Search results for ""university of exeter press""

This edition of Antonio Machado’s work offers a complete revision of the interpretations advanced by critics on the first version of Soledades (1903). Based on Machado’s original edition it will be the only reliable text on the market of this work, the very embodiment of Spanish modernism. It will offer, as well as the text, a substantial analysis of the changes made for the second edition of 1907 that reveal the progressive influence of Modernismo on Machado’s conceptions Using new theoretical models, the editor has been able to tell us more about Machado’s poetic practice, his evolution as a poet and, consequently, more about the development of Symbolism in Spain than has previously been possible. The text will be useful to specialists of Machado and the period (1890–1910) and to postgraduates and final-year students working on the period.

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Theatre Workshop: Joan Littlewood and the Making of Modern British Theatre is the first in-depth study of perhaps Britain’s most influential twentieth-century theatre company. The book sets the company’s aims and achievements in their social, political and theatrical contexts, and explores the elements which made its success so important. Robert Leach has provided the definitive account in this first full-length study of Theatre Workshop and the methods of its director from 1945 to 1965, Joan Littlewood. His book provides the historical and political context needed by theatre studies students (both school and university), who frequently encounter Oh What a Lovely War as part of their courses.

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The eleventh volume in the acclaimed paperback series . . . the only county series that can legitimately claim to represent the past and present of a nation.

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This is a book for theatre-lovers, written for anyone who shares the author's curiosity about the art of acting and about theatre past and present. The first section centres on Elizabethan theatre practice, the second highlights themes, episodes and contemporary taste in the eighteenth and nineteenth centuries in England, and the third focuses on twentieth-century performances of Shakespeare at Stratford in the 1970s and in the New Globe as the new century begins. The extensive cast of actors discussed includes Richard Tarlton, Will Kemp, David Garrick, Samuel Foote, Richard and Mary Ann Yates, Thomas Weston, John Kemble, Edmund Kean, Frederick Robson, Henry Irving, Ian Richardson and Ben Kingsley.

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This book examines the transformation of the Italian city from the 1950s to the present with particular attention to questions of identity, migration and changes in urban culture. It focuses on two phases of that transformation: the years of accelerated industrialisation in the late 1950s and early 1960s, and the period of de-industrialisation and postmodernity beginning in the 1980s. It shows how major demographic movements and cultural shifts threw into relief new conceptions of the city in which old boundaries had become problematic. Design, fine art, literature, youth culture, film and social history all provide focal points. The contributions bring specialist expertise to each area while the extensive illustrations give a vivid picture of the contemporary visual culture for which Italian cities are famed. This is a genuinely interdisciplinary approach by Italian and English-speaking historians and scholars of urban studies, literature, architecture and design which introduces new debates and research to an English-speaking audience for the first time. Extensive illustrations provide a vivid picture of contemporary Italian visual culture.

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The decline of the Liberal party is one of the most controversial subjects in twentieth-century British politics, and this book makes a distinctive contribution to the debate by focusing on the South West, where Liberalism remained a powerful force after 1918. During the 1920s it was one of the few areas where the party survived as a major force. By the early 1950s, when the Liberals were fighting for their very existence, it was their early revival in the far west which provided morale and purpose. Victories in Cornwall and Devon after 1958 improved the party's credibility and effectively heralded the national Liberal revival. In recent years the regional Liberal Democrats have built on these historic foundations to emerge on equal terms with the Conservatives at Westminster and as the dominant party in local government. By concentrating on one region, this book offers fresh insight into issues relating to the UK as a whole. It moves away from the conventional focus on urban Britain to the neglected world of rural and small-town politics, and explores differences within the South West itself, from Celtic Cornwall in the far west to modern 'Wessex' in the east. A study of one of the key regions of Britain for the Liberal Party's survival and revival Raises important questions about the nature of regional politics Includes the significant 1997 election when the South West went against national trends

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A completely new, revised and enlarged edition of this classic survey of monuments in South-West England associated with the stories of King Arthur and Knights of the Round Table: the castle of Tintagel, the great hill-fort of Cadbury in south Somerset, the ruined abbey at Glastonbury and Castle Dore in south Cornwall - the setting for one of the greatest European love-stories of all time, that of Tristan and Isolde. In each case the archaeological evidence is summarised, and linked with relevant Arthurian literature. The book includes maps, plans, photographs and suggestions for further reading; it will be valuable to specialists as well as accessible to the general reader.

