1,723,218 research outputs found
Researching change and changing research in geographical education
No full textA popular aphorism has it that the only constant in life is change and this is certainly true both spatially and temporally in geography and geographical education. However, it is also demonstrably true of research itself, whether applied to geographical education or any other aspect of life. Imre Lakatos (Lakatos, Feyerabend & Motterlini, 2000) thought of research in terms of programmes of investigation, and believed that such programmes could be compared according to their relative progression or degeneration, their coherence in mapping out future research, and their discovery of novel phenomena. However, it is often only in retrospect that we can judge the extent to which research in any area constitutes coherent programs of investigation, and one way in which this has been attempted has been to classify and evaluate published research studies. Since the mid-twentieth century, there have been a number of formal classifications of research in geographical education, the most recent being that by Foskett and Marsden (1998). As well as drawing together evidence of "programmes" emerging at the international level, these reviews are useful in consolidating the findings-to-date of research in specific aspects of geographical education while, from an historical perspective also reveal those aspects of the subject important to practitioners and researchers at particular periods, and show how the foci of research may change over time
Williams (Michael A.) éd Charisma and Sacred Biography
No full textSéguy Jean. Williams (Michael A.) éd Charisma and Sacred Biography. In: Archives de sciences sociales des religions, n°55/2, 1983. pp. 292-293
HMDA Coverage of the Mortgage Market
Get PDFWilliams, Michael. (2015). HMDA Coverage of the Mortgage Market. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/172689
The sudden intrusion of the corporeal: reviewing Ivor Novello in 'The Lodger' and 'Downhill'
No full text‘Daring you to desire them’: Call Me by Your Name (2017), Timothée Chalamet, and queer classicism
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‘The finest epigrammist of the present day’: fan-magazine writing and the queer craft of Herbert Howe
No full textWhen Photoplay magazine commissioned its lead writers, Adela Rogers St. Johns and Herbert Howe to create analytical sketches of each other in November 1923, the former described Howe as ‘the finest epigrammist of the present day’, praising his entertaining wit and insight and acknowledging the advantage that he ‘knows everybody’. Born in South Dakota in 1893, Howe handled publicity for the Triangle and Vitagraph companies and became a popular figure among New York critics, establishing himself as a leading writer for Photoplay in 1922. His queerness, and ‘penchant for Hispanic leading men’ was noted by Slide (2010), and Chávez (2011) explored the publicist’s relationship with his best-known star client and alleged lover, Ramón Novarro. However, Howe’s wider fan-magazine writing, and his work on the periphery of the film industry in producing a queer identity on the page, hidden in plain sight, deserves greater critical attention. This paper explores Howe’s writing style, already distinct in the late 1910s and characterised by an acerbic and often self-mocking wit, vivid characterisations, and a breezy campness and homoeroticism that is unabashed but carefully articulated for its mainstream context. His work also reveals glimpses of wider contemporary queer networks though his detailed and gossipy tales of Hollywood and New York clubs frequented by industry figures, celebrities and wider society figures
Stories of the London fog and Paris underworld: Ivor Novello and the queer chronotopes of 'The Rat' (1925) and 'The Lodger' (1926)
No full textIvor Novello was arguably the leading British male film star of the silent era but was equally well known for his music compositions and stage work. His play, ‘The Rat’, co-written with Constance Collier, was a major success on stage in 1924 and then on screen. In The Rat (Cutts, 1925), playing the titular Apache of the Paris underworld, Novello introduced audiences to an expressionistic Montmartre club named ‘The White Coffin’ where heteronormativity was playfully subverted. A year later his most famous role in The Lodger: A Story of the London Fog (Hitchcock, 1926), would see the star play a suspicious figure ambiguously referred to as ‘queer’ in the intertitles who appears disinterested in women and who wanders (cruises?) the foggy streets at night and navigates between ‘high’ and ‘low’ cultural spaces.When asked by François Truffaut about The Lodger and his interest in ‘the abnormal’, Hitchcock segued into a tale of visiting a Berlin gay night club in 1924. More affirmatively, this paper focuses on the queer experiences of other cities visited by Novello himself that we can glimpse through sometimes-coded reports in contemporary newspapers and fan-magazines. These include visits to Paris (a blindfolded trip to a basement club that inspired The White Coffin) and the speakeasies of New York (including an encounter with Rudolph Valentino and gay fan-magazine writer, Herbert Howe). Significantly, Novello established his own queer space, the ‘Fifty-Fifty Club’, in London’s Soho in 1924. A sanctuary for theatrical folk and queer people alike, the venue was regularly subjected to police raids on spurious charges. Linking real-world queer nightlife to Novello’s persona, and the milieu designed on screen, the Swedish caricaturist Nerman even painted Novello as The Rat into the décor of the Fifty-Fifty club. With Constance Collier as a partner, the Fifty-Fifty might be considered an extension of The White Coffin itself.I argue that Novello’s queer authorship shaped the spaces we see in these films. Drawing from new archival research, I adopt a contextual approach using contemporary publications alongside the films to uncover traces of the international inspiration, queer cultural networks, oblique representations, and even hints of audience recognition that shape the spaces seen on screen in The Rat (in its centenary year) and The Lodger. I frame this discussion with Sobchack’s work on the chronotope of the film noir city and queer temporality more broadly
Movie gods and idols
No full textWhy are movie stars often called 'gods' or 'goddesses'? What does this historical association tell us about cinema's representation of the past
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