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John Narayan

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

in John Dewey
The Langham Group and the search for a new television drama
John Hill

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

in Experimental British television
Owain Jones

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

in The power of pragmatism
Birgit Lang

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

in A history of the case study

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.

Theorising from the Epicentres of Our Agency, Wits University, Johannesburg, South Africa
Bibi Burger, Motlatsi Khosi, and Lavinia Brydon

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.

Film Studies
Evil, Privation and the Absent Logos in Richard Marsh‘s The Beetle
Simon Marsden

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.

Gothic Studies
Victoria Joule

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.

Bulletin of the John Rylands Library
Exclusions and Exchanges in the History of European Horror Cinema
Peter Hutchings

British horror cinema is often excluded from critical work dealing with European horror cinema or, as it is frequently referred to, Eurohorror. This article argues that such exclusion is unwarranted. From the 1950s onwards there have been many exchanges between British and continental European-based horror production. These have involved not just international co-production deals but also creative per- sonnel moving from country to country. In addition, British horror films have exerted influence on European horror cinema and vice versa. At the same time, the exclusion of British horror from the Eurohorror category reveals limitations in that category, particularly its idealisation of continental European horror production.

Film Studies
Miscellaneous Remarks on Godards Conceptual Processes Apropos of Sauve qui peut (la vie)
Richard Morris

Jean-Luc Godard‘s Sauve qui peut (la vie) holds a uniquely pivotal position in the directors oeuvre and provides the occasion for a case study in how he conceives and develops his works. Amongst the salient features of this process are Godard‘s invention of the ‘video-scenario’ format, enabling him to couch his ideas in visual rather than verbal form from the very moment of their inception; his desire to “look at things a bit scientifically”; and a use of commissioned and pre-existing music which lies at the very heart of his creative method.

Film Studies