Search results for ""Author James Moran""

Modernists and the Theatre examines how six key modernists, who are best known as poets and novelists, engaged with the realm of theatre and performance. Drawing on a wealth of unfamiliar archival material and fresh readings of neglected documents, James Moran demonstrates how these literary figures interacted with the playhouse, exploring W.B. Yeats’s earliest playwriting, Ezra Pound’s onstage acting, the links between James Joyce’s and D.H. Lawrence’s sense of drama, T.S. Eliot’s thinking about theatrical popularity, and the feminist politics of Virginia Woolf’s small-scale theatrical experimentation. While these modernists often made hostile comments about drama, this volume highlights how the writers were all repeatedly drawn to the form. While Yeats and Pound were fascinated by the controlling aspect of theatre, other authors felt inspired by theatre as a democratic forum in which dissenting voices could be heard. Some of these modernists used theatre to express and explore identities that had previously been sidelined in the public forum, including the working-class mining communities of Lawrence’s plays, the sexually unconventional and non-binary gender expressions of Joyce’s fiction, and the female experience that Woolf sought to represent and discuss in terms of theatrical performance. These writers may be known primarily for creating non-dramatic texts, but this book demonstrates the importance of the theatre to the activities of these authors, and shows how a sense of the theatrical repeatedly motivated the wider thinking and writing of six major figures in literary history.

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This book examines the powerful influence of civil law on understandings and responses to madness in England and in New Jersey. The influence of civil law on the history of madness has not hitherto been of major academic investigation. This body of law, established and developed over a five hundred year period, greatly influenced how those from England’s propertied classes understood and responded to madness. Moreover, the civil law governing the response to madness in England was successfully exported into several of its colonies, including New Jersey. Drawing on a well-preserved and rare collection of trials in lunacy in New Jersey, this book reveals the important ties of civil law, local custom and perceptions of madness in transatlantic perspectives. This book will be highly relevant to scholars interested in law, medicine, psychiatry and madness studies, as well as contemporary issues in mental capacity and guardianship.

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"My masters will follow the example of Rome... our mighty empire bestraddling the whole of civilization!"It is AD 79, and the TARDIS lands in Pompeii on the eve of the town's destruction. Mount Vesuvius is ready to erupt and bury its surroundings in molten lava, just as history dictates. Or is it?The Doctor and Donna find that Pompeii is home to impossible things: circuits made of stone, soothsayers who read minds and fiery giants made of burning rock. From a lair deep in the volcano, these creatures plot the end of humanity - and the Doctor soon finds he has no way to win...

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Clare Corbett reads this new novelisation of the TV adventure featuring the Tenth Doctor and Donna. "My masters will follow the example of Rome... our mighty empire bestraddling the whole of civilization!" It is AD 79, and the TARDIS lands in Pompeii on the eve of the town's destruction. Mount Vesuvius is ready to erupt and bury its surroundings in molten lava, just as history dictates. Or is it? The Doctor and Donna find that Pompeii is home to impossible things: circuits made of stone, soothsayers who read minds and fiery giants made of burning rock. From a lair deep in the volcano, these creatures plot the end of humanity - and the Doctor soon finds he has no way to win... Clare Corbett reads James Moran's novelisation of his 2008 TV episode which starred David Tennant and Catherine Tate. Reading produced by Neil Gardner at Ladbroke Audio Sound design by David Darlington Executive producer: Michael Stevens©2022 BBC Studios Distribution Ltd (P)2022 BBC Studios Distribution Ltd

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What distinguishes modern tragedy from other forms of drama? How does it relate to contemporary political and social conditions? To what ends have artists employed the tragic form in different locations during the 20th century? Partly motivated by the urgency of our current situation in an age of ecocidal crisis, Modern Tragedy encompasses a variety of drama from throughout the 20th century. James Moran begins this book with John Millington Synge’s Riders to the Sea (1904), which shows how environmental awareness might be expressed through tragic drama. Moran also looks at Brecht’s reworking of Synge’s drama in the 1937 play Señora Carrar’s Rifles, and situates Brecht's script in the light of the theatre practitioner’s broader ideas about tragedy. Brecht’s tragic thinking – informed by Hegel and Marx – is contrasted with the Schopenhauerian approach of Samuel Beckett. The volume goes on to examine theatre makers whose ideas were partly motivated by applying an understanding of the tragic narrative of Synge’s Riders to the Sea to postcolonial contexts. Looking at Derek Walcott’s The Sea at Dauphin (1954), and J.P. Clark’s The Goat (1961), Modern Tragedy explores how tragedy, a form that is often associated with regressive assumptions about hegemony, might be rethought, and how aspects of the tragic may coincide with the experiences and concerns of authors and audiences of colour.

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'These highbrows must remember that there is a demand for little things as well as for big things' George Bernard Shaw was one of the leading playwrights and public intellectuals of the nineteenth and twentieth centuries. He helped propel drama towards the unexpected, into a realm where it might shock audiences into new viewpoints and into fresh understandings of society. Throughout his long writing career Shaw wrote short plays, ranging in length from 1000-word puppet play, Shakes Versus Shav, to the 12,000-word suffragette comedy, Press Cuttings. These plays can be taken to illuminate Shaw's life and legacy, from ideas about war and patriotism in O'Flaherty, V.C. to censorship in The Shewing up of Blanco Posset. Surveying Shaw's entire career of writing short dramas, focusing especially on those years when his work in the form was particularly prolific (around 1909 and during the First World War), this collection places Shaw's short plays broadly into four key areas: farces, historical sketches, war dramas, and Shakespearean shorts. For each of these areas, the volume explores Shaw's aesthetic and thematic concerns, the precise historical and generic contexts in which the works were written, the major criticism and scholarship that has subsequently emerged, and the most notable stage and screen productions. This collection reveals how a playwright often criticized for being too wordy was actually a master of the short form.

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The Doctor and his great-grandson Alex are back travelling the universe together... but when that universe is in the grips of a Time War, the unexpected lurks round every corner... 5.1 Meanwhile, Elsewhere by Tim Foley (1 part). The Doctor and Alex arrive on a tropical beach where something's amiss. Meanwhile, elsewhere... a desperate pilot runs for his life. Meanwhile, elsewhere... it's Cass Fermazzi's first day on an errand-class starship. Meanwhile, elsewhere... it's the beginning of the end of everything 5.2 Vespertine by Lou Morgan (1 part). It's Cass's first trip in the TARDIS, and the Doctor is determined to make it one to remember. But when they arrive at a research base that shouldn't exist, built above a missing explorer's ship that should never have been found, it seems their visit's going to be memorable for all the wrong reasons. 5.3 Previously, Next Time by James Moran (2 parts). The Doctor, Cass and Alex land to find out what's causing temporal anomalies with the TARDIS, and come across an uninhabited planet, a mysterious factory, and a weapon so dangerous, it could destroy the Universe. But things go catastrophically wrong... CAST: Paul McGann (The Doctor), Emma Campbell-Jones (Cass Fermazzi), Sonny McGann (Alex Campbell), Nadia Albina (Oshia), Gareth Armstrong (Davon), Nicholas Boulton (Vice), Nicholas Briggs (The Daleks), Michael Chance (Vellan), Ian Conningham (Kade), Indigo Griffiths (Rin Martolo), Jaye Griffiths (Hieronyma Friend), Greig Johnson (Mex), Simon Shepherd (Hudson Sage), Homer Todiwala (Ebus). Other parts played by members of the cast.

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