Search results

Open Access (free)
Margaret Rutherford

presence. In the films she made during and soon after the Second World War, Rutherford was almost invariably cast as a leader, a female equivalent of men in government or in the field. The Demi-Paradise (1943) has a flashback structure, from the wartime present to the immediately pre-war. A Russian engineer played by Laurence Olivier visits England to develop a revolutionary new ship’s propeller, encounters the ‘old’ England, and watches it respond to desperate circumstance. Rutherford is a do-gooder, bossy and commanding, energetic but old fashioned, who collects for a

in Stage women, 1900–50
Open Access (free)
Reading Close Combat

4 Replaying history: reading Close Combat Close Combat [inc. Close Combat (1996), Close Combat II: A Bridge Too Far (1997), Close Combat III: The Russian Front (1998), Close Combat IV: The Battle of the Bulge (1999), Close Combat: Invasion Normandy (2000)]. Real-time strategy/wargame. As the titles indicate, various episodes are set in different military campaigns during the Second World War. The game is split between the strategic management of large formations on campaign maps and the tactical control (in ‘real-time’) of small numbers of troops on battlefield

in More than a game
International man of stories

Solzhenitsyn calls to mind those other European, and especially Russian, writers Mistry is thought to resemble. However, it is important to recognise that Mistry is a novelist of ethics rather than a novelist of ideas as such. In this he more closely resembles Turgenev than Dostoyevsky or Tolstoy. Like Turgenev, he is a master of description, with an eye for those details – of dress, deportment, attitude – that mark out differences in social status. Likewise, he is not a writer who often digresses into extended social or political critiques in his work. Instead, he allows

in Rohinton Mistry
The representation of violence in Northern Irish art

Crane’s The Red Badge of Courage, tormented by the sounds of battle; the ‘shots’ may be ‘like voices’, but they drown out his own voice. McGuckian’s poems often deal with situations in which one can only ‘say nothing’. Borrowing from Eugenia Semyonovna Ginzburg’s Journey into the Whirlwind,74 the opening section of ‘Asking for the Alphabet Back’75 depicts a prisoner’s encroaching speechlessness:76 she suddenly forgot all her small stock of Russian words, even, for instance, the word for water (p. 363) She could not even remember the word a single drop in a grey wave

in Irish literature since 1990

game is sometimes referred to as The Arab Game and ... The Russian Scandal Game.’ ‘Chinese Whispers.com ’, www.chinese-whispers.com (accessed 11 May 2013 ). 23 McKerrow, Nashe , III.76.20, III.78.5. 24

in Reading Shakespeare’s mind
Wharton,Woolf and the nature of Modernism

heir to the social realism she celebrates. Wharton perceives modern fiction as ‘an art in the making, fluent and dirigible’, capable of flight yet, like the airships of her day, subject to guidance.13 Actually, Woolf would have agreed with Wharton that ‘each of us flows imperceptibly into adjacent people and things’ and that fiction is ‘fluent and dirigible’. In ‘Modern Fiction’ she sees the ‘soul’ as literary animator, especially the spirit expressed in Russian fiction; by the term ‘soul’ she has in mind, as Wharton does, psychological truth. Woolf is not, however, having

in Special relationships

An egregious and instructive contemporary occasion of censorship is the law against ‘gay propaganda’ passed by the Russian Duma on 11 June 2013; while it provides for lengthy prison sentences and hefty fines, nowhere does it specify what constitutes illegal propaganda. 7

in Reading Shakespeare’s mind

.J. Thomson, the acute Master of Trinity College and future President of the Royal Society. He warned that ‘War upon [Germany] in the interests of Serbia and Russia will be a sin against civilisation’, while accurately predicting that, ‘if by reason of honourable obligations we be unhappily involved in war, patriotism might still our mouths’.1 This comment was a fair representation of the view of the academic establishment towards the possibility of armed conflict dominating Europe. To one side of this view was the opinion that war was morally wrong and would slow down

in A war of individuals
Bringing the Shows to life

satiric purpose may have dominated over the desire to reproduce elements of the Shows accurately.10 A number of the spectators who have left records of their experiences of mayoral Shows were overseas emissaries, like Booth, Orazio Busino (the Venetian ambassador’s chaplain, who attended the 1617 Show), Abraham Scultetus (the German court chaplain, who was present at the 1612 Show), and Aleksei Zuizin (the Russian ambassador, who saw the 1613 Show). Lupold von Wedel, who was in London for the 1585 Show, was simply a curious traveller.11 They were not always voluntary

in Pageantry and power
Open Access (free)

hundred societies and eight hundred pre-war new members a month. The various groups in attendance were not only British; representatives of the International Women’s Suffrage Alliance from nations as far as Finland and Russia were present. The sister of General Sir John French, Charlotte Despard, was also present, although those twentieth-century symbols of suffrage – the Pankhursts and their Women’s Social and Political Union were not. This could be seen as paradoxical given the militant nature of the Pankhursts and the relative non-militancy of the National Union of

in A war of individuals