Susan M. Johns

, including Muriel, who is called domina donationis.7 The use of the term suggests that the scribe who compiled/transcribed the charter sought a way to describe her key role as patron and benefactor, and suggests that the nunnery, although founded by Jordan and Muriel conjointly, may have been her initiative.8 In the same period they also made arrangements with Clerkenwell for their daughter’s entry as a nun there. The charter’s witness list includes Michael Capra and Roesia, his wife, who is probably Roesia the daughter of Muriel and Jordan, who later became a nun at

in Noblewomen, aristocracy and power in the twelfth-century Anglo-Norman realm
Profiteering and money-men
Christine Grandy

American land, and displaced the farmer. Both Roman Scandals and You Can’t Take It with You showcased powerful American businessmen securing land deals that benefited their businesses and displaced ordinary working and middle-class townsfolk.65 The antagonist in Roman Scandals, Warren F. Cooper, is intent on buying land on which to build a prison, and bribes the town’s police officers to throw off the people inhabiting the land. The powerful and portly Mr Kirby in Frank Capra’s You Can’t Take It with You is head of a bank intent on gaining a monopoly on munitions

in Heroes and happy endings
Philip M. Taylor

Thunderbolt [1945]), and, most famous of all, Frank Capra. These men all made films for the US Armed Forces, which had their own film units for training and indoctrination purposes. The OWI at first concentrated on the civilian front, but although its Motion Picture Bureau (the equivalent of the British MOI’s Films Division) did make short informational films for domestic purposes (for instance meat rationing), it had to tread warily under the watchful and suspicous eye of Congress. Hollywood would look after domestic morale, with a little guidance from the OWI. But there

in Munitions of the Mind
Abstract only
Jeffrey Richards

developments were directly reflected in American political films, for example the political trilogy of Frank Capra, Mr Smith Goes to Washington, Meet John Doe and State of the Union . Mr Smith Goes to Washington (1939) is a full-throated, big-hearted paean to American democracy. Jefferson Smith (James Stewart), idealistic head of the Boy Rangers in an unnamed mid-Western state, is appointed to succeed a senator who has died suddenly because the party bosses under

in Cinema and radio in Britain and America, 1920–60
Abstract only
The role of popular culture between the wars
Christine Grandy

films they occupied the same largely comedic roles. American films, presumably less interested in deploying hierarchies of class, nevertheless also used working-class characters as comedy relief or, in Frank Capra’s films, as a b­ enevolent and silent group in need of representation by the protective middle-class hero. This was an idealised vision of class relations in a period initially marked by trade union militancy, and most memorably, the general strike of 1926. This class tension was reflected in the bestselling novels from the 1920s, which habitually avoided

in Heroes and happy endings
Abstract only
Heroes, work, and nation
Christine Grandy

free/ It’s not my house/but it’s our house’. The ‘town’ that the city’s citizens make on the streets is one that is nevertheless idyllic and middle class in appearance, with clean rugs, proper furniture, and family dinners. This view of socialism was decidedly comfortable and community oriented and not particularly provocative. Likewise another American film, Capra’s popular Mr Deeds Goes to Town (1936), featured the naive but honest Longfellow Deeds giving his inherited fortune away to poor farmers affected by the depression after he is made cynical by the power

in Heroes and happy endings
Abstract only
The influence of continental travel on the Irish houses of Frederick Hervey, the Earl Bishop, 1730–1803
Rebecca Campion

Grand Tour (1785–86), and on his return to Ireland put his energy into a new project. Three great houses: Ballyscullion and Ickworth Ballyscullion House, begun in 1787, was Hervey’s second great house, situated on picturesque Lough Neagh. Like Downhill, Ballyscullion illustrates how architectural influences from abroad found their way into County Londonderry through a well-travelled patron. Inspiration for the rotunda design came from both the Grand Tour and the Home Tour: the Pantheon of classical Rome, Palladio’s Villa Capra la Rotonda near Vicenza (1566) and Hervey

in Travel and the British country house
Abstract only
Jeffrey Richards

Police, Reap the Wild Wind, The Story of Dr Wassell and Samson and Delilah . But perhaps the director whose work was most in tune with the kind of family values Lux wanted to promote was Frank Capra. Between 1934 and 1951 when he temporarily ceased directing, every one of his films was adapted for the radio except for his black comedy Arsenic and Old Lace and his three political films ( Mr Smith Goes to Washington, Meet John Doe and State of the Union

in Cinema and radio in Britain and America, 1920–60
Piero Garofalo, Elizabeth Leake and Dana Renga

in the film and documentaries on Pavese, however, centres upon the women in his life: his sister Maria, Pizzardo, Elena the daughter of his landlord who cleans his house and with whom he has an affair, and Concia, a servant girl who in the short novel Il carcere upon which the feature film is based, is described as ‘bella come una capra. Qualcosa tra la statua e la capra’25 (as beautiful as a goat. Something between a statue and a goat). Indeed, each of these women is constructed as a projection of fantasy and represents something different to Pavese. Through their

in Internal exile in Fascist Italy
Open Access (free)
Susan M. Johns

archdeacon of Leicester of her grant to the canons of Drax, her son-inlaw, Robert de Gant, and daughter from her second marriage, Alice Paynel, consented to the gift and witnessed the charter. It is intriguing that the sister of Robert de Gant also witnessed.77 Another example of a female heir co-witnessing with her husband her mother’s grant of land is that of Michael Capra and his wife Roesia in 1156–62, when they witnessed a charter made by Jordan de Bricset and his wife, Muriel. Here the daughter witnessed her parents’ grant to the religious institution that they had

in Noblewomen, aristocracy and power in the twelfth-century Anglo-Norman realm