Auswahl der wissenschaftlichen Literatur zum Thema „St Christopher School“

Malcolm Douglas Lilly grew up in Eltham in South London. His father, Charles Victor Lilly, had several awards for excellence in science at St John's School, Walworth, but left school at the age of fourteen to join Hobson & Son of Tooley Street, London, as an office boy. In due course he rose to become a director of the company. The firm was the leading manufacturer of uniforms; Charles Lilly was responsible for hats. Malcolm's mother, Amy Gardiner, also worked there before her marriage. Their younger son, Christopher, who became an electronics engineer, was born in 1946.

Biomarkers can provide valuable insights into disease susceptibility and natural history and may serve as surrogate endpoints for a variety of different outcomes. At the 2008 annual meeting of GRAPPA (Group for Research and Assessment of Psoriasis and Psoriatic Arthritis), members were updated on the development of biomarkers in psoriatic arthritis (PsA). Plenary presentations included a translational approach to biomarker development (Christopher Ritchlin, University of Rochester, NY, USA), biomarkers for psoriasis (Abrar Qureshi, Harvard Medical School, MA, USA), new data on biomarkers for damage in PsA (Kurt de Vlam, University Hospitals Leuven, Belgium), and design considerations for a longitudinal study of joint damage being undertaken under the OMERACT umbrella with colleagues working on rheumatoid arthritis and ankylosing spondylitis (Costantino Pitzalis, Barts and the London School of Medicine, London, UK; Oliver FitzGerald, St. Vincent’s Hospital, Dublin, Ireland). At the conclusion of this session, the meeting attendees discussed specific design issues of the proposed longitudinal study, including study duration, disease process core domains, and the instruments to be used in recording enthesitis, dactylitis, nail involvement, quality of life and structural damage. The appearance of new therapeutic options in PsA raises the need for sensitive biomarkers for both disease activity and outcome.

Patrick Steptoe was born on 9 June 1913 in Witney, Oxfordshire. He grew up in a family of eight brothers and sisters, the sixth boy and the seventh child of Grace Maud (née Mimms) and Harry Arthur Steptoe. His mother was an advocate of women’s rights, and worked for the Mothers’ Union and Infant Welfare clinics; she died in 1973. His father was Registrar of Births, Deaths and Marriages in Witney; he died in 1953. As a schoolboy at the Witney Grammar School, Patrick became interested in medicine and music, and the two subjects demanded virtually equal time during his late teens. This musical talent manifested early and lasted throughout his life, for even at the age of 13 he played incidental piano music during matinees for the silent films of Tom Mix, Harold Lloyd, Ramon Navarro and Rudolph Valentino. Later he was organist in St Mary’s Church, and director and organist of Christ Church Musical Society, Oxford, when he was 18 years old. He wrote that the heavy weight of the organ keys helped to make his hands and fingers very strong. These early signs of a character full of determination and initiative were apparent later in his life, as he coped with disappointments and opposition during his medical career. He might indeed have become a musician, but medicine finally triumphed when at age 20 he entered King’s College, London, as a medical student. He qualified in 1939 at the age of 26 with the degrees of M.R.C.S., L.R.C.P. from St George’s Hospital in London. This hospital retained his affection throughout his life, even though he remembered wards full of cases of pneumonia, meningitis and septicaemia since antibiotics had not then been discovered.

Steven Horwitz of St. Lawrence University reviews “F. A. Hayek and the Modern Economy: Economic Organization and Activity”, by Sandra J. Peart and David M. Levy. The Econlit abstract of this book begins: “Ten papers, resulting from the ""Hayek and the Modern World" conference held at the University of Richmond in April 2013, explore the role of human agency in Friedrich Hayek's thought and consider his writings as they relate to economic organization and activity, particularly to assess what role he assigns to leaders in determining economic progress. Papers discuss Hayek's unsentimental liberalism (Peter McNamara); Hayek and the ""individualists" (Sandra J. Peart and David M. Levy); the evolution, evaluation, and reform of social morality--a Hayekian analysis (Gerald Gaus); Hayek and the conditions of freedom (Kenneth Minogue); Hayek and the early foundations of spontaneous order (Emily Skarbek); Hayek and the nomothetes (Christopher S. Martin); the control of engagement order--Clement Attlee's road to serfdom? (Ekkehard A. Köhler and Stefan Koler); Hayekian perspectives on Canada's economic and social reforms of the 1990s (Jason Clemens and Niels Veldhuis); the conjoint quest for a liberal positive program--""Old Chicago," Freiburg, and Hayek (Andrew Farrant and Nicola Tynan); and Hayek and Václav Klaus's life (Klaus). Peart is Dean of the Jepson School of Leadership Studies at the University of Richmond. Levy is Professor of Economics at George Mason University and Distinguished Fellow of the History of Economics Society.”

