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Marie Helena Loughlin

-headed and drunk, What a coil do I make for the loss of my punk?29 I storm, and I roar, and I fall in a rage, And missing my whore, I bugger my page. Then crop-sick, all morning, I rail at my men,30 And in bed I lie yawning, till eleven again. 27 clap  gonorrhoea (sexually transmitted disease). spend ejaculate; spew: common synonym for ‘ejaculate’ among libertine poets, Rochester in particular; the older meaning of the word (‘vomit’) suggests the speaker’s revulsion. 29 coil tumult; punk: whore. 30 crop-sick  indigestion attendant on gluttony; men: servants. 28

in Same-Sex Desire in Early Modern England, 1550–1735
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Peter Redford

Each item in the manuscript in turn is identified by folio number (r or v), and then either transcribed in full (English verse and private letters, including translations of the Symmachus letters) or by an incipit (all other items, including foreign-language ones). Other information about the item, including scribal hand, authorship, addressee (for letters), and date is also provided. Blank pages are so identified, and discrepancies or errors in assembly or binding noted. Conjectural transcriptions or attributions are so identified. If there is a commentary on the item, a note is given of where in chapters 9 and 10 it may be found.

in The Burley manuscript
Open Access (free)
Ethnicity and popular music in British cultural studies

Subculture, Hebdige endeavoured to theorise a variety of youth subcultural styles as a set of ‘differential responses to the black immigrant presence in [post-war] Britain’ (1979: 29), but I am primarily concerned Norquay_08_Ch7 127 22/3/02, 10:01 am 128 Cultural negotiations here with his discussion of punk. In a particular sub-section entitled ‘Bleached roots: punks and white ethnicity’, issues of race and ethnicity are clearly foregrounded. Hebdige suggests, for example, that ‘the punk aesthetic can be read … as a white “translation” of black “ethnicity”’ (64

in Across the margins
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Genre collisions and mutations

is key on both generic and real-world planes is that a particular subcultural identity emerges and is only viable through acknowledgement of other groupings with which it comes into contact. Hebdige’s complex analysis of punk’s deliberately constructed ‘frozen dialectic’ with black forms of expression such as reggae persuasively makes this point (Hebdige, 1996 : 69). John Frow, alluding to Rosalie

in Jonathan Lethem
Raymond Pettibon’s drawing-writing

, ekphrasis is here approached neither as a site of antagonism nor as a convergence of the sisterly arts, but rather as a locus of a productive encounter. Born in 1957 in Tucson, Arizona, Raymond Pettibon is an American artist who first garnered acclaim in the Californian punk-rock scene in the late 1970s. Initially he became known for his album-cover and flyer designs, as well as selfpublished, staple-bound zines that were available via mail order. His notoriety within the punk scene rests especially on his design of the four-bar logo for the band Black Flag, but also for

in Ekphrastic encounters

acceptance of a variety of overlapping motivations. Tony Harcup, a member of Basement Writers who went on to edit Leeds Other Paper, became inspired by the idea of producing culture, a fluid energy that could be channelled in a number of directions: ‘Had it been three years later we’d probably have started a DIY punk band instead!’103 Other writers, such as Alan Gilbey and Tony Marchant, would also adopt a do-it-­ yourself punk ethic. In addition, discussions of class and culture were not restricted to small groups of committed socialists. Television was the key medium for

in Working-class writing and publishing in the late twentieth century
The ambivalence of queer visibility in audio- visual archives

Railways on Film and Punk to Black Britain, Chinese Britain on Film and LGBT Britain. More than thirty films can be found in the free collection LGBT Britain, but the label is also used within the VOD and S-​ VOD sections. Arguing that national archives could learn from queer minor archives, I will draw comparisons to the archival practice of the Lesbian Home Movie Project (LHMP) in Maine (Brunow, forthcoming) as well as to the international archive for female and trans visual artists, Bildwechsel in Hamburg (Brunow, 2015). The term ‘minor archives’, drawing on the

in The power of vulnerability
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More writing than welding

were set up so that writers could branch out. Gilbey himself started Controlled Attack, a punk-influenced theatre group that performed to more critical audiences.48 A playwriting group was started at Liverpool University as a result of pressure from the Scotland Road workshop.49 Others set up novel groups. O’Rourke, Mills and Anne Cassidy often read each other’s work in a more detailed and critical way than was possible in a workshop setting and all three went on to publish commercial books.50 Intense personal relationships fed into the production of more critical

in Working-class writing and publishing in the late twentieth century
On last animals and future bison

accord it would seem, to relocate to ‘Soul City’), as if these were the real ecotopian values. There are apparently no problems with any biological hazards such as invasive species, extinctions, pathogens or large-scale, confined animal industries, since ecology has been preset for steady-as-she-goes. Despite the celebration of the unwashed, waste-free hippy lifestyle as the greatest good, Ecotopia turns out to be way too clean, managed, heteronormative, pain-free and quiet (no electric guitars, please, and God help us from our unwashed rivals, the punks) to have to

in Literature and sustainability

. Like when Tracy and I heard all of Daydream Nation played by Sonic Youth by the Swan River under the gaze of King’s Park and the mining towers of Perth: surreal, extra-natural, slightly incongruous, but brilliantly and excitingly a trashing of the pastoral. That’s what I like about this process: streetwise Cage undoing Arcadia, death being overtaken by the zip of life. Buñuel, surrealism, Dada, Doris Day, performance, skateboards, punk love, sex, city meets country, Warhol and heavy weather in the Guggenheim. I am not really sure what my part is, but I am also there

in Polysituatedness