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The principal aim of this edition is to provide a reliable version of the text of Le Mariage forcé which can be used by students and scholars of 17th-century theatre. Le Mariage forcé, a little-known work, is a particularly interesting example of the comédie-ballet genre as it was written and performed by Molière and his troupe in three different versions over a period of eight years. First performed in front of Louis XIV and his court, complete with music, ballet and singing, the play also marks Molière’s first work in which Louis XIV took an active role. The book includes all the texts which existed in Molière’s lifetime, and examines the development of the genre in the years from 1664 when it was first performed, to 1672 when new songs and balletic interludes were added. This is a volume in the Textes littéraires/Exeter French Texts. The text, introduction and essential notes are all in French.

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From Paul Valéry to Julia Kristeva, the work of Stéphane Mallarmé has had a lasting impact on twentieth-century French culture. His texts have served as emblem and inspiration for successive generations of cultural theorists and practitioners. In Meetings with Mallarmé, top scholars from the UK and USA have been specially commissioned to explore the significance of Mallarmé's influence on some of the major players in French psychoanalysis, music, poetry, philosophy and literary theory. By re-staging these textual encounters, the book demonstrates how the ghostly presence of Stéphane Mallarmé profoundly informed the projects of such key figures as Valéry, Lacan, Sartre, Derrida, Boulez, de Man, Bonnefoy, Kristeva, Blanchot and the Oulipo group. All quotations are translated.

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Theatres of War is the first full-length study to be devoted to the 'Committed' theatre that flourished in modern France from 1944 to the mid-1950s. During this crucial decade, authors such as Sartre, de Beauvoir and Camus, along with other lesser-known dramatists, responded to the issues of their time by contributing a number of tense controversial plays to a distinctive genre of realist theatre. These plays dealt with the ideological, political and moral issues arising from the Second World War, the Cold War and a series of disastrous colonial wars. Theatres of War combines historical contextualisation, pointing up the political and moral debate of the theatre of the period, with detailed analysis of specific plays, making it a useful student text. All quotations are in French with English translations immediately following.

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Originally published in 1551, Hernán Chacón's Tractado de la Cauallería de la Gineta reflects an era of radical changes in the chivalresque-military world of renaissance Spain. The text deals with cavalry riding techniques as a means of military strategy and as a peacetime occupation. This new paperback volume in the Exeter Hispanic Texts series provides a text in the original Spanish, edited and introduced in Spanish by Noel Fallows. It will be of interest to a scholarly readership, particularly students of medieval Spanish, military tactics and equestrian history

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Is the 'West Country' on the map or in the mind? Is it the south-west peninsula of Britain or a semi-mythical country offering a home for those in pursuit of the romance of wrecking, smuggling and a rural Golden Age? This book investigates these questions in the context of the relationship between place and writing, discussing Thomas Hardy's Wessex; R.D. Blackmore's Exmoor and Lorna Doone; Charles Kingsley, whose Westward Ho!, became a Devon place-name, Sabine Baring-Gould of Dartmoor and recorder and inventor of West Country folk-tales; Parson Hawker of Morwenstowe, an inventor of the Cornish King Arthur.

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Describing in detail one of the most inventive periods in the history of English cinema, the volumes in this celebrated series are already established as classics in their field and represent a major contribution to international film studies. Each volume details the highlights of a single cinematic year, including details of production, manufacturers of equipment, dealers and exhibitors. This is augmented by numerous carefully chosen illustrations and a comprehensive filmography of English films, fiction and non-fiction, for the year. Particular attention is also paid to the ways in which the cinema of other countries affected the English industry. Volume 5 documents the emergence of Cecil M. Hepworth as one of England’s major film producers in 1900. The work of England’s two premier pioneers in the field of cinematography, Robert W. Paul and Birt Acres, is also examined. The conflict in South Africa against the Boers and the uprising of the Boxers in China proved popular subjects for new films and fictional representations. Forgotten pioneers of film are rescued from oblivion in this volume through the attention paid to their roles in English cinema. Volume 5 is introduced and edited by Richard Maltby. The long-awaited fifth and final volume in the series is published for the first time by UEP, and edited and introduced by Richard Maltby, Professor of Screen Studies, Flinders University, Australia. Describing in detail one of the most inventive periods in the history of English cinema, this series represents a major contribution to international film studies. Each illustrated volume details a single cinematic year, including details of production, manufacturers of equipment, dealers and exhibitors, as well as a comprehensive filmography of English films, fiction and non-fiction, for the year. The previous volumes are aready established as classics in their field and have recently been re-jacketed and re-issued by University of Exeter Press.The fifth and final volume documents the year 1900, when the conflict in South Africa against the Boers and the Boxer uprising in China proved popular subjects for news films and fictional representations. It includes a full Introduction by Richard Maltby which places Victorian cinema in its cultural, social and historical context

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The book provides an overview of key areas and will serve as a useful introductory text for those following university courses in this field.