07–533Anh Tuan, Truong & Storch Neomy (U Melbourne, Australia; neomys@unimelb.edu.au), Investigating group planning in preparation for oral presentations in an EFL class in Vietnam. RELC Journal (Sage) 38.1 (2007), 104–124.07–534Bada, Erdogan & Bilal Genc (U Çukurova, Turkey; erdoganbada@gmail.com), An investigation into the tense/aspect preferences of Turkish speakers of English and native English speakers in their oral narration. The Reading Matrix (Readingmatrix.com) 7.1 (2007), 141–150.07–535Beasley, Robert (Franklin College, USA; rbeasley@franklincollege.edu), Yuangshan Chuang & Chao-chih Liao, Determinants and effects of English language immersion in Taiwanese EFL learners engaged in online music study. The Reading Matrix (Readingmatrix.com) 6.3 (2006), 330–339.07–536Campbell, Dermot, Ciaron Mcdonnell, Marti Meinardi & Bunny Richardson (Dublin Institute of Technology, Ireland; dermot.campbell@dit.ie), The need for a speech corpus. ReCALL (Cambridge University Press) 19.1 (2007), 3–20.07–537Chambers, Andrea (Insa de Lyon, France; andrea.emara@insa-lyon.fr) & Stephen Bax, Making CALL work: Towards normalisation. System (Elsevier) 34.4 (2006), 465–479.07–538Chan, Alice (City U Hong Kong, China; enalice@cityu.edu.hk), Strategies used by Cantonese speakers in pronouncing English initial consonant clusters: Insights into the interlanguage phonology of Cantonese ESL learners in Hong Kong. International Review of Applied Linguistics in Language Teaching (Walter de Gruyter) 44.4 (2006), 331–355.07–539Crabbe, David (Victoria U Wellington, New Zealand; david.crabbe@vuw.ac.nz), Learning opportunities: Adding learning value to tasks. ELT Journal (Oxford University Press) 61.2 (2007), 117–125.07–540Elia, Antonella (U Naples, Italy; aelia@unina.it), Language learning in tandem via skype. The Reading Matrix (Readingmatrix.com) 6.3 (2006), 269–280.07–541Feuer, Avital (York U, Canada), Parental influences on language learning in Hebrew Sunday school classes. Language, Culture and Curriculum (Multilingual Matters) 19.3 (2006), 266–277.07–542Griffiths, Carol (AIS St Helens, Auckland, New Zealand; carolgriffiths5@gmail.com), Language learning strategies: Students' and teachers' perceptions. ELT Journal (Oxford University Press) 61.2 (2007), 91–99.07–543Hamid, Md. Obaidul (U Dhaka, Bangladesh; obaid_hamid@yahoo.com), Identifying second language errors: How plausible are plausible reconstructions?ELT Journal (Oxford University Press) 61.2 (2007), 107–116.07–544Hauck, Mirjam (The Open U, UK; m.hauck@open.ac.uk), Critical success factors in a TRIDEM exchange. ReCALL (Cambridge University Press) 19.2 (2007), 202–223.07–545Hellermann, John (Portland State U, Portland, Oregon, USA; jkh@pdx.edu) & Andrea Vergun, Language which is not taught: The discourse marker use of beginning adult learners of English. Journal of Pragmatics (Elsevier) 39.1 (2007), 157–179.07–546Hwu, Fenfang (U Cincinnati, USA; hwuf@ucmail.uc.edu), Learners' strategies with a grammar application: The influence of language ability and personality preferences. ReCALL (Cambridge University Press) 19.1 (2007), 21–38.07–547Karlsson, Leena (Helsinki U, Finland; leena.karlsson@helsinki.fi), Felicity