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3 The Obstacles to Creative Democracy at Home and Abroad Only sheer cynicism and defeatism will deny that it is possible to create a workable world government. There have been times when the moral ancestors of present day defeatists would have scornfully declared that a rule of law over a territory anything like as large as our present United States was impossible. They would have said that outside of family groups and small neighbourhoods, the custom of every man’s hand against other men could not be uprooted … If peoples, especially their rulers, devoted
3049 Experimental British Tele 16/5/07 08:02 Page 17 1 ‘Creative in its own right’: the Langham Group and the search for a new television drama John Hill The Langham Group, an experimental outfit established within the BBC in 1959, occupies an unusual position in the history of British television drama. While most accounts of the development of TV drama in Britain pay lip-service to the group’s efforts, these have mainly been written off as unsuccessful. Such a view appears to have settled into a critical orthodoxy in the early 1960s and has prevailed ever
Introduction This chapter explores the way that pragmatic approaches offer hope for developing the interventions needed to respond to the ecological crisis, and the wider crisis that is modern knowledge. The overall argument is that pragmatic approaches, along with a family of non- and anti-representational approaches, are inherently creative. They embrace the fact that they are generative of the world and within the world. They are ecological philosophies of change and innovation and this places them at odds with modern knowledge which, with its reductive
2 Fin-de-siècle investigations of the ‘creative genius’ in psychiatry and psychoanalysis Birgit Lang In Victorian society, admiration for the ‘creative genius’ abounded. It was based on stereotypical notions of the Romantic artist, who, ‘by the neat and necessarily contradictory logic of aesthetic elevation and social exclusion, [was] both a great genius and greatly misunderstood’.1 In Germany the propensity to idealise the artist as a creative genius was further propelled by intellectuals’ and writers’ contribution to imagining the German nation throughout the
economic intervention that was ditched, so was any notion of macroeconomic policymaking more generally. Henceforth, investment and business inspiration were to be sought from anywhere but the state. Bankruptcy sets creative destruction in motion By the early 1970s it was clear that the post-war political and economic consensus was breaking down. Both Labour and the Conservatives had operated within a paradigm that had emerged through the 1930s, the Second World War and the Attlee Labour government of 1945–51. This was built on the
James Baldwin Review (JBR) is an annual journal that brings together a wide array of peer‐reviewed critical and creative non-fiction on the life, writings, and legacy of James Baldwin. In addition to these cutting-edge contributions, each issue contains a review of recent Baldwin scholarship and an award-winning graduate student essay. James Baldwin Review publishes essays that invigorate scholarship on James Baldwin; catalyze explorations of the literary, political, and cultural influence of Baldwin’s writing and political activism; and deepen our understanding and appreciation of this complex and luminary figure.
In this co-authored review-reflection, we discuss the African Feminisms 2019 conference, offering a snapshot of the vital and emboldening African feminist work being conducted by researchers, cultural producers and creative practitioners at all levels of their careers, as well as a sense of the emotional labour that this work entails. We note the particular, shocking event that took place in South Africa just prior to the conference informed the papers, performances and ensuing discussions. We also note that the conference and many of its attendees advocated for a variety of approaches (and more than one feminism) when seeking to challenge power.
In this article I demonstrate the significance of a flexible approach to examining the autobiographical in early eighteenth-century womens writing. Using ‘old stories’, existing and developing narrative and literary forms, womens autobiographical writing can be discovered in places other than the more recognizable forms such as diaries and memoirs. Jane Barker and Delarivier Manley‘s works are important examples of the dynamic and creative use of cross-genre autobiographical writing. The integration of themselves in their fictional and poetic works demonstrates the potential of generic fluidity for innovative ways to express and explore the self in textual forms.
This essay explores the influence of the theological tradition of privation theory upon Richard Marsh‘s novel The Beetle (1897). Focusing on images of ontological nothingness, corruption and uncreation, it argues that the novel employs the concept of privation both in its depiction of the supernatural Other and in its parallel interrogation of its contemporary modernity. Imagery of privation in the novel is associated not only with the Beetle itself, but with the modern urban environment and weapons of mass destruction. The essay concludes by examining the corruption of language and absence of a creative logos able to respond adequately to the privations of the modern city and industrial economy.
This article reveals how screenwriter Stephen Volk‘s idea for a sequel to The Innocents (1961, Jack Clayton) became, over the course of fifteen years, the British horror film The Awakening (2011, Nick Murphy). It examines practitioner interviews to reflect on creative labour in the British film industry, while also reorientating the analysis of British horror film to the practices of pre-production, specifically development. The research reveals that female protagonist Florence Cathcart was a major problem for the project and demonstrates how the Florence character changed throughout the development process. Repeatedly rewritten and ultimately restrained by successive male personnel, her character reveals persistent, problematic perceptions of gender in British horror filmmaking.