English Researchhttps://hdl.handle.net/10023/692024-03-29T12:14:03Z2024-03-29T12:14:03Z‘Now playwrights could be got from the ranks of the working class’: Joe Corrie and the 1951 Edinburgh People’s FestivalLeith, Sarahhttps://hdl.handle.net/10023/177442019-05-24T02:06:12Z2019-04-01T00:00:00Z2019-04-01T00:00:00ZLeith, SarahFrom Montsou to Bowhill: Joe Corrie’s antecedentsHubbard, Tomhttps://hdl.handle.net/10023/177432019-05-24T02:06:12Z2019-04-01T00:00:00Z2019-04-01T00:00:00ZHubbard, TomJoe Corrie’s bairns. A role for Joe Corrie in the Scottish secondary curriculumHershaw, Williamhttps://hdl.handle.net/10023/177422019-05-24T02:06:12Z2019-04-01T00:00:00Z2019-04-01T00:00:00ZHershaw, WilliamThe Image o’ GodCrawford, Roberthttps://hdl.handle.net/10023/177412019-05-24T02:06:11Z2019-04-01T00:00:00Z2019-04-01T00:00:00ZCrawford, Robert'A lazy lout’. Joe Corrie and the heroism of labourBowd, Gavinhttps://hdl.handle.net/10023/177402019-05-24T02:06:11Z2019-04-01T00:00:00Z2019-04-01T00:00:00ZBowd, GavinThe political context of Joe Corrie’s In Time o’ StrifePetrie, Malcolmhttps://hdl.handle.net/10023/177392019-05-24T02:06:13Z2019-04-01T00:00:00Z2019-04-01T00:00:00ZPetrie, MalcolmModernism's traffic-sensePurdon, Jameshttps://hdl.handle.net/10023/171252024-02-17T00:41:24Z2017-02-22T00:00:00Z2017-02-22T00:00:00ZPurdon, JamesUnrecorded copies of Middle English verse and prose in Dublin, Trinity College, MS 352Connolly, Margarethttps://hdl.handle.net/10023/141772023-04-18T23:37:58Z2018-01-01T00:00:00ZThis article gives details of otherwise unrecorded copies of extracts from Walter Hilton's 'Scale of Perfection' and from 'Dives and Pauper' which occur in a sixteenth-century manuscript commonplace book, Dublin, Trinity College, MS 352. Some of the extracts may have been copied from printed sources.
2018-01-01T00:00:00ZConnolly, MargaretThis article gives details of otherwise unrecorded copies of extracts from Walter Hilton's 'Scale of Perfection' and from 'Dives and Pauper' which occur in a sixteenth-century manuscript commonplace book, Dublin, Trinity College, MS 352. Some of the extracts may have been copied from printed sources.A rebellious past : history, theatre and the England riotsHaddow, Samhttps://hdl.handle.net/10023/92472024-03-27T00:41:54Z2015-01-01T00:00:00ZAlain Badiou has argued that the England riots of 2011, in dialogue with societal upheavals around the world that same year, demonstrated fundamental crises in our governing social, economic and political discourses. Whilst institutional responses to the riots treated them as an aberration, Badiou believes them to be symptomatic of a broader rebirth of ‘history’ – the coalescing of past and present events into a congruent trajectory with powerful implications for the future. Using Badiou’s argument as a starting point, this article considers two theatrical responses to the riots – Nicholas Kent’s premiere of Gillian Slovo’s The Riots at the Tricycle, and Sean Holmes’ revival of Edward Bond’s Saved at the Lyric Hammersmith. By looking at the ways in which the productions sought to historicise the riots, I unpick both their interpretations of these events, and the contributions they were able to make to the urgent and ongoing discussions that the riots have generated.