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La Soeur (1645) is one of the liveliest and most successful comedies by Jean Rotrou. It is an ingenious adaptation, long unidentified, of an Italian comedy, La Sorella (c.1584), by the polygraph Giambattista Della Porta; sometimes it remains close to the original text, at other times it is bold in eliminating superfluous material and in imparting a convincingly French flavour to the dialogue. The introduction to this new edition assesses the originality of Rotrou’s adaptation. The notes are devoted above all to linguistic questions and to the many exotic allusions found in the text.

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A collection of original essays by distinguished historians on the works of topographical writers who described and recorded the landscape of South-West England in the period c. 1540-1900. The development, subject matter and contribution to knowledge of a range of key authors is examined. For example, John Leland's classic descriptions of South-West England will be assessed and the works of local writers in the Tudor and Stuart era who followed an developed his approach to the description of people and places is examined. Amongst these, Richard Carew of Anthony produced perhaps the finest of any of the descriptions of an English region in his study of Cornwall, published in 1602. The authors follow the writings of Devon, Cornwall, Somerset and Dorset topographers who contributed to the genre over more than three centuries. The book also includes a gazetter of collections in Devon and Cornwall where copies of the works of local topographical writers can be found.

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This is the first historical atlas of a major region of the United Kingdom. Its aim is to create and communicate the history of the south-western peninsula of England-Cornwall, Devon and the Isles of Scilly - from the beginnings of man's occupation to the present day. The cartographic message projected by around 400 maps is extended by a substantial text of about 250,000 words as well as diagrams, contemporary prints and photographs. This is one of the most substantial collaborative cartographic ventures undertaken in the United Kingdom. There are more than fifty contributors, about half of whom are drawn from within the University of Exeter, the remainder being researchers at other universities who specialize on topics relating to South-West England. The majority are geographers, archaeologists and historians, but there are also important contributions from political scientists, sociologists, educationalists and the region's museums, library and archive services. The pre-medieval content is organized chronologically but thereafter the reconstruction of human occupation is structured thematically

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An edition, in French, of this 1892 text by Mallarmé. Edited, annotated and introduced by Alan Raitt.

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An eighteenth-century "bourgeois tragedy", written in an English style. This is an important text, which provides an appreciation of the spirit of the era, and demonstrates the bridging of comic and tragic theatre styles.

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In 2000, a sixteenth-century manuscript containing a copy of a previously unknown play in Middle Cornish, probably composed in the second half of the fifteenth century, was discovered among papers bequeathed to the National Library of Wales, Aberystwyth. This eagerly awaited edition of the play, published in association with the National Library of Wales, offers a conservatively edited text with a facing-page translation, and a reproduction of the original text at the foot of the page – vital for comparative purposes. Also included are a complete vocabulary, detailed linguistic notes, and a thorough introduction dealing with the language of the play, the hagiographic background of the St Kea material and the origins of other parts in the work of Geoffrey of Monmouth. The theme of the play is the contention between St Kea, patron of Kea parish in Cornwall, and Teudar, a local tyrant. This is combined with a long section dealing with the dispute over tribute payments between King Arthur and the Emperor Lucius Hiberius; Queen Guinevere’s adultery with Arthur’s nephew Modred; the latter’s invitation to Cheldric and his Saxon hordes to come to Britain to assist him in his conflict with his uncle; and Arthur’s battle with Modred. Winner of the 2008 Holyer An Gof Award for Cornish language publications.

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Winner of the Theatre Library Association’s 2021 Richard Wall Memorial Award for an exemplary work in the field of recorded performance. Cinema on the Front Line offers the first comprehensive history and analysis of how the medium of cinema intersected with the lives of British soldiers during the First World War. Documenting the wartime use of cinema, from domestic recruitment drives to makeshift theatrical venues established on the front line, and then in convalescent hospitals and camps, this book provides evidence of the previously unacknowledged importance of the medium as recreational support and entertainment for soldiers living through the trauma of conflict. Presenting the fruits of his archival research, the author makes extensive use of war diaries and other military records to foreground the voices and perspectives of British soldiers themselves. Including discussion of over 70 films, this book will interest specialists in British film history, propaganda film, exhibition and audience studies, as well as historians and students of the First World War, propaganda and the military. DOI: https://doi.org/10.47788/LAML7430

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This book traces the re-emergence of nationalism in the media, popular culture and politics, and the normalization of far-right nativist ideologies and attitudes in Austria between 1995 and 2015, within the framework of Critical Discourse Studies. In doing so, it brings together a range of theoretical and empirical approaches to identity politics, contemporary popular culture, far-right populism and commemoration. While contradictory yet intertwined tendencies towards renationalization and transnationalization have often framed debates about European identities, the so-called refugee crisis of 2015 intensified and polarized these debates. The COVID-19 pandemic, as another major crisis, saw nation-states react by closing borders, while symbols of banal nationalism proliferated. The data under discussion here, drawn from a variety of empirical studies, suggest that changes in memory politics—the way past events are collectively remembered and tied into current political discourses—are also linked to the dynamics of migration; the influence of financial and climate crises; changing gender politics; and a new transnational European politics of the past. Accordingly, the authors assess current challenges to liberal democracies, as well as fundamental human and constitutional rights, in relation to new trends of renationalization across Europe and beyond.

