan asserts a new reading of his work, one that is both deeper and more nuanced in its analysis of the ways in which personal experience and sexuality are encoded autobiographically within his work. Crucially, in both artists biography and work are symbiotically linked; the research therefore examines the links between life and art.
Revisionary in intent, the work examines trajectories of experience of gay British (or rather, English) artists in the twentieth century, artists who sought to express themselves and forge careers within the constraints of a heteronormative society, albeit one in which attitudes to sexuality were undergoing change. As gay men, both were constrained by the social mores of their times, and each used painting as a means to affirm personal and sexual identities. A key research interest is in the ways in which sexuality and persona are reflected in critical responses to the artist’s work: in Vaughan, Procktor and other gay male artists of the period. The writing on both Procktor and Vaughan examines the relationship between their personal and professional/artistic lives, framed within a broader socio-political and art historical context. It asserts the place of biography as a means to understand and form new readings of the work. The work adds substantially to the literature and wider discourse on post-war British painting and social history
The spontaneity drain: the social pressures that shaped and then exiled Keith Johnstone's improvisation
No full textKeith Johnstone’s Improvisation had an oppositional relationship to the social and historical conditions of 1950s Britain under which it developed. Its structure and performative dynamic were protests against the normalising forces exerted by the social elite upon the broader population and by civilised society upon the individual. Within this context, the Royal Court Theatre acted as an incubator that allowed Johnstone to develop his subversive theories of performance, drawing on elements of professional wrestling to break down the regimented conventions of the theatre space and enliven the spectator-performer relationship. Eventually Johnstone entered a self-imposed exile from the society that shaped this form of performance and established The Loose Moose Theatre in Calgary, Canada.
This paper will analyse three relationships vital to this narrative: The oppositional reaction of Johnstone's improvisation to the social pressures of 1950's Britain, the creative glasshouse that The Royal Court Theatre provided for Johnstone within this broader cultural context, and the effects that the new social situation of Calgary, Canada had on Johnstone's practice.
At the conclusion of the paper I will draw out the consequences of these analyses for contemporary British society and attempt to identify the normalising forces at work within this context, how our arts institutions and creative incubators might foster novel reactions to these pressures, and how public policy might be shaped in order to encourage artists to remain in Britain so that we might benefit from their continued contribution to our cultural discourses
The jingling Geordie: community arts and the regional culture of the North East of England
Get PDFIn the light of the massive economic and social changes which have affected the North East of England over the last 25 years, the author assesses the vitality of the indigenous culture and reflects upon current cultural trends and the North East’s future, particularly in relation to a regional Europe. He traces the folk-tradition of the region and looks at ways in which this can be drawn upon to develop a meaningful link between past and present. He looks closely at the changing nature of class-relationships in the North East and reflects upon how a valid local culture can survive in a multi-cultural society. He draws upon his own extensive experience in Community Arts, looking at definitions of the term in the new political climate and arguing for its positive contribution to the cultural debate. He dwells on the issue of regionalism and devolution in a new Europe, comparing the situation in the North East of England with political and cultural changes in Scotland and other parts of the United Kingdom
The censor without, the censor within: the resistance of Johnstone’s improv to the social and political pressures of 1950s Britain
No full textKeith Johnstone's improv, popularly known through the Theatresports format, was forged in the cultural and historical context of 1950s Britain. In this paper I will argue that Johnstone's incarnation of theatrical improvisation was defined by its reaction to the normalising forces exerted by the social elite upon the broader population and by civilised society upon the individual.
Johnstone's improv was a reaction against the Lord Chamberlain’s power to censor the British stage and a challenge to the internalised 'censor' British society of the time implanted in the minds of his students, stunting their creative imaginations. Johnstone borrowed elements of professional wrestling to break down the regimented conventions of the theatre space and enliven the spectator-performer relationship. As well as echoing Roland Barthes’ idealistic analysis of professional wrestling (Barthes, 1984: n.p.), Johnstone’s improv shares Barthes’ critique of the authority of the author and allows meaning to be generated out of the encounter between performers and spectators in the instant of the performance’s emergence. Through these processes, Johnstone’s improv defies the censor without (The Lord Chamberlain) by rooting out the censor within (the socially learnt inhibitions to the creative imagination).
By delineating the political and social pressures at play in the historical context of 1950s Britain and the ways that the stylistic conventions of Johnstone's improv resist and subvert these forces, I will demonstrate the emancipatory power latent in this mode of popular performance. This is a particularly timely analysis given the increasing authority of free market economics to dictate what appears on contemporary British stages, and the internalised censor that panoptical CCTV and social media is implanting within the minds of British citizens today
Post-war British working-class fiction with special reference to the novels of John Braine, Alan Sillitoe, Stan Barstow, David Storey and Barry Hines
Get PDFThis study is about British working-class fiction in the post-war period.
