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Jonathan Smyth

5 Financing a national festival Prior to the celebrations of the Festival of the Supreme Being, the question of who was responsible for the finances of a festival was reasonably clear. Since all the great national festivals, from the first Fête de la Fédération in 1790 through to the Fête de la Réunion in 1793, were essentially celebrations in the capital they were financed by central government through the annual allocation of funds to the Committee of Public Education.1 Any city which decided to emulate the capital and hold its own festival to coincide with a

in Robespierre and the Festival of the Supreme Being
Abstract only
Jonathan Smyth

7 After the Festival Letters of congratulation and support on the Festival continued to flow into Paris until well after the actual celebrations of 20 Prairial. After the overwhelmingly positive reception which the Festival had received throughout France, there seemed to be a clear expectation that the period after the 20 Prairial would see at least some form of mitigation of the Terror, if not a general amnesty. The only question was when and how these expectations would be fulfilled. On the day after the Festival the Convention voted to have the speeches

in Robespierre and the Festival of the Supreme Being
Jonathan Smyth

6 Contemporary comments on the Festival Any attempt to evaluate the genuine reaction of the people of France to the celebrations of 20 Prairial must rely on an evaluation of the evidence provided by contemporary reports and commentaries, for which there are varying sources. Some of these are official versions of the proceedings at an individual local festival, normally submitted by the local administration, while others are more personal accounts, written by people who were present at the celebrations of the Festival, either in Paris or in the provinces. These

in Robespierre and the Festival of the Supreme Being
Trish McTighe
Kurt Taroff

Festivals are quite often the scenes through which ideas of nation, cultural value and the literary canon are negotiated, as Brian Singleton has remarked about Irish festival practices ( 2004 : 259), and these factors can heavily influence the festival's capacity or appetite for adaptation. The festivals we examine in this chapter demonstrate the tensions that exist between reverence for and the preservation of canonical or classical work of highly regarded authors on the one hand, and the need to continually breathe life into such work on the

in Beckett’s afterlives
Sarah Easen

T HE FESTIVAL OF Britain, from 3 May to 30 September 1951, aimed to provide respite from the effects of World War II by celebrating the nation’s past achievements in the arts, industry and science, as well as looking hopefully to a future of progress and prosperity. It marked the halfway point of the century, a natural moment at which to take stock and examine advances in British society. The

in British cinema of the 1950s
Nicholas Royle

Hello everyone. I don’t know if it’s Good morning or Good night. No matter. I’d like to warmly welcome you to ‘Memory of a free festival’, the first in this farewell lecture series. Farewell lectures indeed! You are all familiar with trigger and content warnings. I hereby issue as many as you care to imagine. You may think I’m joking, but please note the possibility of being offended, disturbed, reduced to tears or terrified at any time. What did you want to study literature for otherwise

in David Bowie, Enid Blyton and the sun machine
‘This Door is Shut’
Ruvani Ranasinha

It was always immigration and the social experiment that interested me rather than the homeland. Diary 2012 Twenty-eight years after he last visited Pakistan, Kureishi, now 57, flew into Karachi on 10 February 2012 to speak at the Karachi Literary Festival. Now in its third annual incarnation, the glamorous, high-profile cultural event, which offered free talks, readings and workshops with mostly Pakistani

in Hanif Kureishi
Rebecca Binns

to prove pivotal to the political and creative direction that Vaucher took. Running alongside this shift in the counterculture was the development of the free festivals movement, and it was here that the anarcho-pacifist ideas that had gained ground during the 1950s and 1960s would make a decisive impact. Influential figures in the free festival scene had come from anarchist factions within the peace movement. For example, the controversial figure, Sid Rawle, aka Sidney William (1945–2010), had a background in the London squatting scene, and was

in Gee Vaucher
Bulletin of the John Rylands Library
Bulletin of the John Rylands Library