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While the infamous Théâtre du Grand-Guignol in Paris closed its doors in 1962, the particular form of horror theatre it spawned lives on and has, moreover, witnessed something of a resurgence over the past twenty years. During its heyday it inspired many imitators, though none quite as successful as the Montmartre-based original. In more recent times, new Grand-Guignol companies the world over have emerged to reimagine the form for a new generation of audiences. This book, the fourth volume in University of Exeter Press’s series on the Grand-Guignol by Richard J. Hand and Michael Wilson, examines the ongoing influence and legacy of the Théâtre du Grand-Guignol through an appraisal of its contemporary imitators and modern reincarnations. As with the previous volumes, Grand-Guignolesque consists of a lengthy critical introduction followed by a series of previously unpublished scripts, each with its own contextualizing preface. The effect thereof is to map the evolution of horror theatre over the past 120 years, asking where the influence of the Grand-Guignol is most visible today, and what might account for its recent resurgence. This book will be of interest not only to the drama student, theatre historian and scholar of popular theatre, but also to the theatre practitioner, theatregoer and horror fan.

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This is the first book to explore the hold of TV series on our lives from a philosophical and ethical perspective. Sandra Laugier argues that this vital and ubiquitous expression of popular culture throughout the world is transformative in its effects on the activity of philosophy in everyday life. Drawing on Stanley Cavell’s work on film and ordinary experience, Laugier contends that we are deeply affected by the formative role played by the TV series we watch, and by the ways they become interconnected with our daily lives. The philosophical thinking embodied in series empowers individuals in their capacity to experience, understand and appropriate elements of the world, and to educate themselves. Through our relationships with TV series, we develop our own tastes and competences, which are constitutive of our distinct experience of life. ‘Series-philosophy’ is thus a democratizing force. It also offers us a new ethics, for morality can be found not in general rules and abstract principles but in the narrative texture of characters in everyday situations facing particular ethical problems, and with whom we form attachments that result in our moral education—in sometimes surprising ways.

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This volume is an edited collection of critical essays on British Asian theatre. It includes contributions from a number of researchers who have been active in the field for a substantial period of time. This title is complemented by British South Asian Theatres: A Documented History by the same authors, also available from University of Exeter Press.

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Describing in detail one of the most inventive periods in the history of English cinema, the volumes in this celebrated series are already established as classics in their field and represent a major contribution to international film studies. Each volume details the highlights of a single cinematic year, including details of production, manufacturers of equipment, dealers and exhibitors. This is augmented by numerous carefully chosen illustrations and a comprehensive filmography of English films, fiction and non-fiction, for the year. Particular attention is also paid to the ways in which the cinema of other countries affected the English industry. Volume 4 examines how in 1899 two major events influenced British cinema. The Boer War created a boom in film production as a result of an insatiable demand for news and pictures of the campaign brought on my fervent patriotism. Though actual battle could not be filmed, ‘fake’ war films based on incidents from the campaign began to be produced by English filmmakers. The University of Exeter Press editions of Volumes 2, 3, 4 are re-jacketed re-issues of the first editions. The long-awaited fifth and final volume in the series is published for the first time by UEP, and edited and introduced by Richard Maltby, Professor of Screen Studies, Flinders University, Australia. Describing in detail one of the most inventive periods in the history of English cinema, this series represents a major contribution to international film studies. Each illustrated volume details a single cinematic year, including details of production, manufacturers of equipment, dealers and exhibitors, as well as a comprehensive filmography of English films, fiction and non-fiction, for the year. The previous volumes are aready established as classics in their field and have recently been re-jacketed and re-issued by University of Exeter Press.The fifth and final volume documents the year 1900, when the conflict in South Africa against the Boers and the Boxer uprising in China proved popular subjects for news films and fictional representations. It includes a full Introduction by Richard Maltby which places Victorian cinema in its cultural, social and historical context