Kjisik & Joan Nordlund, Language counselling: A critical and integral component in promoting an autonomous community of learning. System (Elsevier) 35.1 (2007), 46–65.07–548Karlström, Petter (Stockholm U, Sweden; petter@dsv.su.se), Teresa Cerratto-Pargman, Henrik Lindström & Ola Knutsson, Tool mediation in focus on form activities: Case studies in a grammar-exploring environment. ReCALL (Cambridge University Press) 19.1 (2007), 39–56.07–549Kim, Yongho (Korea National U of Education) & David Kellogg, Rules out of roles: Differences in play language and their developmental significance. Applied Linguistics (Oxford University Press) 28.1 (2007), 25–45.07–550Liaw, Meei-Ling (National Taichung U, China; meeilingliaw@gmail.com), Constructing a ‘third space’ for EFL learners: Where language and cultures meet. ReCALL (Cambridge University Press) 19.2 (2007), 224–241.07–551Matsuzaki Carreira, Junko (Tsuda College, Japan), Motivation for learning English as a foreign language in Japanese elementary schools. JALT Journal (Japan Association for Language Teaching) 28.2 (2006), 135–157.07–552Mozzon-McPherson, Marina (U Hull, UK; M.Mozzon-Mcpherson@hull.ac.uk), Supporting independent learning environments: An analysis of structures and roles of language learning advisers. System (Elsevier) 35.1 (2007), 66–92.07–553Napier, Jemina (Macquarie U, Australia), Effectively teaching discourse to sign language interpreting students. Language, Culture and Curriculum (Multilingual Matters) 19.3 (2006), 251–265.07–554Reinders, Hayo (U Auckland, New Zealand; system@hayo.nl), Supporting independent learning environments: An analysis of structures and roles of language learning advisers. System (Elsevier) 35.1 (2007), 93–111.07–555Stracke, Elke (U Canberra, Australia; Elke.Stracke@canberra.edu.au), A road to understanding: A qualitative study into why learners drop out of a blended language learning (BLL) environment. ReCALL (Cambridge University Press) 19.1 (2007), 57–78.07–556Stroud, Christopher (U West Cape, South Africa; cstroud@uwc.ac.za) & Lionel Wee, Anxiety and identity in the language classroom. RELC Journal (SAGE Publications) 37.3 (2006), 299–307.07–557Taguchi, Naoko (Carnegie Mellon U, USA), Task difficulty in oral speech act production. Applied Linguistics (Oxford University Press) 28.1 (2007), 113–135.07–558Webb, Stuart (Japan), The effects of repetition on vocabulary knowledge. Applied Linguistics (Oxford University Press) 28.1 (2007), 46–65.07–559Yihong, Gao, Zhao Yuan, Cheng Ying & Zhou Yan, Relationship between English learning motivation types and self-identity changes among Chinese students. TESOL Quarterly (Teachers of English to Speakers of Other Languages) 41.1 (2007), 133–155.07–560Xuesong, Gao (U Hong Kong, China; Gao@hkusua.hku.hk), Strategies used by Chinese parents to support English language learning. RELC Journal (SAGE Publications) 37.3 (2006), 285–298.07–561Zhenhui, Rao (Jiangxi Normal U, Nanchang, China), Understanding Chinese students' use of language learning strategies from cultural and educational perspectives. Journal of Multilingual and Multicultural Development (Multilingual Matters) 27.6 (2006), 491–508.