2015-01-01T00:00:00ZHaddow, SamAlain Badiou has argued that the England riots of 2011, in dialogue with societal upheavals around the world that same year, demonstrated fundamental crises in our governing social, economic and political discourses. Whilst institutional responses to the riots treated them as an aberration, Badiou believes them to be symptomatic of a broader rebirth of ‘history’ – the coalescing of past and present events into a congruent trajectory with powerful implications for the future. Using Badiou’s argument as a starting point, this article considers two theatrical responses to the riots – Nicholas Kent’s premiere of Gillian Slovo’s The Riots at the Tricycle, and Sean Holmes’ revival of Edward Bond’s Saved at the Lyric Hammersmith. By looking at the ways in which the productions sought to historicise the riots, I unpick both their interpretations of these events, and the contributions they were able to make to the urgent and ongoing discussions that the riots have generated.An English lecturer, a palliative care practitioner, and an absent poet have a confabulationJones, ChrisMacpherson, Catrionahttps://hdl.handle.net/10023/46062023-04-25T23:38:26Z2014-07-09T00:00:00ZThe possibilities for developing the poet Douglas Dunn’s archive (which includes the drafts and manuscripts for his collection Elegies, dealing with the terminal illness and death of the poet’s wife from cancer) for therapeutic benefit are explored by an English lecturer (C.J.) and a palliative care practitioner (C.M.). This has led us to explore the potential benefit of this resource for health practitioners working with those affected by cancer and other life-limiting conditions. This article offers a “written conversation” (an acknowledged oxymoron of genre) about working with the themes of death and loss: a conversation which includes Douglas Dunn, who was not actually there. We reflect on the value of this “confabulation” as methodological inquiry, and its potential influence on practice. Thus, an example of “creative writing” (the confabulation) becomes a piece of research into methodology regarding the use of “creative writing” resources (the poetry archive) in palliative health care.
2014-07-09T00:00:00ZJones, ChrisMacpherson, CatrionaThe possibilities for developing the poet Douglas Dunn’s archive (which includes the drafts and manuscripts for his collection Elegies, dealing with the terminal illness and death of the poet’s wife from cancer) for therapeutic benefit are explored by an English lecturer (C.J.) and a palliative care practitioner (C.M.). This has led us to explore the potential benefit of this resource for health practitioners working with those affected by cancer and other life-limiting conditions. This article offers a “written conversation” (an acknowledged oxymoron of genre) about working with the themes of death and loss: a conversation which includes Douglas Dunn, who was not actually there. We reflect on the value of this “confabulation” as methodological inquiry, and its potential influence on practice. Thus, an example of “creative writing” (the confabulation) becomes a piece of research into methodology regarding the use of “creative writing” resources (the poetry archive) in palliative health care.Excavating the borders of literary Anglo-Saxonism in nineteenth-century Britain and AustraliaD'Arcens, LouiseJones, Chrishttps://hdl.handle.net/10023/33372023-04-18T09:46:41Z2013-12-01T00:00:00ZComparing nineteenth-century British and Australian Anglo-Saxonist literature enables a "decentered" exploration of Anglo-Saxonism's intersections with national, imperial, and colonial discourses, challenging assumption that this discourse was an uncritical vehicle of English nationalism and British manifest destiny. Far from reflecting a stable imperial center, evocations of 'ancient Englishness' in British literature were polyvalent and self-contesting, while in Australian literature they offered a response to colonization and emerging knowledge about the vast age of Indigenous Australian cultures.
2013-12-01T00:00:00ZD'Arcens, LouiseJones, ChrisComparing nineteenth-century British and Australian Anglo-Saxonist literature enables a "decentered" exploration of Anglo-Saxonism's intersections with national, imperial, and colonial discourses, challenging assumption that this discourse was an uncritical vehicle of English nationalism and British manifest destiny. Far from reflecting a stable imperial center, evocations of 'ancient Englishness' in British literature were polyvalent and self-contesting, while in Australian literature they offered a response to colonization and emerging knowledge about the vast age of Indigenous Australian cultures.While crowding memories came : Edwin Morgan, Old English and nostalgiaJones, Chrishttps://hdl.handle.net/10023/33192023-04-18T09:47:04Z2012-01-01T00:00:00Z2012-01-01T00:00:00ZJones, ChrisMarlowe and the GreeksRhodes, Neilhttps://hdl.handle.net/10023/25902023-04-25T23:35:18Z2013-01-01T00:00:00ZMarlowe's combination of lyric violence with a spirit of irony and scepticism has always seemed somewhat paradoxical, but we may find an explanation for it in his debt to Greek. Greek language learning developed in England from the early 1500s onwards and was particularly strong at Cambridge under Sir John Cheke in the 1540s, when many of the teachers of the future generation of Elizabethan writers were trained. In the case of Marlowe, what Joseph Hall was to label ‘pure iambics’ can be seen to have Greek origins, and the plays in which these are first deployed (the two parts of Tamburlaine) almost certainly take Xenophon's Cyrpopaiedia as one of their models. But the ironic Marlowe is also evident in Tamburlaine, and the model here is not Xenophon but Lucian, whom Gabriel Harvey records as being a vogue author with Cambridge students in 1580, the year that Marlowe matriculated. Lucian also impacts on Doctor Faustus, and this becomes more evident if we read the famous line on Helen of Troy from the Dialogues of the Dead in the context of another passage from ‘The Judgement of the Goddesses’ from Dialogues of the Gods.