It covers various authors such as Robert Tressell, George Orwell, Walter Greenwood, Lewis Grassic Gibbon and DH Lawrence from the early twentieth century; writers traditionally classified as 'Angry Young Men' like John Osborne, Arnold Wesker, Shelagh Delaney, John Wain and
Kingsley Amis; and working-class novelists like John Braine, Stan Barstow, David Storey, Alan Sillitoe and Barry Hines from the 1950s and 1960s.
Some of the main issues dealt with in the course of this study are language, form, community, self/identity/autobiography, sexuality and relationship with bourgeois art. The major argument centres on two questions: representation of working-class life, and the
relationship between working-class literary tradition and dominant ideologies.
We will be arguing that while working-class fiction succeeded in challenging and rupturing bourgeois literary tradition, on the level of language and linguistic medium of expression for example, it utterly failed to break away from dominant, bourgeois modes of literary production in relation to form, for instance.
Our argument is situated within Marxist approaches to literature, a political and aesthetic position from which we attempt an analysis and an evaluation of this working-class literary tradition. These critical approaches provide us also with the theoretical tool to define the political perspective of this tradition, and to judge whether it was confined to a descriptive mode of representation or
located in a radical, political outlook
The Concept of Vacant Possession: Theory and Practice
Get PDFAbstract
To the everyday man or woman on the street, the term 'vacant possession' raises its head most noticeably in the residential sphere, with many everyday people buying and selling property and being obliged to give, or entitled to receive, vacant possession. Furthermore, the term is by no means limited to a 'lay' usage: a wide range of business and professional people use the expression 'vacant possession' on a daily basis, and the term is in the lexicography of judges, conveyancers, litigators, surveyors, estate agents, commentators and others connected to property, including property owning landlords and tenants. All these stakeholders make use of the term in a formal and professional sense, and with reference to legal transactions for which vacant possession is an essential element.
Although it is an everyday term that is used by many, a common feature of these usages of the term is a lack of attention to what it actually means. For example, estate agents, who invariably use the term in their advertising particulars, seem able to distinguish between 'full vacant possession', 'immediate vacant possession' or 'complete vacant possession', with ostensibly no real justification as to how the prefacing adjective in each case adds anything to the message that they are seeking to convey to prospective purchasers, as to what they can expect to obtain on completion. Lawyers talk about 'giving VP on completion', but few documents ever actually define what vacant possession means with a capitalised 'V' and 'P'. Furthermore, the courts have made decisions as to whether vacant possession was or was not given in a particular instance, but rarely found it necessary to explain what the term actually meant, or sought to explicitly apply an understanding of the concept to the facts of any particular case.
Indeed, behind the familiarity of this common expression, lie years of uncertainty, misunderstanding and general neglect of the development of a sound and coherent theoretical model of vacant possession. There is very little case law and even less judicial guidance available. In 1988, and in two editions of the Conveyancer and Property Lawyer, Charles Harpum wrote what probably remains the most insightful learned article on the subject, but since then the concept appears to have warranted very little scholarly or practitioner attention.
This thesis explores the concept of vacant possession and its meaning. Expounding the inconsistent evolution and development of the concept, the thesis explains the constituent elements of the concept of vacant possession, along with the practical manifestation of the term in everyday property cases. In doing so, it highlights the difficulties that lawyers, surveyors, judges and other third parties face on a day-to-day basis when seeking to interpret the nature, scope and extent of the obligation. Further, to link this work to wider theoretical debate in literature pertaining to possession, the thesis draws on other common property law concepts, those of actual occupation and adverse possession; such a discussion helps to explain why the inherently infra-jural concept of vacant possession cannot be 'tied down' to a precise legal definition or formulation.
