This article discusses how we might formulate an account of William Blake’s avant-garde reception. Having dealt with Peter Bürger’s theorisation of the notion of ‘avant-garde’, it concentrates on a series of portraits, made from Blake’s life mask, by Francis Bacon in 1955. This ‘high art’ response to the Romantic poet is then contrasted with a series of ‘subcultural’ responses made from within the British counterculture of the 1960s. Case studies are presented from the alternative magazine production of the period (notably an illustration from Oz magazine in which Blake’s imagery is conflated with that of Max Ernst). An article by David Widgery in Oz on Adrian Mitchell’s play Tyger (1971) is also discussed to show how the scholarly literature on Blake of the period (mainly David Erdman) was called on by the counterculture to comment on political issues (e.g. Enoch Powell’s 1968 ‘Rivers of Blood’ speech). The final section of the article shows how the ‘avant-gardism’ of Oz’s utilisation of Blake might be counterposed to the more activist left-wing approach to the poet in small magazines such as King Mob with their links to French situationism. In terms of the classic avant-garde call for a reintegration of art and life-praxis, such gestures testify to a moment in the 1960s when Blake may be considered fully ‘avant-garde’.
horse-pack. Its fifteen small drawers would be ample for the pills and medication he would have needed. Hall would have travelled with a few of his medical textbooks as well to help him with diagnoses and cures. ℞: senna leaves 1oz, agaric 3dr, rhubarb 2dr, cinnamon 1½oz. Infuse according to practice in 3 pints white wine for twelve hours. Then strain six or seven times through a woollen bag and sweeten with ½lb [p. 2] of good sugar in the form of nectar . 6 Dose: 5oz twice a day, on an empty stomach in the morning and about four o’clock in the
6 Between global and national 24 and Spooks; Buried and Oz Influences and resistances This chapter opens with an outline of contemporary issues concerning the interplay between forces which would transcend national boundaries and those which would resist them, not at the level of regulation and quotas but at the level of residual cultures which prefer texts which speak to them. Following a general introduction, the chapter focuses on two comparisons between American and British product with the aim of bringing out both the textual influence of American television
outrageous story of Harvey Matusow, notorious and later notoriously repentant anti-communist, House Un-American Activities Committee (HUAC) witness, campaigner for Senator McCarthy, contributor to counter-cultural magazines Oz and International Times ( IT ), and founder of an anti-computer campaign – the International Society for the Abolition of Data Processing Machines – which flourished in the late 1960s and early 1970s, largely in the UK, at one point claiming as many members in England as there were computers. 2
having a dig at those who don't? I would like to continue Turnbull's examination, both of the ‘general prejudice’ and then of Whedon's relationship with popular culture and television. I will do the latter via an analysis of Espenson's drafts for ‘The Harsh Light of Day’. In particular, I shall be focusing on a scene wherein Xander, Willow and Oz
According to Akarli, the Ottoman authorities were ineffective in protecting the Maronites and other Christians due to a shortage of armed personnel, mismanagement and unwillingness to fight fellow Muslims to protect Christians. 33 Ma‘oz puts most of the blame on Ahmed Pasha 34 and suggests there was ‘a concealed alliance’ between him and local leaders ‘to punish the Christians for their disobedience’ by ‘secretly instigating or at least tacitly directing the fatal course of
) [5: Spinning] 30 July: Pale-blue, French long-wool, marked 45 , to be given for spinning: Mona Nanna d’Orlandino, who lives at Porta a Corte, 17 one bundle of 1lb 1oz. Was paid 12 October 7 s Mona Francesca di Guardino, in Roncolli, two bundles, each of 1lb 1oz. Was paid 31 August 12 s 8 d Mona Margherita di Tanbo, in
.2 ‘Gold Girl’, artist: Darren Siwes, from the series Oz Omnium Rex et Regina , 2008. (© Darren Siwes/Licensed by Viscopy, 2015/Courtesy GAGPROJECTS, Adelaide, South Australia
This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.
already been reminded of Narnia by other echoes, we might think back to the sad moment in The Lion, the Witch and the Wardrobe when a merry group of assorted woodland creatures, also enjoying an alfresco meal, are questioned and then turned to stone by the menacing white witch. The Wizard of Oz is yet another resonant intertext. Burton’s languidly charming White Queen and vindictive Red Queen have