The Royal Society and the governance of post-war British science
implications of this ‘independence’ for the RS’s role in the governance of post-war British science. ‘Independence’, I argue, shaded
into irrelevance – and both were the achieved outcomes of deliberate positioning work.
Establishing relevance, projecting identity:
renewing the Royal Society
The RS emerged from the war on the institutional side-lines. The
immediate post-war framework of scientific governance was dominated by the research councils (the Department of Scientific and
Industrial Research (DSIR), the Medical Research Council (MRC)
and the Agricultural Research
Predappio, from its origins to the present day, can be divided
into three phases. The first, under Fascism, is that of its birth and development
as the ‘Holy Land’ and ‘ideal destination of every Italian.’4 The second phase
runs from 1957 to 1983 when, with the return of the Duce’s body and the reemergence of the ritual of pilgrimages, Predappio became the object of a ‘contested’ identity: between a site of (neo-fascist) memory on the one hand and a
site of public repression of the Fascist past on the other. The third phase, from
1983 to the present day, began with the
understood the law to
be felt, an institution that should be admired and feared in similar measure. If the Four Courts situated the law as an elite and masculine institution, it also reinforced the majesty of a law that was ‘for the people’,
giving confidence that (some form of) justice – who appeared in statue
form inside – would be done.
The architecture of the Four Courts shaped people’s emotional
responses and performances of identity. The sublimity of the Courts
was created by the spatial dynamics of the building where the public
entered a great hall and encountered
This monograph takes as its subject the dynamic new range of performance practices that have been developed since the demise of communism in the flourishing theatrical landscape of Poland. After 1989, Lease argues, the theatre has retained its historical role as the crucial space for debating and interrogating cultural and political identities. Providing access to scholarship and criticism not readily accessible to an English-speaking readership, this study surveys the rebirth of the theatre as a site of public intervention and social criticism since the establishment of democracy and the proliferation of theatre makers that have flaunted cultural commonplaces and begged new questions of Polish culture. Lease suggests that a radical democratic pluralism is only tenable through the destabilization of attempts to essentialize Polish national identity, focusing on the development of new theatre practices that interrogate the rise of nationalism, alternative sexual identities and forms of kinship, gender equality, contested histories of antisemitism, and postcolonial encounters. Lease elaborates a new theory of political theatre as part of the public sphere. The main contention is that the most significant change in performance practice after 1989 has been from opposition to the state to a more pluralistic practice that engages with marginalized identities purposefully left out of the rhetoric of freedom and independence.
First published in Spanish in 2001, this book is a study of the development of Spanish national identity (‘the idea of Spain’) from the end of the eighteenth to the twentieth centuries. It breaks away from an academic obsession with the sub-nationalism of Catalonia and the Basque Country to examine the predominant form of national consciousness, against which they reacted. The book traces the emergence and evolution of an initial collective identity within the Iberian Peninsula from the Middle Ages to the end of the ancien regime based on the Catholic religion, loyalty to the Crown and Empire. The adaptation of this identity to the modern era, beginning with the Napoleonic Wars and the liberal revolutions, forms the crux of this study. None the less, the book also embraces the highly contested evolution of the national identity in the twentieth century, including both the Civil War and the Franco Dictatorship. It ranges widely over diverse subjects such as representations of the past in Spain, the role of the arts and sciences in creating national consciousness, the impact of religion and Catholic ideas, the use of cultural symbolism, and the significance of contemporary events and political movements.
This book is a study of the history and memory of Anglo-Jewry from medieval times to the present and explores the construction of identities, both Jewish and non-Jewish, in relation to the concept of place. The introductory chapters provide a theoretical overview focusing on the nature of local studies. The book then moves into a chronological frame, starting with medieval Winchester, moving to early modern Portsmouth, and then it covers the evolution of Anglo-Jewry from emancipation to the twentieth century. Emphasis is placed on the impact on identities resulting from the complex relationship between migration (including transmigration) and the settlement of minority groups. Drawing upon a range of approaches, including history, cultural and literary studies, geography, Jewish and ethnic and racial studies, the book uses extensive sources including novels, poems, art, travel literature, autobiographical writing, official documentation, newspapers and census data.
