Search results

Pyrodramas at Belle Vue Gardens, Manchester, c. 1850–1950

. Belle Vue is now served by three railways, the London & North Western Railway, using the Longsight station, the Manchester Sheffield & Lincolnshire Railway, using both the Ashbury and Belle Vue stations, and the Midland Railway, using Belle Vue station. As a result, said the Critic , a Manchester journal, in 1875: Belle Vue is

in Popular imperialism and the military 1850–1950

mid-1850s gives an indication of the range of structures on offer: Illustrations of Iron Structures for Home and Abroad, consisting of Stores, Dwelling-houses, Markets, Arcades, Railway Stations, and Roofing, etc etc. 11 Of course, the most celebrated portable iron structure was the 1851 exhibition building itself, which not only won the medal for the category of ‘Civil engineering, architecture and building contrivances’, but also won the supreme prize, the Great Medal. 12 Here, the naming of the building

in Imperial cities
Self and others

situation he finds himself in. For instance, at the very end of the novel he is nailed to the floor, in a variation of Christ’s death. Again, this does not define his life in quasi-​religious terms. The blasphemous nature of the ending, with Venichka taking on the role of a demotic Christ and the implicit idea that railway stations parallel the Stations of the Cross,30 makes sense through Venichka’s self-​constructed world. He is clearly not like the others he shares Russia with since they do not ‘sacrifice’ themselves, and to the end of the book his consciousness of his

in The Existential drinker

was left in the British army. This reversal was a hard blow for the Anglo-Indian community. The most obvious alternative employment was to join the armies of Indian princes, but they eventually found their true vocation with the coming of the railways, which to a considerable extent were built and then run by Anglo-Indians. The size of the community stabilised and became endogamous. (From 1835 the company would not, in

in Empire and sexuality
Abstract only

this book, Truly Madly Deeply opens at a railway station, this time Highgate Underground London, from which Nina (Juliet Stevenson) emerges. The importance of the separations of travel, and especially as depicted in railway stations (the subject of a later chapter), recurs as images of meeting and departure. Nina is still in a state of grief over the death of husband Jamie (Alan Rickman) when he suddenly reappears from the hereafter, and in very corporeal form, in her flat. The key line may be Nina’s ‘Thank you for coming back’ – even if he brings along a group of

in The never-ending Brief Encounter

compatriots. 12 For instance, only army officers and ICS men could be full members of the principal club in Simla, a hill station where snobbery and a combination of social and official intrigue permeated life during the hot season. 13 The animosity and fears aroused by the Great Mutiny served further to isolate European society from that of the far more numerous Indians. Most large

in Servants of the empire
Abstract only

railway station Fives-Lille. Contemporaneous with the nearby marshalling yard at Saint-Sauveur, this was the oldest complex of heavy goods stations in Lille, dating from the 1860s. A  large rail and locomotive workshop abutted Fives-Lille, along the southern edge of the commune of Hellemmes. Just north was the biggest local employer, the Usine de Fives. Nearby were other factories, notably Peugeot in Fives, and textile manufacturers in Hellemmes. West of Lille, there was a freight station at the river port, and in 1921, another giant freight station and marshalling yard

in French children under the Allied bombs, 1940–45
Between garden and city

, the Governor decided to arrange the new settlement on several sites. The commercial section developed in Bamako, where the railway station was built, hosting the French merchants from their trading companies and the natives, later removed to the outskirts, together with several colonial services related to the railway. The personnel who were running the colony would stay and work on the hill Point F

in Garden cities and colonial planning
Jack Clayton’s Room at the Top

history of British cinema. Black and white images of industrial landscapes, railway stations and a young man arriving somewhere with a raincoat folded over his arm are instantly evocative of a certain time and place in the history of British cinema. Yet the delight of this evocation is tinged with an element of danger and this is because repeated meetings with moments like this one can give rise to an overfamiliarity. The result of this is that the features that define these moments can attract a powerful critical contempt. This was certainly the case for Thomas

in The British New Wave
Abstract only

Introduction A foghorn sounds; a train whistle blows. Smoke billows from funnels and engines. An anxious mother thrusts sandwiches to her son through a carriage window. A woman searches for a free compartment, another finds her cabin. Porters struggle with trunks. Umbrellas are stowed in luggage racks; going-away gifts examined. Latecomers desperately search for their carriages. Doors slam and gangways are removed. People scurry on deck or lean out of windows to wave a last farewell to loved ones and friends. Finally, the train chugs out of the station; the ship

in Women, travel and identity