2013-01-01T00:00:00ZRhodes, NeilMarlowe's combination of lyric violence with a spirit of irony and scepticism has always seemed somewhat paradoxical, but we may find an explanation for it in his debt to Greek. Greek language learning developed in England from the early 1500s onwards and was particularly strong at Cambridge under Sir John Cheke in the 1540s, when many of the teachers of the future generation of Elizabethan writers were trained. In the case of Marlowe, what Joseph Hall was to label ‘pure iambics’ can be seen to have Greek origins, and the plays in which these are first deployed (the two parts of Tamburlaine) almost certainly take Xenophon's Cyrpopaiedia as one of their models. But the ironic Marlowe is also evident in Tamburlaine, and the model here is not Xenophon but Lucian, whom Gabriel Harvey records as being a vogue author with Cambridge students in 1580, the year that Marlowe matriculated. Lucian also impacts on Doctor Faustus, and this becomes more evident if we read the famous line on Helen of Troy from the Dialogues of the Dead in the context of another passage from ‘The Judgement of the Goddesses’ from Dialogues of the Gods."No word for it" : Postcolonial Anglo-Saxon in John Haynes' Letter to PatienceJones, Chrishttps://hdl.handle.net/10023/22852024-03-11T00:40:56Z2010-01-01T00:00:00ZThis article examines a number of allusions to Old English, especially to the poem The Wanderer, in John Haynes’s award winning poem Letter to Patience (2006). A broad historical contextualisation of the use of Anglo-Saxon in modern poetry is offered first, against which Haynes’s specific poetic Anglo-Saxonism is then analysed in detail. Consideration is given to the sources – editions and translations – that Haynes used, and a sustained close reading of sections of his poem is offered in the light of this source study. The representation of English as an instrument of imperialism is discussed and juxtaposed with the use and status of early English to offer a long historical view of the politics of the vernacular. It is argued that Haynes’s poem, set partly in Nigeria, represents a new departure in the use it finds for Old English poetry, in effect constituting a kind of ‘postcolonial Anglo-Saxonism’.
2010-01-01T00:00:00ZJones, ChrisThis article examines a number of allusions to Old English, especially to the poem The Wanderer, in John Haynes’s award winning poem Letter to Patience (2006). A broad historical contextualisation of the use of Anglo-Saxon in modern poetry is offered first, against which Haynes’s specific poetic Anglo-Saxonism is then analysed in detail. Consideration is given to the sources – editions and translations – that Haynes used, and a sustained close reading of sections of his poem is offered in the light of this source study. The representation of English as an instrument of imperialism is discussed and juxtaposed with the use and status of early English to offer a long historical view of the politics of the vernacular. It is argued that Haynes’s poem, set partly in Nigeria, represents a new departure in the use it finds for Old English poetry, in effect constituting a kind of ‘postcolonial Anglo-Saxonism’.Living in the past : Thebes, periodization, and The Two Noble KinsmenDavis, Alexander Leehttps://hdl.handle.net/10023/18522023-04-18T09:40:36Z2010-01-01T00:00:00ZOur sense of the distinction between the "medieval" and the "early modern" is structured by two notions: that the early modern period is characterized by the death of a chivalric culture that is dominant in the medieval period; and that the early modern is distinguished from the medieval by its superior historical self-awareness. This essay reassesses these themes through a reading of Shakespeare and Fletcher's The Two Noble Kinsmen (1634). This is a play of knighthood and chivalric spectacle, adapted from Chaucer's Knight's Tale, which brings Chaucer on stage in the play's prologue. Reading the play through a tradition of "Theban" narratives that proliferated from antiquity through the Middle Ages shows that the representation of chivalric culture in The Two Noble Kinsmen constructs a vision of the past very different from how modern accounts distinguish between medieval and early modern cultures.
