Abstract only
Laurence Coupe

, a dialectic at work: the sacred, while transcending the profane, can only reveal itself within the profane; again, unless there were a mode of experience deemed profane, the need to apprehend the sacred would make no sense. I would suggest that the Beat writers and the sixties songwriters whom we will be discussing may be seen as attempting to provide manifestations of the sacred. More Coupe 00 22/3/07 4 01:04 Page 4 Beat sound, Beat vision particularly, the Beat impulse is to transform profane time into sacred time, and to transform profane space into

in Beat sound, Beat vision
Abstract only
David Geiringer

shown that religious impetuses informed the early development of sexological theories at the turn of the twentieth century; Laura Ramsay has demonstrated that actors within the Church of England played a formative role in bringing about the ‘permissive’ legislation of the sixties; and Sam Brewitt-Taylor has emphasised the centrality of clergymen to the ‘myth of the sexual revolution’ in the same decade

in The Pope and the pill
Anna Killick

is significant that seventeen of the sixty are from occupational groups D and E, reflecting their proportion of the local population but also a marginalised group. Forty-eight per cent of the sixty participants are women. On national backgrounds, two Polish people agreed to take part and, where relevant, I refer to this when presenting their beliefs. Seven participants were from black and ethnic minority backgrounds. On age, particularly because of the involvement of eight eighteen-year-olds, the eventual spread was a reasonable one. There is not such a balance

in Rigged
Abstract only
Carmen Mangion

as a time of prosperity and social cohesion stand in marked contrast to the popular tales of social change and generational dissonance of the 1960s. Arthur Marwick’s influential tome The Sixties: Cultural Revolution in Britain, France, Italy, and the United States, c. 1958–c.1974 (1998) argues that: [M]inor and rather insignificant movements in the fifties became major and highly significant ones in the sixties; that intangible ideas in the fifties became powerful practicalities in the sixties; that the sixties were characterised by the vast number of

in Catholic nuns and sisters in a secular age
Abstract only
Andrew Roberts

Public , London : Penguin Books . Marshall , Guy ( 1955 ), ‘ Which Do You Take – Guinness or Burton? ’ Picturegoer , 24 September, 9 . Marwick , Arthur ( 1998 ), The Sixties: Cultural Revolution in Britain, France, Italy, and the United States, c.1958–c.1974 , Oxford : Oxford University Press . Moran , Joe ( 2010 ), On Roads: A Hidden History , London : Profile Books . Morgan , James ( 1955 ), ‘ Books and Magazines ’, Sight & Sound , January– March, 161 . Murphy , Robert ( 2012 ), ‘ Dark Shadows

in Idols of the Odeons
Abstract only
His Fake Book (1989)
Helena Grice

; writing in The Nation , John Leonard described Kingston’s ‘Novel of the Sixties’ as ‘an encyclopedic postmodern narrative that references, embraces, and absorbs a dizzying variety of sources from all cultures and eras’; 6 and fellow writer Bharati Mukherjee praised the text’s ‘remarkable display of wit and rage’ (despite also finding the novel somewhat ‘bloated’). 7 In evaluating these responses, E.D. Huntley muses that the aspects of Kingston’s novel that flummoxed readers were Wittman’s disorganized, unpunctuated, uneven, unstoppable free

in Maxine Hong Kingston
Abstract only
The investigation and trial of the Angry Brigade, 1967–72
J.D. Taylor

combative trade union militancy, new social movements and community activism that would define the energies and victories of the British left over the decade. It is remarkable then that, over four decades on, historians of the left and of the era more broadly refuse to take them seriously, if at all. Marwick gives them one dismissive mention in his vast The Sixties, and they have no mention in the major social histories of this time by Beckett, Black, Clarke, Morgan, Porter, or White.2 Where discussion occurs, they become transformed into either a romantic or oddball

in Waiting for the revolution
Abstract only
Maps of the London Underground
Brian Baker

explicit in either Ballard or Sinclair’s work, the ongoing legacy of the equation between ‘madness’ and ‘vision’ can be traced in both. Sinclair uses the Laingian word ‘breakthrough’ to describe his trajectory from the ‘scepticism’ of the Kodak Mantra Diaries period, the late 1960s, to that of Lud Heat and the early 1970s: ‘That was the real breakthrough. It required this cataclysmic thing of the sixties, a sudden charge coming from every direction, a real battery […] I pulled back, got into my own territory, created my own space, and took

in Iain Sinclair
Abstract only
Claire Hines

the 1950s some American men revolted against the norms of the traditional breadwinner role, long-term commitment represented by marriage, the responsibilities of family and the burdens of conformity, in favour of a more hedonistic playboy ideal and a form of masculinity built around, and even defined by, consumption. She contends that ‘Playboy presented, by the beginning of the sixties, something approaching a coherent program for male rebellion.’ This included ‘a critique of marriage, a strategy for liberation (reclaiming the indoors as a realm for masculine

in The playboy and James Bond
Open Access (free)
Pleasantville and the textuality of media memory
Paul Grainge

, ‘the sixties’ emblematised the lapsarian moment from which a diagnosis of contemporary malaise took its form and force. In right-wing rhetoric, symptoms linked to the 1960s could include anything from the breakdown of the family and the rise in violent crime, to the emergence of multicultural separatism and the crisis of university education. The liberal-left response, vociferously argued by the so

in Memory and popular film