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Susan M. Johns

example, Gwyn Williams also called her the ‘Helen of Wales’ in his popular and well-received When Was Wales? , as did Brynley Roberts in his survey of Gerald of Wales. 3 Nest’s beauty is a central motif in all interpretations of her and is key to the construction of her as the ‘Welsh Helen’. Her beauty is emphasised in other genres, such as modern popular interpretations of her in creative fiction. Her inscription as a great beauty is a result of interpretations of the Brut , and her beauty authorises the actions of Owain ap Cadwgan’s abduction. The following

in Gender, nation and conquest in the high Middle Ages
The Golden Army
Deborah Shaw

section also through transnational fan response in a thread that I started on the fan forum at the official Hellboy website, Hellboy.com. I then go on to examine the ways that del Toro takes pains to insist on his creative power and authority through para­ textual means. I will also provide an analysis of the text and consider its position within del Toro’s filmic universe, and assess its relationship with El laberinto, a film which appears diametrically opposed in terms of genre and niche markets (Hollywood superhero film versus European art film), but with which it

in The three amigos
An ecocritical consideration of collaborative, cross-disciplinary practices of walking, writing, drawing and exhibiting
Harriet Tarlo and Judith Tucker

interested in the line and the horizon and how they function in poetry and drawing, specifically in our collaborative practice. This chapter is as much a product of these explorations as the creative work itself. It begins with introducing our work in ecocritical context, moves on to its origins in the field and then returns again, with insight gained, to the line in practice on the page (the production of the work itself), and finally to its presentation in gallery, performance and book spaces. We present the poem above in relation to an image of a drawing, which is in

in Extending ecocriticism
Open Access (free)
Representations of the house in the poetry of Eiléan Ní Chuilleanáin and Vona Groarke
Lucy Collins

is required. That this can be done in the language of dreams, as Ní Chuilleanáin herself has remarked, signifies 9780719075636_4_008.qxd 150 16/2/09 9:25 AM Page 150 Poetry the creative importance of this act of re-imagining as well as its fundamentally allusive quality. ‘The Dream House’, another poem from Other People’s Houses (1999), explores this act of transformation in the trajectory of the work itself. Here the speaker’s relationship with the house alters as the rational co-ordinates that define it inexplicably change. The opening stanza is the most

in Irish literature since 1990
Abstract only
Author: Steve Blandford

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

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The TV drama industry – new rules of the game
Robin Nelson

3 State of play: the TV drama industry – new rules of the game Production conditions for distinctive product Those readers primarily interested in the TV dramas themselves might think the industry background to be less compelling. But, properly to understand why we get a particular kind of TV drama to appear on our screens at any given time is not just a matter of creative people coming up with fresh ideas. Moreover, the dramas behind the scenes are just as intricate and fascinating as those on the screen. First, here, I look back at circumstances in the past

in State of play
London as an event city and the 2012 Olympics
Maurice Roche

spatial hub around which (or near which) new housing and communities can be located. In addition parks can contribute to the urban social-policy agenda more indirectly. From this perspective the focus is on their economic potential to provide spatial hubs for the location of new enterprises in the cultural and creative industries. In this aspect they have the potential to contribute to employment, and thus to urban social-policy goals indirectly by enabling the generation of incomes for employees and also by promoting the social welfare and cultural inclusion associated

in Mega-events and social change
Heather Walton

conventions of traditional academic discourse (again, see Braidotti 1991: 165). Ironically, it is partly because their work has blurred the distinctions between theory (assumed to be empirically grounded) and fiction (assumed to be imaginative construction) that they were initially greeted with such misunderstanding by English-speaking feminists. For example, Hélène Cixous’ rhetorical calls for women to write their bodies (1975a) were read quite literally as a call for women to abandon the picket line or political meeting for the creative writing class. They were thus

in Literature, theology and feminism
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Theatre and protest in Putin’s Russia
Molly Flynn

correspondence from Moscow’s Department of Property. This letter informed the theatre-makers that, at the start of the New Year, they would be evicted from their creative home of the past twelve years. The lease for their small basement studio space on Trekhprudnyi Lane in the centre of Moscow had been unexpectedly and unilaterally terminated. Gremina announced the news in a Facebook post that day, claiming that the theatre had never once, in its twelve years of tenancy, been late paying the rent, nor had the group ever been in violation of any fire or safety regulations. No

in Witness onstage
Allan Antliff

large-scale work entitled War (AD MCMXIV).36 The painting foregrounds a small innocent who lies lifeless on a battlefield dominated by faceless armies locked in mutual destruction, a narrative that is easily read as a political statement. But there is more at play here. The hard-edged aesthetic of this painting was influenced in part by the anarchist art critic John Weichsel, who contrasted art in the service of state power, religious prejudice and other social forces with individualist experimentation grounded in the creative interplay of colour and form, an impulse

in Anarchism, 1914–18