2010-01-01T00:00:00ZDavis, Alexander LeeOur sense of the distinction between the "medieval" and the "early modern" is structured by two notions: that the early modern period is characterized by the death of a chivalric culture that is dominant in the medieval period; and that the early modern is distinguished from the medieval by its superior historical self-awareness. This essay reassesses these themes through a reading of Shakespeare and Fletcher's The Two Noble Kinsmen (1634). This is a play of knighthood and chivalric spectacle, adapted from Chaucer's Knight's Tale, which brings Chaucer on stage in the play's prologue. Reading the play through a tradition of "Theban" narratives that proliferated from antiquity through the Middle Ages shows that the representation of chivalric culture in The Two Noble Kinsmen constructs a vision of the past very different from how modern accounts distinguish between medieval and early modern cultures."One can emend a mutilated text": Auden's The Orators and the Old English Exeter BookJones, Chrishttps://hdl.handle.net/10023/6472019-03-29T15:59:53Z2002-01-01T00:00:00ZThis article argues that Book I of Auden's 1931 work 'The Orators' does not merely allude to poems in the Old English Exeter Book as source material, but that it participates in a medievalist model of textual production. Auden's poem performs acts analogous to those such as 'compliatio' and 'ordinatio', and deliberately misrepresents and distorts its source texts even as it alludes to them in order to make a point about the transmission and corruption of canonical texts. In addition, some source material is identified here for the first time.
2002-01-01T00:00:00ZJones, ChrisThis article argues that Book I of Auden's 1931 work 'The Orators' does not merely allude to poems in the Old English Exeter Book as source material, but that it participates in a medievalist model of textual production. Auden's poem performs acts analogous to those such as 'compliatio' and 'ordinatio', and deliberately misrepresents and distorts its source texts even as it alludes to them in order to make a point about the transmission and corruption of canonical texts. In addition, some source material is identified here for the first time."One a Bird Bore Off": Anglo-Saxon and the elegiac in The Cantos'Jones, Chrishttps://hdl.handle.net/10023/6462019-03-29T15:59:56Z2001-01-01T00:00:00ZThis article provides an explanation and context for Pound's quotation from the Old English poem 'The Wanderer' at the start of 'Canto 27' and discusses the previously unacknowledged stylistic and rhythmical debts to Old English in 'Canto 28'. The article argues that Pound sees this 'saxonist' style specifically as elegiac and deploys it accordingly.
2001-01-01T00:00:00ZJones, ChrisThis article provides an explanation and context for Pound's quotation from the Old English poem 'The Wanderer' at the start of 'Canto 27' and discusses the previously unacknowledged stylistic and rhythmical debts to Old English in 'Canto 28'. The article argues that Pound sees this 'saxonist' style specifically as elegiac and deploys it accordingly.Knight or Wight in Keats's 'La Bella Dame'?: An Ancient Ditty ReconsideredJones, Chrishttps://hdl.handle.net/10023/6452019-03-29T15:59:58Z2005-01-01T00:00:00ZThis article re-examines the various processes of textual transmission for Keats's 'La Belle Dame sans Merci', which have resulted in two 'competing' texts of the poem. It argues that a medieval model of textual production offers a strategy for dealing with this circumstance, and that, approached in this way, there is no need to resolve the textual 'problem' that the poem poses.
2005-01-01T00:00:00ZJones, ChrisThis article re-examines the various processes of textual transmission for Keats's 'La Belle Dame sans Merci', which have resulted in two 'competing' texts of the poem. It argues that a medieval model of textual production offers a strategy for dealing with this circumstance, and that, approached in this way, there is no need to resolve the textual 'problem' that the poem poses.