This book reveals the ideas behind the Beat vision that influenced the Beat sound of the songwriters who followed on from them. Having explored the thinking of Alan Watts, who coined the term ‘Beat Zen’, and who influenced the counterculture that emerged out of the Beat movement, it celebrates Jack Kerouac as a writer in pursuit of a ‘beatific’ vision. On this basis, the book goes on to explain the relevance of Kerouac and his friends Allen Ginsberg and Gary Snyder to songwriters who emerged in the 1960s. Not only are detailed readings of the lyrics of the Beatles and of Dylan given, but the range and depth of the Beat legacy within popular song is indicated by way of an overview of some important innovators: Jim Morrison, Joni Mitchell, Leonard Cohen, Donovan, the Incredible String Band, Van Morrison and Nick Drake.
This book explores the history of the spy and conspiracy genres on British television, from 1960s Cold War series through 1980s conspiracy dramas to contemporary 'war on terror' thrillers. It analyses classic dramas including Tinker Tailor Soldier Spy, Edge of Darkness, A Very British Coup and Spooks. The analysis is framed by the notion that the on-screen depiction of intelligence services in such programmes can be interpreted as providing metaphors for broadcasting institutions. Initially, the book is primarily focused on espionage-themed programmes produced by regional franchise-holders for ITV in late 1960s and 1970s. Subsequently, it considers spy series to explore how many standard generic conventions were innovated and popularised. The relatively economical productions such as Bird of Prey demonstrated a more sophisticated treatment of genre conventions, articulated through narratives showing the collapse of standard procedure. Channel 4 was Britain's third and final broadcaster to be enshrined with a public service remit. As the most iconic version of the television spy drama in the 1960s, the ITC adventure series, along with ABC's The Avengers, fully embraced the formulaic and Fordist tendencies of episodic series in the US network era. However, Callan, a more modestly resourced series aimed more towards a domestic audience, incorporated elements of deeper psychological drama, class tension and influence from the existential spy thrillers. The book is an invaluable resource for television scholars interested in a new perspective on the history of television drama and intelligence scholars seeking an analysis of the popular representation of espionage.
Literary Visions of Multicultural Ireland is the first full-length monograph in the market to address the impact that Celtic-Tiger immigration has exerted on the poetry, drama and fiction of contemporary Irish writers. The book opens with a lively, challenging preface by Prof. Declan Kiberd and is followed by 18 essays by leading and prestigious scholars in the field of Irish studies from both sides of the Atlantic who address, in pioneering, differing and thus enriching ways, the emerging multiethnic character of Irish literature. Key areas of discussion are: What does it mean to be ‘multicultural,’ and what are the implications of this condition for contemporary Irish writers? How has literature in Ireland responded to inward migration? Have Irish writers reflected in their work (either explicitly or implicitly) the existence of migrant communities in Ireland? If so, are elements of Irish traditional culture and community maintained or transformed? What is the social and political efficacy of these intercultural artistic visions? While these issues have received sustained academic attention in literary contexts with longer traditions of migration, they have yet to be extensively addressed in Ireland today. The collection will thus be of interest to students and academics of contemporary literature as well as the general reader willing to learn more about Ireland and Irish culture. Overall, this book will become most useful to scholars working in Irish studies, contemporary Irish literature, multiculturalism, migration, globalisation and transculturality. Writers discussed include Hugo Hamilton, Roddy Doyle, Colum McCann, Éilís Ní Dhuibhne, Dermot Bolger, Chris Binchy, Michael O'Loughlin, Emer Martin, and Kate O'Riordan, amongst others.