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What are the contexts (political, social, legal, cultural) of theatre censorship in twenty-first-century Europe? Given the abolition of state-sanctioned and institutional forms of stage censorship in the late twentieth century, the prevalence of authoritarian and populist politics, and the escalation of so-called ‘culture wars’, in what ways and to what extent does stage censorship manifest and proliferate today? How does censorship respond (or not) to governmental, economic, moral, and religious circumstances? And how have theatre-makers in Europe contested or countered censorial prohibitions in the recent past? This edited collection is the first pan-European study of contemporary theatre censorship. An international range of scholars assess how new forms of censorship operate to silence artists and control performances; they explore how theatre artists respond to constraints placed upon their work across territories, and analyse how age-old political, religious, and moral taboos impact on theatrical creation and reception. Readers are invited to consider not only the varied mechanisms of censorship, including its more covert iterations, but also what is censored, when, how, and why, particularly in relation to the sensitive issues of religion, race, sexuality, and nationalism. By focusing on the work of key European theatre practitioners, as well as significant productions and performances, contributors reflect on the impact of censorship on artistic policies and cultural activity, and the forms of protest mobilized against it.

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This monograph is a critical study of the medieval manuscript held in Exeter Cathedral Library, popularly known as ‘The Exeter Book’. Recent scholarship, including the standard edition of the text, published by UEP in 2000 (2 ed’n 2006), has re-named the manuscript ‘The Exeter Anthology of Old English Poetry’. The book gives us intelligent, sensitive literary criticism, profound readings of all of the poems of the Anthology. God’s Exiles and English Verse is the first integrative, historically grounded book to be written about the Exeter Book of Old English poetry. By approaching the Exeter codex as a whole, the book seeks to establish a sound footing for the understanding of any and all of its parts, seen as devout yet cosmopolitan expressions of late Anglo-Saxon literary culture. The poems of the Exeter Book have not before been approached primarily from a codicological perspective. They have not before been read as an integrated expression of a monastic poetic: that is to say, as a refashioning of the medium of Old English verse so as to serve as an emotionally powerful, intellectually challenging vehicle for Christian doctrine and moral instruction. Part One, consisting of three chapters, introduces certain of the book’s main themes, addresses matters of date, authorship, audience, and the like, and evaluates hypotheses that have been put forth concerning the origins of the Exeter Anthology in the south of England during the period of the Benedictine Reform. Part Two, the main body of the book, begins with a long chapter, divided into seven sections, that introduces the contents of the Exeter Anthology poem by poem in a more systematic fashion than before, with attention to the overall organization of the Anthology and certain factors in it that have a unifying function. The five shorter chapters that follow are devoted to topics of special interest, including the volume’s possible use as a guide to vernacular poetic techniques, its underlying worldview, its reliance on certain thematically significant keywords, and its intertextual versus intratextual relations. The riddles, especially those of a sexual content, receive attention in a chapter of their own. In addition, there is a translation of the popular poem The Wanderer into modern English prose, a folio-by-folio listing of the contents of the Exeter Anthology, and a listing of a number of the poems of the Anthology with notes on their genre, according to Latin generic terms familiar to educated Anglo-Saxons. This book is the first of its kind - an integrative, book-length critical study of the Exeter Anthology.

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For the first time, this book tells the 'lost' story of the 1930s Western. Written from a concern to understand Western films primarily as products of Hollywood's studio system, it recovers the context in which Westerns were produced, exhibited and viewed in the 1930s. Peter Stanfield highlights the hitherto marginalised 'B' or 'series' Western, the significance of female audiences, the role of independent exhibitors and of censorship in shaping film production. Includes illustrations from the following films: Arizona, The Big Trail, Billy the Kid, Cimarron, Destry Rides Again, Dodge City, In Old Arizona, In Old Santa Fe, Jesse James, The Lash, Let Freedom Ring, Oh, Susanna!, Oklahoma Kid, The Plainsman, Ramona, Santa Fe Trail, Stand Up and Fight, Three Godfathers, Trail of the Lonesome Pine, Tumbling Tumbleweeds, Union Pacific, Virginia City, The Virginian, The Westerner.

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This book sheds new light on the under-researched period of early British cinema through an in-depth history of the British and Colonial Kinematograph Company – also known as ‘B&C’– in the years 1908-1916, the period when it became one of Britain’s leading film producers. It provides an account of its films and personalities, and explores its production methods, business practices and policy changes. Gerry Turvey examines the range of short film genres B&C manufactured, including newsworthy topicals and comics, and series dramas, and how they often drew on the resources of urban Britain’s existing popular culture – from cheap reading matter to East End melodramas. He discusses B&C’s first open-air studio in East Finchley, its extensive use of location filming, and its large, state-of-the-art studio at Walthamstow. He also investigates how the films were photographed and ‘staged’, their developing formal properties, and how the choice of genres shifted radically over time in an attempt to seek new audiences.

