13 Thesixty-eighth annual report (with appendices) of the Inspectors of Lunatics,
for the year ending 31 December 1918 (1920), xxi, cmd 579.
14 Thesixty-ninth annual report (with appendices) of the Inspectors of Lunatics
(Ireland) for the year ending 31 December 1919 (1921), xv, cmd 1127.
eighth annual report (with appendices) of the Inspectors of
16 Forty-first report of the General Prisons Board, Ireland, 1918–1919 (1920),
xxiii, cmd 687.
17 Forty-second report of the General Prisons Board, Ireland, 1919
relationships between the characters involved in the production (primarily Mick Jagger, James Fox and Anita Pallenberg) as the film text itself. Further proof of the development of the complex cult reputation of Performance can be found in its inclusion in Ali Catterall and Simon Wells’s 2002 book Your Face Here: British Cult Movies Since theSixties 36 and Sarah Barrow and John White’s 2008 book Fifty Key British Films . 37
Justin Smith persuasively argues that Performance is an ‘important’ British film because it broke new ground
perfectly understandable given that had Wilson allowed a free vote on the issue, it is reasonable to assume that there would have been far more than thesixty-nine MPs voting with the Conservatives. A week prior to the vote, the Tribune editorial suggested that the Labour pro-Marketeers would have much to answer for should they vote to keep the Heath government in power. The editorial posed the question:
Who can forgive those who throw away this chance to drive Edward Heath from power now? Certainly not the vast majority
from every culture, color, or class.
Indeed, the great turning point in the evolution of the Rastafari
movement took place at the end of thesixties. In 1962, Jamaica
gained independence, an event that provoked a social and political
explosion that resulted in a phase of intense cultural creativity
together with the idea of freedom and the affirmation of Jamaican
identity. This period gave birth to reggae music, which has since
become one of the strongest emblems of Jamaica. It is rare to find a
relationship between a young profane musical style and an already
Dandyism, fashion and subcultural style in Angela Carter’s fiction of the
, Ian ( 2008), Revolution in the Head: The Beatles’ Records and
theSixties (London: Vintage).
MacInnes, Colin ( 2001), Absolute Beginners (London: Allison and
McRobbie, Angela (1989), ‘Second-Hand Dresses and the Role of the
Ragmarket’, in Angela McRobbie (ed.), Zoot Suits and Secondhand Dresses
(Basingstoke: Macmillan), pp. 23–49.
O’Day, Marc (1994), ‘“Mutability is Having a Field Day”: TheSixties Aura
of Carter’s Bristol Trilogy’, in Lorna Sage (ed.), Flesh and the Mirror: Essays
on the Art of Angela Carter (London: Virago), pp. 24–58.
subsequently become known
Angela Carter’s poetry
as the British Poetry Revival saw an enormous increase in publication outlets: according to Andrew Duncan, ‘there were 2,000 poetry
magazines during theSixties; poetic activity went to an unheard-of
height’ (Duncan, 2003: 76). Carter’s poems appeared in just such
publications – principally The Aylesford Review (1955–68) and Tlaloc
(1964–70). She also had three poems published in Universities’ Poetry,
one in the Leeds University student magazine Poetry and Audience,
and five poems in a pamphlet anthology entitled Five
understand Vietnam as though it were a story.’ 6 As the forgoing quotation attests, Kingston’s initial motivation for writing The Fifth Book of Peace was precisely to narrativise the Vietnam War and make the case for an on-going peace. She has always adopted the perspective of the so-called ‘dove critique’ to the war in Vietnam. This view, popularised by thesixties’ antiwar movement, recognised the illegitimacy and corruption of Diem’s South Vietnamese government, and even acknowledged the strategic importance of Vietnam in the cold war political landscape of Southeast
upon facsimiles of American rock ’n’ roll, while another critiqued ‘these groups
of perverse intellectuals (the Sex Pistols) or fake teenagers (the Ramones)
[that] produce a stereotypical music that shamelessly pillages the magical heritage of theSixties’.41 The same concern that made punk’s transition into France
difficult – the issue of authenticity – is not assumed for British punks either,
illustrating how French listeners were not accepting of all new trends from
across the Channel. Nevertheless, much of this critique hinged upon other
prefab four: Dirk, Nasty, Stig and
Barry, who made thesixties what they are today. The fabulous
The most telling line from this
opening caption is probably ‘the group who made thesixties what they
are today’, which carries the suggestion that thesixties are
typically reconstructed through a familiar series of icons. The objective of
formulation and provided little incentive for constructive debate.
The upper house of parliament, the Seanad, duplicates rather than challenges
the lower house and enjoys far fewer powers. Elected mainly by public representatives and with the Taoiseach nominating eleven of thesixty senators, the Government’s Dáil majority is reproduced in the upper house. In any case, the Seanad
can only delay Dáil legislation and during the eight decades following the enactment
of the Irish Constitution it has only twice (1957 and 1964) rejected a Dáil bill.
While narrowly surviving a