In conclusion, and to facilitate understanding and usage of the term, the thesis draws on the analysis undertaken to promulgate a working articulation of the concept, and considers other provisions that can ameliorate the remedial entitlements for an injured party in the event of a breach of the obligation. These may go some way to assist all those who will encounter the concept in future legal transactions
Writing and the rights of reality: usurpation and potentiality in Derrida, Plato, Nietzsche, and Beckett
Get PDFThe thesis critically evaluates Jacques Derrida's conferral of the rights of reality on writing, focussing on his theory of an arche-text in light of the speculative nature of this theory. The theory is initially considered in the context of Derrida's elucidation of the usurpatory status of writing within the Platonic and Nietzschean texts. This consideration reveals an admission of writing's usurpatory status by both writers while at the same time demonstrating their awareness of the intrinsically speculative nature of this view, the significance of writing lying in its ability to exteriorise the radically indeterminate status of consciousness m relation to reality rather than its ability to displace consciousness or reality The analyses, therefore, not only bring the Derridean hypothesis of a repressive or phonocentric metaphysical episteme into question but also exhibit the historical and philosophical role of potentiality in relation to writing, writing's ultimate significance lying in its capacity to exteriorise our existence as a mode of potentiality. Accordingly, in the second half of the thesis the Derridean theory of writing is countered with a specifically Aristotelian theory of the text as it is exhibited in the prose of Samuel Beckett, an author whose significance lies in his close alignment with Derridean theory within contemporary criticism. It is demonstrated that this identification has obviated an awareness of the significance of potentiality within the Beckettian text, his work consequently being appraised in the previously neglected context of Aristotelian metaphysics
Touching Freud's dog: H.D.'s tactile poetics
No full text"Do not touch me", Frau Emmy warns Freud in 1889. "Do not touch", Freud echoes in 1933. This time, he is referring to his pet chow, Yofi, warning H.D. that "she snaps - she is very difficult with strangers". Examining the prohibition in light of work by Jacques Derrida and Jean-Luc Nancy, this article charts the withdrawal that always interrupts touch. Despite Freud's taboo, however, H.D.'s writing seeks to make contact in strange and unnerving ways. Developing Julia Kristeva's account of the semiotic, this paper proposes a literature of touch. Reading H.D.'s poems, alongside Tribute to Freud, and her letters, the author demonstrates that H.D.'s poetics are always haunted by the very (im)possibility of contact
The Pneumatology of the Letter to the Hebrews: Confused, Careless, Cavalier or Carefully Crafted?
Get PDFIt is the majority position that Hebrews has little to add to NT pneumatology (see §1.1).
However, that is far from the case. Indeed, on all seven occasions that the author of
Hebrews refers to the Spirit, he does so using language and concepts that are unique in
the NT. The Spirit both speaks (λέγω) words of Scripture (3:7) and testifies (μαρτυρέω)
from Scripture (10:15) using words elsewhere described as God’s words to the
congregation. Elsewhere in the NT, when the Spirit ‘speaks’ he does so through human
agents (see §§4.3-4.4). However, in Hebrews he speaks directly to the hearers without
the need for an intermediary (see §4.5). Furthermore, the Spirit interprets (δηλόω)
Scripture (9:8) and this is the only place in the NT where the Spirit is said to function as
hermeneut (see §§4.5.3, 8.3.1). The phrase ‘Spirit of grace’ (10:29) is also a NT hapax
and ‘Eternal Spirit’ (9:14) is a Biblical hapax. In addition, the concept of believers
becoming μέτοχοι of the Spirit (6:4) and the description of God validating the gospel
message by ‘distributing’ (μερισμός) the Holy Spirit to followers of Christ (2:4) are also
unique to Hebrews.
After undertaking a close examination of all seven divine-πνεῦμα texts in Hebrews this
thesis concludes that Hebrews has a significant, developed and unique pneumatology
(§8.1). The author portrays the Spirit as personal, eternal and divine (§§8.2.2-8.2.4). He
is actively involved in the atonement and the New Covenant (§8.3.3), showing the need
for such a covenant (§8.3.1) and providing a partnership with each member of the New
Covenant Community such that the Spirit enables that which the Covenant requires
(§8.3.3). The Holy Spirit plays a crucial role in Hebrews. Both author and congregation
experienced him as God, co-equal with the Father and the Son. In fact, Hebrews’
underlying pneumatology displays what might be called ‘Trinitarian coinherence’
(§§8.2.1, 8.4)
Conical square function estimates and functional calculi for perturbed Hodge-Dirac operators in <em class="EmphasisTypeItalic">L</em><sup> <em class="EmphasisTypeItalic">P</em> </sup>
No full textPerturbed Hodge-Dirac operators and their holomorphic functional calculi, as investigated in the papers by Axelsson, Keith and the second author, provided insight into the solution of the Kato square-root problem for elliptic operators in L2 spaces and allowed for an extension of these estimates to other systems with applications to non-smooth boundary value problems. In this paper, we determine conditions under which such operators satisfy conical square function estimates in a range of Lp spaces, thus allowing us to apply the theory of Hardy spaces associated with an operator to prove that they have a bounded holomorphic functional calculus in those Lp spaces. We also obtain functional calculus results for restrictions to certain subspaces, for a larger range of p. This provides a framework for obtaining Lp results on perturbed Hodge Laplacians, generalising known Riesz transform bounds for an elliptic operator L with bounded measurable coefficients, one Sobolev exponent below the Hodge exponent, and Lp bounds on the square-root of L by the gradient, two Sobolev exponents below the Hodge exponent. Our proof shows that the heart of the harmonic analysis in L2 extends to Lp for all p ∈ (1,∞), while the restrictions in p come from the operator-theoretic part of the L2 proof. In the course of our work, we obtain some results of independent interest about singular integral operators on tent spaces and about the relationship between conical and vertical square functions.Accepted Author ManuscriptAnalysi
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