Search results

You are looking at 1 - 10 of 82 items for :

  • "nursery rhyme" x
  • Refine by access: All content x
Clear All
Melodrama, Mystery, and the Nightmare of History in Jessie Fauset‘s Plum Bun
Charles Scruggs

This essay discusses how African-American novelist Jessie Fauset used the Gothic motif of a hidden history to critique the melodramatic happy ending of her best novel, one set in New York city in the 1920s. What undermines the ‘moral legibility’ of melodrama is the Gothic implications of an unsolved crime in the past, one that, ironically, continues to haunts the ‘New Negro’ of the Harlem Renaissance who claims to have reinvented him or herself in the modern city.

Gothic Studies
Queens & Kings and Other Things
Roger Sabin

’, even if they were taking the 1860s template in a new direction.) Most had some kind of didactic dimension, ranging from ABC books for younger readers, to topics involving history, geography, science and maths for school-age children. Nursery rhymes and fairy tales had their own educational function, as did adventure stories. Such publications attracted a supplementary audience of adult fans – which is to say, not just adults who bought the books for children (or read aloud to them), but adults who loved the books per se. This served to nuance

in Marie Duval
Abstract only
Peter Barry

. 48–9), and that it is found in ‘nursery rhymes, weather saws and so on’ (p. 49). The essential difference between sprung rhythm and the more traditional metrical patterns we have been discussing is that whereas metrical verse has a fixed number of stresses and a fixed number of syllables, in sprung rhythm the number of syllables can vary but the number of stresses is fixed. Hopkins himself, in his Notebooks, sees sprung rhythm as the basis of nursery rhyme, as in these well known opening lines: Ding / Dong / Bell /  Pussy’s / in the / well /  Who / put him / in

in Reading poetry
Author: Laura Varnam

The church as sacred space places the reader at the heart of medieval religious life, standing inside the church with the medieval laity in order to ask what the church meant to them and why. It examines the church as a building, idea, and community, and explores the ways in which the sanctity of the church was crucial to its place at the centre of lay devotion and parish life. At a time when the parish church was facing competition for lay attention, and dissenting movements such as Lollardy were challenging the relevance of the material church, the book examines what was at stake in discussions of sanctity and its manifestations. Exploring a range of Middle English literature alongside liturgy, architecture, and material culture, the book explores the ways in which the sanctity of the church was constructed and maintained for the edification of the laity. Drawing on a wide range of contemporary theoretical approaches, the book offers a reading of the church as continually produced and negotiated by the rituals, performances, and practices of its lay communities, who were constantly being asked to attend to its material form, visual decorations, and significance. The meaning of the church was a dominant question in late-medieval religious culture and this book provides an invaluable context for students and academics working on lay religious experience and canonical Middle English texts.

Abstract only
Author: Steve Blandford

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

Der Blaue Reiter and its legacies
Author: Dorothy Price

This book presents new research on the histories and legacies of the German Expressionist group, Der Blaue Reiter, the founding force behind modernist abstraction. For the first time Der Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception, to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century, and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Der Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.

Abstract only
Editor: Gregory Vargo

The first collection of its kind, Chartist Drama makes available four plays written or performed by members of the Chartist movement of the 1840s. Emerging from the lively counter-culture of this protest campaign for democratic rights, these plays challenged cultural as well as political hierarchies by adapting such recognisable genres as melodrama, history plays, and tragedy for performance in radically new settings. A communal, public, and embodied art form, drama was linked for the Chartists with other kinds of political performance: the oratory of the mass platform, festival-like outdoor meetings, and the elaborate street theatre of protest marches. Plays that Chartists wrote or staged advanced new interpretations of British history and criticised aspects of the contemporary world. And Chartist drama intervened in fierce strategic arguments within the movement. Most notably, poet-activist John Watkins’s John Frost, which dramatises the gripping events of the Newport rising of 1839, in which twenty-two Chartists lost their lives, defends the rebellion and the Chartist recourse to violence as a means for the movement to achieve its aims. The volume’s appendices document over one hundred Chartist dramatic performances, staged by activists in local Chartist associations or at professional benefits at some of London’s largest working-class theatres. Gregory Vargo’s introduction and notes elucidate the previously unexplored world of Chartist dramatic culture, a context that promises to reshape what we know about early Victorian popular politics and theatre.

Katharine Conley

scheme of a human being's experience of the world? Sage slyly reverses the assumption in ‘Funeral in Milan’ – that the purpose of cows is to feed humans – in her nursery-rhyme-like ‘Vive la vache’ (‘Long Live the Cow’), from her final volume Mordicus (1962), illustrated by Dubuffet and hand-set and published by his friend Pierre-André Benoît, in which she once again ties together the life cycles of animals and humans. The title of this collection, Mordicus , an adverb meaning ‘obstinately’, plays on the French verb meaning ‘to bite’, ‘mordre

in Surrealist women’s writing
Melanie Keene

Anon., ‘Noah's Ark’, St Nicholas (April 1903). 49 Anon., ‘Nursery rhymes’. 50 Anon., A Picture-book for a Noah's Ark , [p. v]. 51 Ibid

in Pasts at play
Abstract only
Scott Wilson

from traditional nursery rhymes: ‘Nursery rhymes are said, verses in my head / Into my childhood they’re spoonfed / Hidden violence revealed, darkness that seems real / Look at the pages that cause all this evil’ (1994). While these lyrics are clearly remarkable in the context of the heavy metal tradition, they are amplified by an equally remarkable vocal performance that is supported by a hammer-thumb funk bass powering an atonal seven-string twin-guitar attack. But, as Tommy Udo suggests, it was Davis’s voice that was the band’s ‘unique selling-point’, a voice that

in Great Satan’s rage