06–20Abbott, Chris (King's College, U London, UK) & Alim Shaikh, Visual representation in the digital age: Issues arising from a case study of digital media use and representation by pupils in multicultural school settings. Language and Education (Multilingual Matters) 19.6 (2005), 455–466.06–21Andreou, Georgia & Napoleon Mitsis (U Thessaly, Greece), Greek as a foreign language for speakers of Arabic: A study of medical students at the University of Thessaly. Language, Culture and Curriculum (Multilingual Matters) 18.2 (2005), 181–187.06–22Aune, R. Kelly (U Hawaii at Manoa, USA; kaune@hawaii.edu), Timothy R. Levine, Hee Sun Park, Kelli Jean K. Asada & John A. Banas, Tests of a theory of communicative responsibility. Journal of Language and Social Psychology (Sage) 24.4 (2005), 358–381.06–23Belz, Julie A. (The Pennsylvania State U, USA; jab63@psu.edu) & Nina Vyatkina, Learner corpus analysis and the development of L2 pragmatic competence in networked intercultural language study: The case of German modal particles. The Canadian Modern Language Review (University of Toronto Press) 62.1 (2005), 17–48.06–24Bird, Stephen (U Brunei Darussalam, Brunei; sbird@fass.ubd.edu.bn), Language learning edutainment: Mixing motives in digital resources. RELC Journal (Sage) 36.3 (2005), 311–339.06–25Carrington, Victoria (U Plymouth, UK), The uncanny, digital texts and literacy. Language and Education (Multilingual Matters) 19.6 (2005), 467–482.06–26Chung, Yang-Gyun (International Languages Program, Ottawa, Canada; jchung2536@rogers.com), Barbara Graves, Mari Wesche & Marion Barfurth, Computer-mediated communication in Korean–English chat rooms: Tandem learning in an international languages program. The Canadian Modern Language Review (University of Toronto Press) 62.1 (2005), 49–86.06–27Clopper, Cynthia G. & David B. Pisoni, Effects of talker variability on perceptual learning of dialects, Language and Speech (Kingston Press) 47.3 (2004), 207–239.06–28Csizér, Kata (Eötvös U, Budapest, Hungary; weinkata@yahoo.com) & Zoltán Dörnyei, Language learners' motivational profiles and their motivated learning behavior. Language Learning (Blackwell) 55.4 (2005), 613–659.06–29Davis, Adrian (Macao Polytechnic Institute, Macao, China; ajdavis@ipm.edu.mo), Teachers' and students' beliefs regarding aspects of language learning. Evaluation and Research in Education (Multilingual Matters) 17.4 (2003), 207–222.06–30Deterding, David (Nanyang Technological U, Singapore; dhdeter@nie.edu.sg), Listening to Estuary English in Singapore. TESOL Quarterly (Teachers of English to Speakers of Other Languages) 39.3 (2005), 425–440.06–31Dörnyei, Zoltán (U Nottingham, UK; zoltan.dornyei@nottingham.ac.uk) & Kata Csizér, The effects of intercultural contact and tourism on language attitudes and language learning motivation. Journal of Language and Social Psychology (Sage) 24.4 (2005), 327–357.06–32Enk, Anneke van (Simon Fraser U, Burnaby, Canada), Diane Dagenais & Kelleen Toohey, A socio-cultural perspective on school-based literacy research: Some emerging considerations. Language and Education (Multilingual Matters) 19.6 (2005), 496–512.06–33Foster, Pauline & Amy Snyder Ohta (St Mary's College, U London, UK), Negotiation for meaning and peer assistance in second language classrooms. Applied Linguistics (Oxford University Press) 26.3 (2005), 402–430.06–34Furmanovsky, Michael (Ryukoku U, Japan), Japanese students' reflections on a short-term language program. The Language Teacher (Japan Association for Language Teaching) 29.12 (2005), 3–9.06–35Gass, Susan (Michigan State U, USA; gass@msu.edu), Alison Mackey & Lauren Ross-Feldman, Task-based interactions in classroom and laboratory settings. Language Learning (Blackwell) 55.4 (2005), 575–611.06–36Gatbonton, Elizabeth, Pavel Trofimovich & Michael Magid (Concordia U, USA), Learners' ethnic group affiliation and L2 pronunciation accuracy: A sociolinguistic investigation. TESOL Quarterly (Teachers of English to Speakers of Other Languages) 39.3 (2005), 489–512.06–37Gerjets, Peter & Friedrich Hesse (Knowledge Media Research Center, Germany; p.gerjets@iwm-kmrc.de), When are powerful learning environments effective? The