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Mental health presents one of the defining public health challenges of our time. Proponents of different conceptions of what mental illness is wage war for the hearts and minds of patients, practitioners, policy-makers, and the public. Debate and fragmentation around the nature of the entities that feature in the mental health domain divide resources and reduce progress. The way mental health is publicly discussed in the media has tangible effects, in terms of stigma, access to healthcare and resources, and private expectations of recovery. This book explores in detail the sorts of statements that are made about mental health in the media and public reporting of scientific research, grounding them in the wider context of the theoretical frameworks, assumptions and metaphors that they draw from. The author shows how a holistic understanding of the way that different aspects of mental illness are interrelated can be developed from evidence-based interpretation of the latest research findings. She offers some ideas about corrective, integrative approaches to discussing mental health-related matters publicly that may reduce the opposition between conceptualisations while still aiming to reduce stigma, shame and blame. In particular, she emphasises that discourse in the media needs to be anchored to an overview of all the research results across the field and argues that this could be achieved using new technological infrastructures. The author provides an integrative account of what mental health is, together with an improved understanding of the factors driving the persistence of oppositional accounts in the public discourse. The book will be of benefit to researchers, practitioners and students in the domain of mental health.

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For as long as there have been vaccines, there have been those who oppose them. As the world continues to grapple with the impact of COVID-19 and the challenges of managing an effective vaccination programme, this book shows that our experiences have more in common with those of previous generations than we may so far have understood. Vaccination Wars examines the history of vaccine objection in nineteenth-century Cornwall, looking not only at the reasons behind resistance to the smallpox vaccine, but at the lives of Cornish parents who steadfastly refused to have their children inoculated. Exploring the earliest phases of the anti-vaccination movement, the rise of middle-class resistance and organized opposition societies, and the influence of propaganda, the book presents a more nuanced understanding of the ways regional and cultural differences affect the reception of state-mandated medical practices. Ella Stewart-Peters challenges existing notions of the nineteenth-century debate by shifting the focus away from major urban centres to the struggles concerned with enforcing compulsory vaccination at the peripheries. Distinct parallels can be drawn with the anti-vaccination movement of the twenty-first century. This book will appeal to anyone who has ever wondered about the origins of the modern anti-vaccination movement, or is more generally interested in the history of medicine.

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While the infamous Théâtre du Grand-Guignol in Paris closed its doors in 1962, the particular form of horror theatre it spawned lives on and has, moreover, witnessed something of a resurgence over the past twenty years. During its heyday it inspired many imitators, though none quite as successful as the Montmartre-based original. In more recent times, new Grand-Guignol companies the world over have emerged to reimagine the form for a new generation of audiences. This book, the fourth volume in University of Exeter Press’s series on the Grand-Guignol by Richard J. Hand and Michael Wilson, examines the ongoing influence and legacy of the Théâtre du Grand-Guignol through an appraisal of its contemporary imitators and modern reincarnations. As with the previous volumes, Grand-Guignolesque consists of a lengthy critical introduction followed by a series of previously unpublished scripts, each with its own contextualizing preface. The effect thereof is to map the evolution of horror theatre over the past 120 years, asking where the influence of the Grand-Guignol is most visible today, and what might account for its recent resurgence. This book will be of interest not only to the drama student, theatre historian and scholar of popular theatre, but also to the theatre practitioner, theatregoer and horror fan.

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Discussing the actor mutiny of 1733, theatre censorship, controversial plays and Fielding’s forgery of an actor’s biography, the book contends that some subversive Augustan and Georgian artists were early Brechtians. Reconstructions of lost episodes in theatre history include a recounting of Fielding’s last days as a stage satirist before his Little Haymarket theatre was closed, Charlotte Charke’s performances as Macheath and Polly Peachum in The Beggar’s Opera and the 1740 staging of Jonathan Swift’s Polite Conversation on a double bill with Shakespeare’s Merry Wives . . . Some documents in this collection offer another perspective on theatre history by employing fiction – speculative reconstructions of Georgian theatre events for which historical facts are scarce or missing. Brecht also employed fiction to reconsider history in short stories he wrote about Lucullus and Socrates, and a novel about Julius Caesar. The stories and several new letters attributed to Fielding delve into theatre history and keep some of its controversy alive in new ways, historicizing fiction and theatre somewhat as Brecht did. It offers an unconventional, new reading of theatre history, Brecht’s tradition and stage satire.

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Forms of Conflict is a full-length study of the representation of contemporary warfare on the British stage and investigates the strategies deployed by theatre practitioners in Britain as they meet the representational challenges posed by the ‘new wars’ of the global era. It questions how dramatists have responded aesthetically to the changing nature of conflict, focusing on plays written and performed after the September 11 terrorist attacks. Soncini examines how the works of playwrights such as Caryl Churchill, David Hare, Martin Crimp and Simon Stephens have provided an interpretative means to enlarge our understanding of the new patterns of conflict, ensuring theatre’s continued cultural and political relevance. Forms of Conflict explores the relationship between new forms of warfare and new forms of drama, illustrating what dramatic form can reveal about the post-9/11 landscape and complementing a rapidly growing field of contemporary war studies. The appendix contains a complete list of war-related plays staged in Britain between 1990 and 2010, with a brief description of their topic and approach.

