Search results

You are looking at 1 - 10 of 612 items for :

  • Refine by access: All content x
Clear All
Rowland Wymer

interesting questions about Owen’s poetry, Britten’s incorporation of it into a Requiem Mass, and Jarman’s filming of this material. The key word here is ‘decorum’. When working with culturally respected material, and the work of both Owen and Britten had already achieved a ‘classic’ status, Jarman’s normal approach involved a certain amount of calculated irreverence and quirkiness. The eruption of the flamboyant

in Derek Jarman
Open Access (free)
Lewis Hine’s Photographs of Refugees for the American Red Cross, 1918–20
Sonya de Laat

Pordenone showing girl of nineteen between two women of sixty-four (in front) and seventy-four (behind)’ ( Kaplan, 1988 ) depicts the administration refugees were subjected to, but also their discipline and decorum. Often expressing hope or at least positive qualities of perseverance and ingenuity, Hine did not deny that the experiences of refugees were without perils and sorrow. In one pieta-style photograph, the caption references the starvation and death of ‘many children’ over the course of the previous three years, with the most recent two deaths having taken place

Journal of Humanitarian Affairs
The British Experience
Author: Ronald Hyam

This book tries to show how sexual attitudes and activities influenced the lives of the imperial elite as well as the subjects of empire. It begins with an examination of the nature of sexuality and of its influence on individuals. The book argues that sexual dynamics crucially underpinned the whole operation of British empire and Victorian expansion. Sexual needs can be imperative, and people will go to extraordinary lengths to satisfy them. The book considers the behaviour of members of the imperial ruling elite, and examines their attitude to marriage and the relationship between their private lives and service of the empire. It looks at sexual opportunity in some different types of imperial situation, both formal and informal, in an attempt to see how sexual interaction underpinned the operative structures of British expansion. As the keeping of mistresses was not uncommon in eighteenth-century Britain, the keeping of a mistress in British India became a well-established practice. Europeans in India could flirt outrageously, but they must not fall in love or marry. To keep the women free from disease, Indian prostitutes were admitted to the cantonments, to the lal bazar after medical examination and registration, where they were given periodical checks. Official reaction against sexual opportunism began in earnest with the Purity Campaign launched in 1869, which changed the visible face of British life and attitudes. Undoubtedly there was thereafter more decorum, more chastity, less opportunity and less fun.

Elizabeth Fowler

Decorum and social person For the various rhetorical genres, one standard is the moral goodness demanded by Cicero and Quintilian, who called for rhetor-statesmen with profound knowledge of and lived experience of moral goodness. Another standard is the truth and justice

in Shakespeare and Scotland
The abjection of the Middle Ages
Thomas A. Prendergast and Stephanie Trigg

to wall the scholarly study of the medieval off from the thrilling, dark, tortuous atavism of popular medievalism. In contrast to the well-established decorums and rules of academic scholarship, medievalism can range wildly in attitudes to historical truth, from the scrupulous research of re-enactors into medieval costume, images from medievalist film and fiction, to the lazy and inflammatory

in Affective medievalism
Abstract only
Advertising and the property market
Conor Lucey

marketed and sold their properties, principally through the medium of the newspaper. Beginning with an account of real estate advertising in the eighteenth and early nineteenth centuries, the focus is on how builders advertised their own property portfolios and negotiated the language of auctioneers and other polite retailers. Particular consideration is given to how issues such as location, quality of structural and decorative finish, convenience and decorum were reflected in, and dependent on, the socio-​ economic order in cities across the Atlantic world. While a well

in Building reputations
Indira Ghose

, and for the moment keeps one from remembering those vexing troubles of which our life is full’ (2.45; pp. 105–6). Indeed, the art of correct jesting is an essential skill to acquire and hone in courtly society. By no means, however, must the courtier descend to the level of a professional buffoon who knows no bounds of decorum but attempts to move his audience to laughter irrespective of time and place (2.50; p

in Shakespeare and laughter
Abstract only
The carnival as structuring motif
Sue Harris

focus on grotesque bodily symbolism, and attacks on social decorum. A generalised sense of the ludic, signalled in recurrent displays of verbal and physical contempt for systems of authority, respect and order, dominates in both the dramatic content and narrative structures of the films. This is explored explicitly in the social companionship, active fraternity and sexual consent that is the basis of all the central

in Bertrand Blier
Rachel E. Hile

’s disgusting parodies of Spenserian images and language from The Faerie Queene, which serve to contrast his own aggressive indecorousness with Spenser’s famous decorum, suggest the satirist’s impatience with the epic poet. Theories of literary interconnectedness Itamar Even-Zohar’s ideas on literary “interference” (i.e., influence), his conception of literature as a “polysystem” of numerous connected systems, and his ideas of center/periphery and canonical/noncanonical provide less historically and ideologically weighted perspectives on the complexity and connectedness of

in Spenserian satire
Abstract only
Shadowlands (1993), In Love and War (1996) and Closing the Ring (2007)
Sally Dux

may be termed a ‘male weepie’ as it openly exposes male feelings to the audience. This was in direct contrast to the reserve and restraint of emotions that British cinema had embraced in the past. Brief Encounter (David Lean, 1945), the story of a romantic relationship between two already married people, gives no outward display of emotion as decorum dictated at the time, with both characters remaining equally restrained. A similar restraint is detected in the original version of The Browning Version (Anthony Asquith, 1951) where Michael Redgrave is seen to break

in Richard Attenborough