role of learner activities and of students' conceptions of educational technology. International Journal of Educational Research (Elsevier) 41.6 (2004), 445–465.06–38Golombek, Paula & Stefanie Jordan (The Pennsylvania State U, USA), Becoming ‘black lambs’ not ‘parrots’: A poststructuralist orientation to intelligibility and identity. TESOL Quarterly (Teachers of English to Speakers of Other Languages) 39.3 (2005), 513–534.06–39Green, Christopher (Hong Kong Polytechnic U, Hong Kong, China; egchrisg@polyu.edu.hk), Integrating extensive reading in the task-based curriculum. ELT Journal (Oxford University Press) 59.4 (2005), 306–311.06–40Hardison, Debra M. (Michigan State U, USA; hardiso2@msu.edu), Second-language spoken word identification: Effects of perceptual training, visual cues, and phonetic environment. Applied Psycholinguistics (Cambridge University Press) 26.4 (2005), 579–596.06–41Harwood, Nigel (U Essex, UK; nharwood@essex.ac.uk), ‘We do not seem to have a theory … the theory I present here attempts to fill this gap’: Inclusive and exclusive pronouns in academic writing. Applied Linguistics (Oxford University Press) 26.3 (2005), 343–375.06–42Hauser, Eric (U Electro-Communications, Japan), Coding ‘corrective recasts’: The maintenance of meaning and more fundamental problems. Applied Linguistics (Oxford University Press) 26.3 (2005), 293–316.06–43Kondo-Brown, Kimi (U Hawaii at Manoa, USA; kondo@hawaii.edu), Differences in language skills: Heritage language learner subgroups and foreign language learners. The Modern Language Journal (Blackwell) 89.4 (2005), 563–581.06–44Koprowski, Mark (markkoprowski@yahoo.com), Investigating the usefulness of lexical phrases in contemporary coursebooks. ELT Journal (Oxford University Press) 59.4 (2005), 322–332.06–45LaFrance, Adéle (U Toronto, Canada; alafrance@oise.utoronto.ca) & Alexandra Gottardo, A longitudinal study of phonological processing skills and reading in bilingual children. Applied Psycholinguistics (Cambridge University Press) 26.4 (2005), 559–578.06–46Nassaji, Hossein (U Victoria, Canada), Input modality and remembering name-referent associations in vocabulary learning. Canadian Journal of Applied Linguistics (Canadian Association of Applied Linguistics) 7.1 (2004), 39–55.06–47Nguyen, Hanh Thi (Hawaii Pacific U, USA; htnguyen@hawaii.edu) & Guy Kellogg, Emergent identities in on-line discussions for second language learning. The Canadian Modern Language Review (University of Toronto Press) 62.1 (2005), 111–136.06–48Norton, Julie (U Leicester, UK; jen7@le.ac.uk), The paired format in the Cambridge Speaking Tests. ELT Journal (Oxford University Press) 59.4 (2005), 287–297.06–49North, Sarah (The Open U, UK), Disciplinary variation in the use of theme in undergraduate essays. Applied Linguistics (Oxford University Press) 26.3 (2005), 431–452.06–50Nunan, David (U Hong Kong, China), Styles and strategies in the language classroom. The Language Teacher (Japan Association for Language Teaching) 29.6 (2005), 9–11.06–51Paribakht, T. Sima (U Ottawa, Canada; paribakh@uottawa.ca), The influence of first language lexicalization on second language lexical inferencing: A study of Farsi-speaking learners of English as a foreign language. Language Learning (Blackwell) 55.4 (2005), 701–748.06–52Potts, Diana (U British Columbia, Canada; djpotts7@hotmail.com), Pedagogy, purpose, and the second language learner in on-line communities. The Canadian Modern Language Review (University of Toronto Press) 62.1 (2005), 137–160.06–53Pretorius, Elizabeth J. (U South Africa, Pretoria, South Africa; pretoej@unisa.ac.za), English as a second language learner differences in anaphoric resolution: Reading to learn in the academic context. Applied Psycholinguistics (Cambridge University Press) 26.4 (2005), 521–539.06–54Ramírez Verdugo, Dolores (Universidad Autónoma de Madrid, Spain; dolores.ramirez@uam.es), The nature and patterning of native and non-native intonation in the expression of certainty and uncertainty: Pragmatic effects. Journal of Pragmatics (Elsevier) 37.12 (2005), 2086–2115.06–55Riney, Timothy J., Naoyuki Takagi & Kumiko Inutsu (Interntional Christian U, Japan), Phonetic