individuals and markets, plus a belief in the virtue of local communities and civil society that underpins the ‘civic conservatism’ of David Willetts. Indeed, Hague’s speech on the ‘British way’ drew on an earlier speech by Willetts on British identity.6 Willetts recognised that the Conservatives’ traditional strength in the politics of nationhood was being challenged by a New Labour government determined to align itself with and modernise British identity, and by claims from historians that Britishness was a now outdated ‘invented’ identity. Following Michael Oakeshott

in The Conservatives in Crisis
Contemporary ‘British’ cinema and the nation’s monarchs

-day, from the legendary King Arthur in the film of the same name to the present Queen Elizabeth II in The Queen . Kings and queens from various periods appear in films as diverse as Braveheart and Hyde Park on Hudson , Robin Hood: Men in Tights and Mrs. Brown , Elizabeth and W./E ., The Madness of King George and The Young Victoria , To Kill a King and The King’s Speech . While

in The British monarchy on screen
Open Access (free)
The leadership gamble of William Hague

Given the Tory Party’s ruthlessness towards failed leaders, Hague’s decision to stand in the unpropitious circumstances of 1997 requires some explanation. First, he could be forgiven for underestimating the challenges of the top job within his party, given his untroubled passage through the lower ranks. Even if memories of the 1977 speech had dogged Hague throughout his campaign in the 1989 Richmond by-election, his colleagues in the parliamentary party soon formed a different impression of him. Almost immediately he was recruited by the ‘Third Term Group’ of MPs

in The Conservatives in Crisis
Bringing the Shows to life

aspects of the Shows have left no record, we must still acknowledge their existence in their own moment. Putting the printed texts to one side it is salutary to remember that, like masques, the Shows were composed of various elements, most of which were non-verbal: alongside the speeches (some in verse, others prose) there were costumes, music and dance, as well as special effects such as fireworks. Indeed, some of their more spectacular qualities far exceeded those that the playhouses were able to stage. Despite these apparent obstacles there are, in fact, various ways

in Pageantry and power

justify ‘new liberal’ welfare reforms and fiscal policy in Edwardian Britain, in particular the speeches of Lloyd George; second, the political discourse of the New Deal in the United States in the 1930s, especially speeches and broadcasts by Franklin Roosevelt; and, finally, proposals in Britain during and after the Second World War about the character of post-war reconstruction, as advocated by prominent politicians in the Labour Party, and also by other influential figures such as William Beveridge. In spite of the differences between these episodes of social reform

in In search of social democracy
The role of minority engagement

–society relations, the then UK Prime Minister Tony Blair delivered a widely cited ‘Science Matters’ speech (Blair, 2002). This speech echoed wider criticism, which still continues in Britain and elsewhere, of public protest against topics such as genetically modified (GM) crop trials or animal experiments. In mobilising to articulate what are minority positions vis-à-vis ‘public opinion’ as a whole, such publics seem, at first, to represent a monstrous departure from the social order and, in turn, the public interest. Following the twin meanings of the figure of the monster

in Science and the politics of openness

Caribbean literature. 4 The Departments of French and Spanish were mapping a Caribbean that went beyond the English-speaking West Indies. The Department of English Literature stood out on the campus in keeping to a colonial academic framework. It kept strictly to the London University syllabus. The research of Robert le Page and Frederick C. Cassidy into Jamaican speech 5 was kept separate in linguistics

in West Indian intellectuals in Britain

of their show The Grandchildren of Hiroshima , and the other a drama workshop programme for Year 1 (five-year-old) primary schoolchildren called Speech Bubbles. The third example comes from a performance of Ruff (2013) by Peggy Shaw and directed by Lois Weaver. In my engagement with these examples, I demonstrate how arts practices can produce or strengthen important interdependent social relations between groups and communities. By foregrounding these relationships in performance these projects invite us to recognise the importance of interdependence within

in Performing care

abstract concept or a divinity), but a physical object or being’.7 The weird creature (the OE wiht) we encounter at the outset of the poem, and veiled by its obscure speech, turns out to be a familiar phenomenon, a part of everyday experience. By taking on board the lessons of the riddles, and incorporating their approach to the material world into our critical practice, Tiffany’s essay aims to encourage the humanities to abandon uncritical assumptions about the nature of material substance, for ‘the reality of matter must always remain uncertain, always a problem that

in Nonhuman voices in Anglo-Saxon literature and material culture
Open Access (free)
Emotional connections to the young hero in Beowulf

expressions of affection and caregiving, as well as more typical masculine skills of speech making and monster killing. Most unusually, Wiglaf's heroism assumes feminine-coded forms when he nurses and then mourns Beowulf in the aftermath of the dragon fight. By the end of the poem, Beowulf's heroism is quite literally burned out, and Wiglaf's innovative heroic masculinity is in tenuous ascendance. Lexical and connotative analysis of the vocabulary and phrasing referring to Wiglaf in the final third of the poem reveals the ways in which the poet creates

in Dating Beowulf