‘Vision music’: Bob Dylan via
Jack Kerouac and Allen Ginsberg
In October 1975, Allen Ginsberg and the songwriter Bob Dylan visited
the grave of Jack Kerouac. They had stopped off at the Edson Cemetery, Lowell, Massachusetts during the course of Dylan’s tour of the
east coast of the United States. He called the tour ‘The Rolling Thunder
Revue’, this name being an allusion in general to the ‘freewheeling’,
unplanned nature of the enterprise, and in particular to a Cherokee
medicine man called Rolling Thunder, who had become
This book is a study of cultural memory in and of the British Middle Ages. It works with material drawn from across the medieval period – in Old English, Middle English and Latin, as well as material and visual culture – and explores modern translations, reworkings and appropriations of these texts to examine how images of the past have been created, adapted and shared. It interrogates how cultural memory formed, and was formed by, social identities in the Middle Ages and how ideas about the past intersected with ideas about the present and future. It also examines how the presence of the Middle Ages has been felt, understood and perpetuated in modernity and the cultural possibilities and transformations this has generated. The Middle Ages encountered in this book is a site of cultural potential, a means of imagining the future as well as imaging the past. The scope of this book is defined by the duration of cultural forms rather than traditional habits of historical periodization and it seeks to reveal connections across time, place and media to explore the temporal complexities of cultural production and subject formation. It reveals a transtemporal and transnational archive of the modern Middle Ages.
This book offers a ground-breaking perspective on how imperial culture was disseminated. It draws on a consistent set of themes that influenced urban life between 1870 and 1939, in addressing the impact of imperialism on popular culture of the British society. The book identifies the important synergies that grew between a new civic culture and the wider imperial project. It explores the local and imperial nexus and whether imperial wars in the far reaches of the British Empire were translated into tangible localised issues. The book examines the role of volunteerism, patriotism and citizen-soldier relationships through two important conflicts, the Boer War and First World War. Drawing on a rich seam of primary sources from Portsmouth, Coventry and Leeds, case studies are considered against an extensive analysis of seminal and current historiography. The evidence drawn suggests that differing social, political and cultural contexts helped determine both a community's civic identity and, significantly, its engagement with national and imperial perspectives. University and religious settlements such as the High Anglican Oxford House, Toynbee Hall and the Oxford House Movement run by Anglo-Catholic slum priests exposed men to a life of service towards their imperial mission. The schooling experience of working-class children in these cities focused on curriculum, physical exercise, and extra-curricular activities. The ebb and flow of imperial enthusiasm was shaped through a fusion of local patriotism and a broader imperial identity. Imperial culture was neither generic nor unimportant but was instead multi-layered and recast to capture the concerns of a locality.
3049 Experimental British Tele
Visions: a Channel 4 experiment 1982–85
Any experiment in broadcast television is forced to come to terms with the
overarching structures of television as it is lived at a specific time. The
broadcast model has dominated television since its inception. So any work
that seeks to further another form of television (that is, not that of broadcasting) is, by definition, an experiment. The structures of broadcasting are
those of the schedule, intimately linked to the rituals and habits of the
The battle for consensus in A Very British Coup (Channel 4, 1988)
. And among the patient charge of the poor and the sick and the
dispossessed there was great rejoicing. And behold, they looked at
the rulers of the land, the ageing city slickers from fifth-rate public
schools, and they said … ‘gotcha’!
The victory of a socialist Labour government is therefore sited in
an imagined popular disenchantment with the dominant political
culture of the 1980s, and furthermore a reformed social-democratic
consensus to reclaim the country on behalf of the economically
Figure 5.1 A Very British Coup. Socialist Labour
I’m not a good witness about that stuff, about my own creative
biography. The big thing for me was I was loaded when I was doing
NYPD Blue, and I got sober. And I think that accounts for a lot of the
It is unlikely that David Milch’s name would have become as prominent as it did in the 2000s on the strength of NYPD Blue alone. John
Wells, a magnificent writer and producer who created ER, certainly
did not enjoy the same critical approbation that auteur-like figures
attract, and Denis Dutton’s astute observation that human beings
reason expressed by similitude, types, parables, visions and dreams’.
Sir Herbert Baker, ‘Symbolism in Art’ 1
In the nineteenth century the City of London became
the undisputed centre of a world trading system that, although always wider than the formal
British empire, was nonetheless indelibly marked by that imperial space. As the monetary hub
of empire, and as a focal point for commodity trade, the City functioned as the clearing
house of the world economy, orchestrating trade and capital flows