parameters and perceptual judgments of accent in English by American and Japanese listeners. TESOL Quarterly (Teachers of English to Speakers of Other Languages) 39.3 (2005), 441–466.06–56Rossiter, Marian J. (U Alberta, Canada), Developmental sequences of L2 communication strategies. Applied Language Learning (Defense Language Institute Foreign Language Center and Presidio of Monterey, USA) 15.1 & 15.2 (2005), 55–66.06–57Rubdy, Rani (Nanyang Technological U, Singapore; rsrubdy@nie.edu.sg), A multi-thrust approach to fostering a research culture. ELT Journal (Oxford University Press) 59.4 (2005), 277–286.06–58Schneider, Jason (jasoncschneider@yahoo.com), Teaching grammar through community issues. ELT Journal (Oxford University Press) 59.4 (2005), 298–305.06–59Shaaban, Kassim (American U Beirut, Lebanon), A proposed framework for incorporating moral education into the ESL/EFL classroom. Language, Culture and Curriculum (Multilingual Matters) 18.2 (2005), 201–217.06–60Sider, Steve R. (U Western Ontario, Canada), Growing up overseas: Perceptions of second language attrition and retrieval amongst expatriate children in India. Canadian Journal of Applied Linguistics (Canadian Association of Applied Linguistics) 7.2 (2004), 117–138.06–61Spiliotopoulus, Valia (U Toronto, Canada; valia.spiliotopoulos@ubc.ca) & Stephen Carey, Investigating the role of identity in writing using electronic bulletin boards. The Canadian Modern Language Review (University of Toronto Press) 62.1 (2005), 87–109.06–62Sueyoshi, Ayano (Michigan State U, USA; hardiso2@msu.edu) & Debra M. Hardison, The role of gestures and facial cues in second language listening comprehension. Language Learning (Blackwell) 55.4 (2005), 661–699.06–63Taguchi, Naoko (Carnegie Mellon U, USA; taguchi@andrew.cmu.edu), Comprehending implied meaning in English as a foreign language. The Modern Language Journal (Blackwell) 89.4 (2005), 543–562.06–64Taillefer, Gail F. (Université Toulouse I Sciences Sociales, France; gail.taillefer@univ-tlse1.fr), Foreign language reading and study abroad: Cross-cultural and cross-linguistic questions. The Modern Language Journal (Blackwell) 89.4 (2005), 503–528.06–65Tani-Fukuchi, Naoko (Kwansei Gakuin U, Japan), Japanese learner psychology and assessment of affect in foreign language study. The Language Teacher (Japan Association for Language Teaching) 29.4 (2005), 3–9.06–66Tani-Fukuchi, Naoko (Kwansei Gakuin U, Hyogo, Japan) & Robin Sakamoto, Affective dimensions of the Japanese foreign language learner: Implications for psychological learner development in Japan. Journal of Multilingual and Multicultural Development (Multilingual Matters) 26.4 (2005), 333–350.06–67Thoms, Joshua (U Iowa, USA; joshua_thomas@uiowa.edu), Jianling Liao & Anja Szustak, The use of L1 in an L2 on-line chat activity. The Canadian Modern Language Review (University of Toronto Press) 62.1 (2005), 161–182.06–68Tickoo, Asha (Southern Illinois U, USA; atickoo@siue.edu), The selective marking of past tense: Insights from Indian learners of English. International Journal of Applied Linguistics (Blackwell) 15.3 (2005), 364–378.06–69Tocalli-Beller, Agustina & Merrill Swain (U Toronto, Canada; atocalli-beller@oise.utoronto.ca), Reformulation: The cognitive conflict and L2 learning it generates. International Journal of Applied Linguistics (Blackwell) 15.1 (2005), 5–28.06–70Trofimovich, Pavel (Concordia U, Quebec, Canada; pavel@education.concordia.ca), Spoken-word processing in native and second languages: An investigation of auditory word priming. Applied Psycholinguistics (Cambridge University Press) 26.4 (2005), 479–504.06–71Tuveng, Elena (U Oslo, Norway) & Astri Heen Wold, The collaboration of teacher and language-minority children in masking comprehension problems in the language of instruction: A case study in an urban Norwegian school. Language and Education (Multilingual Matters) 19.6 (2005), 513–536.06–72Warga, Muriel (Karl Franzens U, Graz, Austria), ‘Je serais très merciable’: Formulaic vs. creatively produced speech in learners' request closings. Canadian Journal of Applied Linguistics (Canadian Association of Applied Linguistics) 8.1 (2005), 67–94.

