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Cathrine Degnen

6 Narrative forms and shapes Introduction In line with previous chapters, this one continues the argument developing throughout this book of the ways in which ‘old age’ come to be attributed to older people and how this is experienced subjectively. I have so far explored this with regard to temporality, intra-generational relations and selfhood. In so doing, I have privileged narrative accounts and interpersonal interactions. This chapter shifts gears somewhat by turning its attention to distinctive characteristics of narrative style and activity among my

in Ageing selves and everyday life in the North of England
The reimagination of Baroque sculpture during Fascism
Laura Moure Cecchini

, and movement, inspired by Baroque spatial experiments and Futurist dynamism. 1 Rather than drama and theatricality, as is the case in Santa Lucia , The Baroque Chair uses the Baroque to signify the unresolved tension between movement and stasis. Such was the reading of Italian and Argentine critics, who described the Baroqueness of Fontana's work as an ‘intensity, a vibration that distresses forms’. 2 In the twenty years that separated Wildt's and Fontana

in Baroquemania
Jonathan Atkin

1 ‘Recognised’ forms of opposition Opposition to the Great War took many forms. This was perhaps not surprising, given its scale. It was a unique occasion for Great Britain. Never before had the whole, industrialised nation been mobilised for war on this scale. In medieval times, men who worked on the land had, in times of threat, left their harvests and gone to war as part of the agreement between landowner and serf. Much later, with the establishment of a regular army and navy, there was little need of binding agreements. As often as not, men joined up out of

in A war of individuals
The carved stone balls of Northeast Scotland
Andrew Meirion Jones

6 Images and forms before Plato: the carved stone balls of Northeast Scotland Andrew Meirion Jones Graeco-Roman thinkers cast a long shadow over contemporary approaches to art and representation. In the Republic, written around 375 BCE, Plato imagined humankind as prisoners in a cave able to determine the existence of reality only from the shadowy representations of that reality cast on cave walls. Shadows also figure in another origin story related by the Roman historian Pliny in his Natural History, written between 77 and 79 CE. In a two-part explanation

in Images in the making
Jenny Pickerill

3 Inclusivity and changing organisational forms [T]he constraints to cyberactivism are largely those that hobble other political involvement: commitment, time, money, expertise . . . those who may benefit the most from counterhegemonic uses of the Net may have the least access to it. (Warf and Grimes 1997: 270) In addition to the paradox surrounding their use of computers, environmentalists face problems in gaining access to CMC. Access is obviously a prerequisite for the use of the technology, but the ways in which activists organise their access can reflect

in Cyberprotest
Robin Nelson

5 Techniques, technologies and cultural form The title of this chapter pays conscious homage to Raymond Williams’s seminal work, Television: Technology and Cultural Form (1974), which established a way of locating the outputs of the television medium in the technological and cultural contexts of production and aimed to understand them in these terms. Though technology is not seen to determine cultural forms, it is one of the main forces in a field which shapes the programmes to appear on the small screen. In TV3, developments in technologies have played a

in State of play
Abstract only
The Street, Moving On, Accused
Steve Blandford

‘Hybrid’ forms: The Street, Moving On, Accused 2 The decision to create a separate chapter for these three programmes is designed to highlight McGovern’s increasing tendency in his later career to both nurture new writers and push at the boundaries of television forms. All three programmes were made by independent production companies with McGovern acting in a producing as well as writing role, though as we shall see, he saw his contribution as being very much confined to the development of the ideas and the scripts rather than to production in any wider sense

in Jimmy McGovern
Abstract only
Don Fairservice

the film was so influential and its form widely copied, many of the experimental editing practices that had been discovered previously were to be ignored and play no part in the development of editing practice until they were rediscovered some years later. Porter’s film is constructed from fourteen scenes and each scene consists of one shot, mostly a wide shot. In 1903 there were very few precedents for filming a scene from

in Film editing: history, theory and practice
Barry Atkins

1 The computer game as fictional form For when the One Great Scorer comes To write against your name, He marks – not that you won or lost – But how you played the game. (Grantland Rice) Life’s too short to play chess. (H. J. Byron) The origins of this project can be located in an experience that could not have been further distanced, at the time, from the academic practice and teaching of cultural and literary criticism which usually fills my days: the successful conclusion of Close Combat II: A Bridge Too Far (1997), a strategic wargame set in the Second World

in More than a game
Elizabeth Fowler

held forth by the Platonic Socrates in his trenchant criticism of sophistic rhetoric, and in his description of a philosophical rhetoric grounded upon true knowledge and always striving for justice. 1 Literary forms are fully social forms and invite an assessment that is both ethical and political. Despite much

in Shakespeare and Scotland