When members of that oft-maligned institution, the Anglican Church – the 'Tory Party at prayer' – encountered the far-flung settler empire, they found it a strange and intimidating place. Anglicanism's conservative credentials seemed to have little place in developing colonies; its established status, secure in England, would crumble in Ireland and was destined never to be adopted in the 'White Dominions'. By 1850, however, a global ‘Anglican Communion’ was taking shape. This book explains why Anglican clergymen started to feel at home in the empire. Between 1790 and 1860 the Church of England put in place structures that enabled it to sustain a common institutional structure and common set of beliefs across a rapidly-expanding ‘British world’. Though Church expansion was far from being a regulated and coordinated affair, the book argues that churchmen did find ways to accommodate Anglicans of different ethnic backgrounds and party attachments in a single broad-based ‘national’ colonial Church. The book details the array of institutions, voluntary societies and inter-colonial networks that furnished the men and money that facilitated Church expansion; it also sheds light on how this institutional context contributed to the formation of colonial Churches with distinctive features and identities. The colonial Church that is presented in this book will be of interest to more than just scholars and students of religious and Church history. The book shows how the colonial Church played a vital role in the formation of political publics and ethnic communities in a settler empire that was being remoulded by the advent of mass migration, democracy and the separation of Church and state.
In the last generation, Northern Ireland has undergone a tortuous yet remarkable process of social and political change. This book explores what Northern Ireland was like during violent conflict, and whether the situation is any different 'after the troubles'. It examines the political developments and divisions essential to a critical understanding of the nature of Northern Irish society. The book focuses a number of elements of popular cultural practice that are often overlooked when social scientists address Northern Ireland. Sport plays an important though often dispiriting role that in Northern Irish society. It looks at some of the problems and ways forward for transitional justice and memory work in Northern Ireland. The book reviews the history of strategic spatial policy in post-partition Northern Ireland. It draws on feminist scholarship to expose how explanations of the ethnic conflict that ignore gender are always partial. The book illustrates how feminist and gender politics are part of the political culture of Northern Ireland and offers conceptual resources to academics engaged in investigating the conflict. It further provides a brief outline of critical race theory (CRT) and the critique of whiteness therein before using it as a basis from which to examine the research literature on racism in Northern Ireland. The course that popular music has taken in Northern Ireland during 1990s of the peace process, is also considered and the most crucial issues of the peace process, police reform, are examined.
Staging an encounter between cinema and countryside is to invoke a rich and diverse spatial imagery. This book explores the reciprocal relationship between film and the rural: how film makes rural and rural makes film. Part I of the book explores the idea of the nationhood and relatedly, how cinematic countrysides frame the occupancy and experience of border zones. It covers representations of the Australian landscape and the spatial imagery behind the 'inculcation of political ideology' of North Korean films. European 'films of voyage' are a cinematic tradition that articulates representations of the countryside with questions of boundaries and cultural diversity. The 'pagan' landscape of British cinema and the American and British war films are also discussed. Part II focuses on the role that countrysides play in mediating national self-image through globalising systems of cinematic production. Films such as The Local Hero and The Lord of the Rings, the latter in the context of New Zealand as a shooting location, are discussed. The third part of the book focuses on two key markers of social identity and difference - 'childhood' and 'masculinity' - which serve to amplify how embodied identities come to inflect the idea of rural space. A family's relocation to the countryside from the city serves to emphasise that they are isolated from the moral structures that might contain their deviant behaviour. Part IV of the book deals with, inter alia, the Amber Film and Photography Collective, and amateur films on the former coalfields of Durham.
dressing room of the Stary Teatr, where the audience was squeezed in on
wooden benches, Budzisz-Krzyżanowska changed into period costume,
a black velvet doublet and hose. Spectators observed the actress’ transformation into Hamlet, a copy of the play and the production program on
her dressing table. Only visible through the dressing-room door, Wajda
inverted the social function of the main stage of the Stary – the paradigmatic space for sustaining national cultural identity and maintaining
active resistance to foreign domination in the twentieth century. What