Search results

You are looking at 1 - 10 of 620 items for :

  • "This Life" x
  • Refine by access: All content x
Clear All
E.A. Jones

confessions, granting absolution and enjoining penance, whenever his fellow hermit asks you; and moreover, that when, by divine disposition, the aforesaid recluse shall depart this life, he may be buried in the church of Aller, or the cemetery of the same, or wherever else (in consecrated ground) he chooses to have his burial. We, wishing to look

in Hermits and anchorites in England, 1200–1550
Abstract only

This is a book-length study of one of the most respected and prolific producers working in British television. From ground-breaking dramas from the 1960s such as Up the Junction and Cathy Come Home to the ‘must-see’ series in the 1990s and 2000s such as This Life and The Cops, Tony Garnett has produced some of the most important and influential British television drama. This book charts his career from his early days as an actor to his position as executive producer and head of World Productions, focusing on the ways in which he has helped to define the role of the creative producer, shaping the distinctive politics and aesthetics of the drama he has produced, and enabling and facilitating the contributions of others. Garnett's distinctive contribution to the development of a social realist aesthetic is also examined, through the documentary-inspired early single plays to the subversion of genre within popular drama series.

Abstract only
Johanna Kramer

identify in this study. In the Introduction, I drew attention to a different model of imagining the significance of the Ascension and of explaining its theology: Cynewulf’s metaphor of the ‘sea of this life’ at the conclusion of Christ II (ll. 850–66). Cynewulf imagines life as a storm-tossed journey across the sea. While Christians in life sail across perilous waters, hope and faith are the mental anchors that can connect the violently moving boats to a safe harbour, that is, the stability of heaven, before the boats can be safely brought into the harbour at the end

in Between earth and heaven
Afterlife vision and redemption in the work of John McGahern
Catriona Clutterbuck

, I will argue that this is because, for McGahern, the alterity of the afterlife – understood as a separate sphere which is also radically open to this life – allows him to re-centre our attention away from transcendence and towards redemption.4 These reconfigured relations are facilitated by two-way traffic between real and ideal in his thought, with significant consequences not just locally for the integrity of his art, but more broadly for our capacity for love of each other and the world. Fergal Casey has argued that McGahern’s vision in his final novel, That

in John McGahern
Abstract only
Thomas Linehan

remembered their dead. In the course of doing so, it will look at the communist ‘Red Funeral’, its meaning, ritual, symbolism and place within the CPGB’s narrative of mourning and remembrance. British communists fell in combat, as well as at the point of production in the struggle with ‘rapacious’ capitalism, as in the Spanish Civil War in the fight against fascism, capitalism’s supposedly darker, murderous alter ego. This life or death struggle against fascism beyond Britain’s shores would add many martyred communist deaths to the CPGB’s ‘Roll of Honour’, not all of them

in Communism in Britain 1920–39
David Geiringer

to familial duties. As the following chapter demonstrates, this modern life-cycle stage was of particular significance for the sexual and religious development of married Catholic women in post-war England. Later marriage broadly denotes the years of sexual activity that came after the daily demands of childrearing had diminished. 2 The parameters of this life

in The Pope and the pill
Abstract only
Sue Vice

Little England 2 Your Name’s Not God, It’s Edgar (1968), Another Sunday and Sweet F.A. (1972), Mr Ellis Versus the People (1974) and There’ll Almost Always be an England (1974) Rosenthal wrote a series of single plays for Granada in the 1970s, each of which has a clearly defined scenario and depends for its humour on a particular notion of British life. This life is characterised by people’s self-delusions, aspirations and small-scale concerns as set against such institutions as English amateur football, the legacy of Empire, and democracy itself. In this

in Jack Rosenthal
Stephen Lacey

been the renewable drama series, and it is these that have achieved the highest profile and, perhaps paradoxically, that provide the clearest link to Garnett’s earlier work and connect most directly to contemporary social and political concerns. These include: the police dramas Between the Lines (BBC1 1992), The Cops (BBC2 1998–2001) and Murder Prevention (Five 2004–05); the ‘soap dramas’ This Life (BBC2 1996–97), Ballykissangel (BBC1 1996–2001) – although very different, these are probably the two most popular series World has produced – and Attachments (BBC2 2000

in Tony Garnett
Abstract only
Kuba Szreder

's situation. But this art must go beyond what prevails as art and integrate itself with the collective struggle of life today to recover its true social function and become a radical force of the twenty-first century (…) It is in fact artistic imagination, not art objects, which once freed from the self- destructive narcissist ego, can enter this life and offer it not only salvation but put it on the path to a better future (Araeen 2010 : 158). Precisely because I agree with their

in The ABC of the projectariat