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The birth of cinema coincided with the heyday of the short story. This book studies the relationship between popular magazine short stories and the very early British films. It pairs eight intriguing short stories on cinema with eight new essays unveiling the rich documentary value of the original fiction and using the stories as touchstones for a discussion of the popular culture of the period during which cinema first developed. The short stories are by authors ranging from the notable (Rudyard Kipling and Sax Rohmer) to the unknown (Raymond Rayne and Mrs. H.J. Bickle); their endearing tributes to the new cinematograph chart its development from unintentional witness to entertainment institution.

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Winner of the Society for Theatre Research Book Prize – 2016 This is the final volume in a new paperback edition of Steve Nicholson’s definitive four-volume survey of British theatre censorship from 1900-1968, based on previously undocumented material, covering the period 1960-1968. This brings to its conclusion the first comprehensive research on the Lord Chamberlain's Correspondence Archives for the 20th century. The 1960s was a significant decade in social and political spheres in Britain, especially in the theatre. As certainties shifted and social divisions widened, a new generation of theatre makers arrived, ready to sweep away yesterday’s conventions and challenge the establishment. Analysis exposes the political and cultural implications of a powerful elite exerting pressure in an attempt to preserve the veneer of a polite, unquestioning society. This new edition includes a contextualising timeline for those readers who are unfamiliar with the period, and a new preface.

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This book explores an industry that was of profound importance both in terms of the local economy and the history of mining nationally, but is long forgotten: the late medieval royal silver mines at Bere Ferrers in the Tamar Valley. The Bere Ferrers silver mines employed up to 400 men, mining on a scale and at depths not previously possible, and changed forever the way that mining was carried out in medieval Britain.

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In the first book-length study to concentrate specifically on Britain, Jamie Sexton examines the rise of avant-garde and experimental film-making between the wars. The book provides a detailed view of how modernist and anti-mainstream currents emerged in the film industry in Britain. Alternative Film Culture in Inter-War Britain is the first book-length study of a number of currents which opposed mainstream filmmaking and which championed film as an intellectual, modern art. It traces the growth of new approaches to film through exhibition and writing on cinema, and looks at how this cultural formation shaped certain areas of filmmaking. As such, it takes an interdisciplinary approach in which a study of independent filmmaking in this era is firmly placed within a cultural context, linking the ways in which films were presented, received and produced.This is the first in-depth look at 'alternative film culture' in Britain between the wars will excite many in the film, and film studies, worlds. It combines the history with analysis of the films themselves, and of their reception. It looks at the operations of a key contemporary institution, the original Film Society.

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Winner of the 2008 Holyer An Gof Award for non-fiction. An investigation of the popular tradition of ‘Australia’s Little Cornwall’: how one town in South Australia gained and perpetuated this identity into the twenty-first century. This book is about Moonta and its special place in the Cornish transnational identity. Today Moonta is a small town on South Australia’s northern Yorke Peninsula; along with the neighbouring townships of of Wallaroo and Kadina, it is an agricultural and heritage tourism centre. In the second half of the nineteenth century, however, Moonta was the focus of a major copper mining industry. This book is about Moonta and its special place in the Cornish transnational identity. Today Moonta is a small town on South Australia’s northern Yorke Peninsula; along with the neighbouring townships of of Wallaroo and Kadina, it is an agricultural and heritage tourism centre. In the second half of the nineteenth century, however, Moonta was the focus of a major copper mining industry. From the beginning, Moonta cast itself as unique among Cornish immigrant communities, becoming ‘the hub of the universe’ according to its inhabitants, forging the myth of ‘Australia’s Little Cornwall’: a myth perpetuated by Oswald Pryor and others that survived the collapse of the copper mines in 1923—and remains vibrant and intact today.

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The thirteenth volume in this acclaimed paperback series includes articles on Cornish emigration, Cornish literature, the novelist Virginia Woolf, the poet Jack Clemo, Cornish mining history, Cornish folklore, the medieval Cornish-language miracle plays, and William Scawen: the seventeenth-century Cornish patriot and language revivalist.

