Search results

agreeable visit. How could they be otherwise? (Sunny, p. ix) Contradictorily, at the same time she states that she is publishing her travel letters only to correct ‘the persevering and deliberate attempts, in certain quarters, to misrepresent the circumstances which are here given’. (Sunny, p. ix). Letter XVII is entirely devoted to a defence of the Duchess, with Stowe extolling the ‘improvements’ in the estate (on which she had yet to set foot), detailing the mileage of new roads, the number of banks, schools, post offices, and even describing the complete conversion of

in Special relationships
Open Access (free)
Continuous theatre for a creative city

architecture, graphic design, interior design, and digital media firms. The Blockhaus, the World War II-era bomb shelter for shipyard workers once occupied by architecture students, has undergone an architectural conversion to become La Fabrique, a centre of experimental music production and Nantes’ hippest concert venue. Proponents of the transition herald the creative quarter as crucial to Nantes’ long-term urban strategy: drawing on and nurturing the creativity of Nantes’ people, they argue, will position the city as a European Resurfacing 155 hub for the fastest

in Street theatre and the production of postindustrial space
Open Access (free)
Putting the countryside back to work

members’ family experiences in mining and metallurgy. Most Metalovoice performers hail from the Nièvre industrial towns of Fourchambault and Varennes-Vauzelles, roughly 60 kilometres southwest of Corbigny. Metalovoice relocated to Corbigny from Nevers, the departmental prefecture, in 2005, working out of the unconverted Photosacs factory until renovations began in 2009. In this chapter I analyse the 1961 installation of Photosacs, its conversion into La Transverse, and the 2011 Ouverture festival in order to determine how a street theatre institution and a street

in Street theatre and the production of postindustrial space

Roland, who not only refuses the tempting offer of conversion made to him by Arabas (who mistakes Roland for Charlemagne himself), but bears witness to the Christian faith he fights for: Goddis forbode and the holy Trynytee, That ever Fraunce hethen were for mee, And lese our Crysten laye! For sothe, thou sowdane, trowe thou moste One the Fader and the Sone and the Holy Goste, Thire thre are alle in one. (406–11) As if in fulfilment of this testimony, the crucifix does not burn, but ‘laye still ay as it were colde’ (447); at last, the fire goes out, the crucifix emits

in Pulp fictions of medieval England
The lump-child and its parents in The King of Tars

lump of flesh, without life or limb: & when πe child was ybore Wel sori wimen were πerfore, For lim no hadde it non. Bot as a rond of flesche yschore In chaumber it lay hem bifore Wiπouten blod & bon. For sorwe πe leuedi wald dye For it hadde noiπer nose no eye, Bot lay ded as πe ston. ∏e soudan com to chaumber πat tide, & wiπ his wiif he gan to chide ∏at wo was hir bigon.3 Attributing this misfortune to his wife’s insincere conversion, the Sultan takes the lump to his temple and prays to his ‘goddes’ (625) to give it human form, but to no avail. He destroys the

in Pulp fictions of medieval England
Open Access (free)
Alternative pasts, sustainable futures

demonstrated how converted industrial sites must – for a time, at least – remain intelligible as what they once were while becoming intelligible as something else. The 2CV theatre (Chapter 1) illustrates this on the smallest of scales: the vehicle must be recognizable as both 2CV and theatre for the performance to work. This is how all sited performances function, but that function is also fundamental to a process like redevelopment. The local television news report on the conversion of Corbigny’s Photosacs factory (Chapter 2) proposed that the building was once again a

in Street theatre and the production of postindustrial space

discovered encomium for Nashe tells us he ‘diedst a Christian faithfull penitent’? Could this be Nashe’s lament that his fellow writers (tosspots) had profited nothing by his sudden conversion – much like Paul on the Damascus road – and still had drunken heads? Likely, Nashe’s abrupt conversion suggested to Shakespeare the linking of Nashe and St Paul in Feste

in Reading Shakespeare’s mind

, soon to be dubbed the ‘Celtic Tiger’ phenomenon was gathering momentum. In O’Kelly’s play, Africa is not the place where contact with the numinous and the sacred has been preserved, but a continent in the throes of violent, internecine conflicts, where barbarous acts of torture and murder are committed. Asylum! Asylum! is based on a real horrific event, reported in the 1991 Amnesty International Report. As rewritten by O’Kelly, it becomes the tale of a miraculous conversion, as well as the sad story of a failed escape from the threat of torture and death.12 Joseph

in Irish literature since 1990

’ which ‘causes the sinner to deny the power of God’ (Sinful Knights, p. 188). Bradstock finds Gowther’s conversion ‘reminiscent, in its suddenness and finality, of the conversion of St Paul’; and suggests that ‘his physical afflictions provide a parallel with the punishment of St Paul: “And he was three days without sight, and neither did eat nor drink” (Acts 9:9).’ (‘Penitential MUP_McDonald_03_Ch2 61 11/18/03, 16:58 62 Alcuin Blamires pattern’, pp. 4–5). 46 The line is matched in Advocates, but the enforcing echoes of it in Royal lines 437 and 499 disappear in

in Pulp fictions of medieval England

details, the story of the destruction of Jerusalem in 70 .8 Titus and Vespasian, Roman leaders and recent converts to Christianity (conversions accomplished through miraculous cures and the Passion twice told), embark upon a crusade against the Jews of Jerusalem to avenge Christ’s death. The Romans lay siege to the city and after a tremendous battle in which many Jews are slain, the Jews retreat within the city walls and the Romans assail the town. The poem relates the diverse details of both Roman and Jewish actions during the two-year siege, including detailed

in Pulp fictions of medieval England