Sarah Easen

such as North Sea (1938), sturdy educational films such as Gaumont-British Instructional’s Downlands (1936) and, of course, the Festival films Forward a Century and Family Portrait . 17 Finally, if Festival visitors had not tired of the medium, they could purchase colour 16mm film of Britain’s historic buildings and pageantry and filmstrips of the Festival of Britain and London as souvenirs

in British cinema of the 1950s
Open Access (free)
Unearthing the truth in Patrick O’Keeffe’s The Hill Road
Vivian Valvano Lynch

tried to woo her away from Jack’s father, and had lived to lament his failure. Within days, Jack’s mother is dead, and we are left wondering whether her final memories were true or merely the fantasies of a drifting mind. Because of a jarring ellipsis, he, and we, will never know. Particularly vivid at the novella’s close are the series of epiphanic moments that Jack experiences. A neosophisticate Dubliner now, Jack has come to look down on the old ways at his mother’s wake: She was gone. Her blood was. And all this pageantry. To have to endure it. Just so that others

in Irish literature since 1990
Open Access (free)
Rodney Barker

sees the person as the recipient but never the provider or creator of identity and its ingredients. Architecture both composes human character and is deliberately produced by it. The assumption that social order and architectural order can sustain one another has been held by builders, designers, and planners in advance of any academic account, and later academic observation follows on from the working assumptions of earlier architects, planners, politicians, and reformers. In Augustus’s Rome, the pageantry of the living and of the dead was both

in Cultivating political and public identity
Antony and Cleopatra and visual musical experience
Simon Smith

–66. 30 The sole early textual witness to Antony and Cleopatra is the 1623 Folio, in which all the stage directions I consider are present. 31 Jonathan Dollimore, Radical Tragedy (Brighton: Harvester, 1984), pp. 206–15. 32 Antony and Cleopatra, ed. by Michael Neill, The Oxford Shakespeare (Oxford: Oxford University Press, 1994), p. 278n. See also Michael Neill, ‘“Exeunt with a Dead March”: Funeral Pageantry on the Shakespearean Stage’, in Pageantry in the Shakespearean Theater (Athens, GA: University of Georgia Press, 1985), pp. 153–93; Issues of Death: Mortality and

in The senses in early modern England, 1558–1660
Open Access (free)
A locus for fantasy
Katherine Aron-Beller

community and about attempts to break boundaries, or erase lines people draw between themselves and their neighbours. The Jews during Lent were forbidden to watch any Christian processions in the street, the issue being that, by seeing or hearing Eucharistic processions, they defiled them.127 But at the same time, these Eucharistic Lenten processions were pageantry of sorts for the Christians and it could well be that the Jews felt the need to create their own imitation pageantry, in the form of entertainment and songs on the swing. Their imitation of the ciarlatano – a

in Jews on trial
Rachel E. Hile

court masques during the Jacobean period serves as a further example of this ideological and religious divide, as dramatists with allegiance to Puritan-leaning Protestantism tended to contribute to civic pageantry instead of to court-centered theatricals. Middleton firmly allied himself with this group through his seven mayoral pageants and his work, beginning in 1620, as official Chronologer of the City of London (Bergeron, English Civic Pageantry, 179). Margot Heinemann adduces Middleton’s 1620 dedication of The Marriage of the Old and New Testament, or God

in Spenserian satire
Chloe Porter

’. 10 See Tracey Hill, Pageantry and Power: A Cultural History of the Early Modern Lord Mayor’s Show, 1585–1639 (Manchester: Manchester University Press, 2010), pp. 76–7; see also Tittler, ‘Buckett, Rowland’. 11 F. P. Wilson and R. F. Hill (eds

in Making and unmaking in early modern English drama
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Association and distinction in politics and religion
Rodney Barker

. 43 Edelman, ‘Space’, 2. 44 R. K. Narayan, My Dateless Diary: An American Journey (New Delhi: Penguin Books India, 1988), p. 40. 45 Beacham, Power into Pageantry , p. 50

in Cultivating political and public identity
Open Access (free)
Elleke Boehmer

pertains whether we look at the arena of postcolonial national politics – at national pageantry, presidential cavalcades, garlanded grandstands – or, as in this book Stories of Women, within the somewhat more secluded spaces of national literatures and the writing of the nation. Gender, the nation and postcolonial narrative As in the cross-section of a tree trunk that is nowhere unmarked by its grain – by that pattern expressing its history – so, too, is the nation informed throughout by its gendered history, by the normative masculinities and femininities that have

in Stories of women
Gender and nationalism in the early fiction of Flora Nwapa
Elleke Boehmer

distinctions are not merely superficial. On the contrary, as in the chapter on Ngugi, nationalism, whether as ideology or as political movement, configures and consolidates itself through a variety of deeply embedded gender-specific structures. The idea of nationhood bears a masculine identity although some national ideals may wear a feminine face. Such gender tags are clearly illustrated, for example, in the iconographies the nation cherishes. In the literature, rhetoric and pageantry of nations, as in nationalist politics and political structures, it is a male figure who is

in Stories of women