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Dangerous, outrageous, comic and committed, the extraordinary performers collected here have altered the history of popular entertainment in America and Europe. Some have rarely had their story told, others are familiar figures. The essays explore what made these performers extraordinary; how they were trained, how they practised their art, how they were received, celebrated, satirised and mythologised. From the explosive acting of Richard Burbage to the dislocating quirkiness of Peter Lorre, from the dangerous satire of commedia dell'arte troupes in Russia to the bittersweet collaboration of Morecambe and Wise, this volume explores what made these actors popular. Each contributor has taken care to set the performer and their work in cultural context, so that the collection as a whole charts the changing relationship between acting and popular culture over the last four hundred years. Part One examines seventeenth and eighteenth century performers, as they built a sense of the excitement and possibility of theatre with audiences in Britain and Europe. The idea of acting, its art and popular practice was being formed during this period. Part Two explores nineteenth-century popular performers who became cultural icons and developed popular performance that contributed to the regeneration of national identity. Part Three looks at twentieth-century performers whose acting continued to reach popular audiences in remarkable ways, across national boundaries, as the acting industry underwent transformation in the face of technological change This is a unique collection of essays on performers such as Richard Burbage, Sarah Siddons, Peter Lorre, George Formby, Laurel and Hardy, Morecombe and Wise. It provides an outstanding selection of contributors: Richard Boon, Colin Chambers, Chris Dymkowski, Ger Fitzgibbon, Viv Gardner, Baz Kershaw, Alexander Leggatt, Chris McCullough, Jan McDonald, Joel Schechter, Laurence Senelick, Martin White, Don Wilmeth

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Winner of the Devon Book of the Year Award 2003, Circled with Stone is the most comprehensive study to date of the fortifications of an early modern English city. The culmination of some twenty years of archaeological and documentary research, it provides a richly detailed portrait of the ancient system of walls, towers and gates which ringed the city of Exeter during the Tudor and early Stuart periods. The book traces the development of the fortifications over time, explores the many purposes which they served, and shows how they were defended against a series of major attacks: most notably during the Prayer Book rebellion of 1549 and the English Civil War. The text is accompanied by a series of extensive transcripts from Exeter's matchless civic archives, including two newly-discovered documents relating to the Prayer Book rebellion. The book includes a wealth of illustrations and brings together, for the very first time, colour reproductions of all the early maps of Exeter, as well as a series of specially commissioned photographs of the city walls today. Designed to be accessible to the general reader, as well as to the specialist, Circled with Stone paints a uniquely vivid picture of the role which urban fortifications played in everyday life in one of early modern England's greatest cities. Richly detailed, fully illustrated and accessible to the general reader as well as of interest to historians and archaeologists.

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This is the first new book-length study of British cinema of the 1910s to be published for over fifty years, and it focuses on the close relationship between the British film industry and the Edwardian theatre. Why were so many West End legends such as Sir Herbert Beerbohm Tree and Ellen Terry repeatedly tempted to dabble in silent film work? Why were film producers so keen to employ them? Jon Burrows studies their screen performances and considers how successfully they made the transition from one medium to the other, and offers some controversial conclusions about the surprisingly broad social range of filmgoers to whom their films appealed.

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In 1659, Luis de Haro met with Cardinal Jules Mazarin in the Pyrenees to conclude a peace treaty and marriage agreement that would end over twenty years of war between Spain and France. The hitherto unpublished letters which Haro sent to Philip IV from the peace conference are fascinating to read and offer an account of the negotiations that often diverges radically from what Mazarin reports in his letters to the French court. This edition offers a mix of the original letters and summaries of the letters, as well as numerous explanatory notes and an introduction that sets the peace conference firmly within its historical context. This volume in the Exeter Hispanic Texts series provides the letters in the original Spanish; the Introduction, notes and summaries are in English. It will be of interest to a scholarly readership, especially those concerned with late seventeenth-century Spanish and French history.

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The sixth volume in the acclaimed paperback series . . . the only county series that can legitimately claim to represent the past and present of a nation.

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A Chorus of Raspberries is the first full-length academic study of one of the most popular, profitable and persistent genres in British cinema. It redraws the map of British film history by arguing that comedy was the most successful, and perhaps the most important, genre of the 1930s, and that the very qualities which ensured the comedy film's low status are also its particular strengths. In the process it uncovers a whole tradition of popular cinema which criticism has relegated to the sidelines of history. The book looks in detail at the work of a number of key stars, including George Formby, Gracie Fields, The Crazy Gang, Cicely Courtneidge and Ernie Lotinga, revealing the wide range of comic styles and meanings they produced in seemingly formulaic films. It unearths a host of previously forgotten but notable films, and an important tradition in British popular culture, tracing the roots of the genre to its music-hall beginnings. Includes George Formby, Gracie Fields, The Crazy Gang First full-length study of the subject Will appeal to those studying popular culture and film history Market: Scholars and students of film studies, popular culture, media studies, especially those taking courses on British cinema. Academic libraries. The general reader with an interest in twentieth-century popular culture and British cinema.

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