1. Guy Debord in the Land of the Long WeekendIt’s the weekend – leisure time. It’s the interlude when, Guy Debord contends, the proletarian is briefly free of the “total contempt so clearly built into every aspect of the organization and management of production” in commodity capitalism; when workers are temporarily “treated like grown-ups, with a great show of solicitude and politeness, in their new role as consumers.” But this patronising show turns out to be another form of subjection to the diktats of “political economy”: “the totality of human existence falls under the regime of the ‘perfected denial of man’.” (30). As Debord suggests, even the creation of leisure time and space is predicated upon a form of contempt: the “perfected denial” of who we, as living people, really are in the eyes of those who presume the power to legislate our working practices and private identities.This Saturday The Weekend Australian runs an opinion piece by Christopher Pearson, defending ABC Radio National’s Stephen Crittenden, whose program The Religion Report has been axed. “Some of Crittenden’s finest half-hours have been devoted to Islam in Australia in the wake of September 11,” Pearson writes. “Again and again he’s confronted a left-of-centre audience that expected multi-cultural pieties with disturbing assertions.” Along the way in this admirable Crusade, Pearson notes that Crittenden has exposed “the Left’s recent tendency to ally itself with Islam.” According to Pearson, Crittenden has also thankfully given oxygen to claims by James Cook University’s Mervyn Bendle, the “fairly conservative academic whose work sometimes appears in [these] pages,” that “the discipline of critical terrorism studies has been captured by neo-Marxists of a postmodern bent” (30). Both of these points are well beyond misunderstanding or untested proposition. If Pearson means them sincerely he should be embarrassed and sacked. But of course he does not and will not be. These are deliberate lies, the confabulations of an eminent right-wing culture warrior whose job is to vilify minorities and intellectuals (Bendle escapes censure as an academic because he occasionally scribbles for the Murdoch press). It should be observed, too, how the patent absurdity of Pearson’s remarks reveals the extent to which he holds the intelligence of his readers in contempt. And he is not original in peddling these toxic wares.In their insightful—often hilarious—study of Australian opinion writers, The War on Democracy, Niall Lucy and Steve Mickler identify the left-academic-Islam nexus as the brain-child of former Treasurer-cum-memoirist Peter Costello. The germinal moment was “a speech to the Australian American Leadership Dialogue forum at the Art Gallery of NSW in 2005” concerning anti-Americanism in Australian schools. Lucy and Mickler argue that “it was only a matter of time” before a conservative politician or journalist took the plunge to link the left and terrorism, and Costello plunged brilliantly. He drew a mental map of the Great Chain of Being: left-wing academics taught teacher trainees to be anti-American; teacher trainees became teachers and taught kids to be anti-American; anti-Americanism morphs into anti-Westernism; anti-Westernism veers into terrorism (38). This is contempt for the reasoning capacity of the Australian people and, further still, contempt for any observable reality. Not for nothing was Costello generally perceived by the public as a politician whose very physiognomy radiated smugness and contempt.Recycling Costello, Christopher Pearson’s article subtly interpellates the reader as an ordinary, common-sense individual who instinctively feels what’s right and has no need to think too much—thinking too much is the prerogative of “neo-Marxists” and postmodernists. Ultimately, Pearson’s article is about channelling outrage: directing the down-to-earth passions of the Australian people against stock-in-trade culture-war hate figures. And in Pearson’s paranoid world, words like “neo-Marxist” and “postmodern” are devoid of historical or intellectual meaning. They are, as Lucy and Mickler’s War on Democracy repeatedly demonstrate, mere ciphers packed with the baggage of contempt for independent critical thought itself.Contempt is everywhere this weekend. The Weekend Australian’s colour magazine runs a feature story on Malcolm Turnbull: one of those familiar profiles designed to reveal the everyday human touch of the political classes. In this puff-piece, Jennifer Hewett finds Turnbull has “a restless passion for participating in public life” (20); that beneath “the aggressive political rhetoric […] behind the journalist turned lawyer turned banker turned politician turned would-be prime minister is a man who really enjoys that human interaction, however brief, with the many, many ordinary people he encounters” (16). Given all this energetic turning, it’s a wonder that Turnbull has time for human interactions at all. The distinction here of Turnbull and “many, many ordinary people” – the anonymous masses – surely runs counter to Hewett’s brief to personalise and quotidianise him. Likewise, those two key words, “however brief”, have an unfortunate, unintended effect. Presumably meant to conjure a picture of Turnbull’s hectic schedules and serial turnings, the words also convey the image of a patrician who begrudgingly knows one of the costs of a political career is that common flesh must be pressed—but as gingerly as possible.Hewett proceeds to disclose that Turnbull is “no conservative cultural warrior”, “onfounds stereotypes” and “hates labels” (like any baby-boomer rebel) and “has always read widely on political philosophy—his favourite is Edmund Burke”. He sees the “role of the state above all as enabling people to do their best” but knows that “the main game is the economy” and is “content to play mainstream gesture politics” (19). I am genuinely puzzled by this and imagine that my intelligence is being held in contempt once again. That the man of substance is given to populist gesturing is problematic enough; but that the Burke fan believes the state is about personal empowerment is just too much. Maybe Turnbull is a fan of Burke’s complex writings on the sublime and the beautiful—but no, Hewett avers, Turnbull is engaged by Burke’s “political philosophy”. So what is it in Burke that Turnbull finds to favour?Turnbull’s invocation of Edmund Burke is empty, gestural and contradictory. The comfortable notion that the state helps people to realise their potential is contravened by Burke’s view that the state functions so “the inclinations of men should frequently be thwarted, their will controlled, and their passions brought into subjection… by a power out of themselves” (151). Nor does Burke believe that anyone of humble origins could or should rise to the top of the social heap: “The occupation of an hair-dresser, or of a working tallow-chandler, cannot be a matter of honour to any person… the state suffers oppression, if such as they, either individually or collectively, are permitted to rule” (138).If Turnbull’s main game as a would-be statesman is the economy, Burke profoundly disagrees: “the state ought not to be considered as nothing better than a partnership agreement in a trade of pepper and coffee, callico or tobacco, or some other such low concern… It is a partnership in all science; a partnership in all art; a partnership in every virtue, and in all perfection”—a sublime entity, not an economic manager (194). Burke understands, long before Antonio Gramsci or Louis Althusser, that individuals or social fractions must be made admirably “obedient” to the state “by consent or force” (195). Burke has a verdict on mainstream gesture politics too: “When men of rank sacrifice all ideas of dignity to an ambition without a distinct object, and work with low instruments and for low ends, the whole composition [of the state] becomes low and base” (136).Is Malcolm Turnbull so contemptuous of the public that he assumes nobody will notice the gross discrepancies between his own ideals and what Burke stands for? His invocation of Burke is, indeed, “mainstream gesture politics”: on one level, “Burke” signifies nothing more than Turnbull’s performance of himself as a deep thinker. In this process, the real Edmund Burke is historically erased; reduced to the status of stage-prop in the theatrical production of Turnbull’s mass-mediated identity. “Edmund Burke” is re-invented as a term in an aesthetic repertoire.This transmutation of knowledge and history into mere cipher is the staple trick of culture-war discourse. Jennifer Hewett casts Turnbull as “no conservative culture warrior”, but he certainly shows a facility with culture-war rhetoric. And as much as Turnbull “confounds stereotypes” his verbal gesture to Edmund Burke entrenches a stereotype: at another level, the incantation “Edmund Burke” is implicitly meant to connect Turnbull with conservative tradition—in the exact way that John Howard regularly self-nominated as a “Burkean conservative”.This appeal to tradition effectively places “the people” in a power relation. Tradition has a sublimity that is bigger than us; it precedes us and will outlast us. Consequently, for a politician to claim that tradition has fashioned him, that he is welded to it or perhaps even owns it as part of his heritage, is to glibly imply an authority greater than that of “the many, many ordinary people”—Burke’s hair-dressers and tallow-chandlers—whose company he so briefly enjoys.In The Ideology of the Aesthetic, Terry Eagleton assesses one of Burke’s important legacies, placing him beside another eighteenth-century thinker so loved by the right—Adam Smith. Ideology of the Aesthetic is premised on the view that “Aesthetics is born as a discourse of the body”; that the aesthetic gives form to the “primitive materialism” of human passions and organises “the whole of our sensate life together… a society’s somatic, sensational life” (13). Reading Smith’s Theory of Moral Sentiments, Eagleton discerns that society appears as “an immense machine, whose regular and harmonious movements produce a thousand agreeable effects”, like “any production of human art”. In Smith’s work, the “whole of social life is aestheticized” and people inhabit “a social order so spontaneously cohesive that its members no longer need to think about it.” In Burke, Eagleton discovers that the aesthetics of “manners” can be understood in terms of Gramscian hegemony: “in the aesthetics of social conduct, or ‘culture’ as it would later be called, the law is always with us, as the very unconscious structure of our life”, and as a result conformity to a dominant ideological order is deeply felt as pleasurable and beautiful (37, 42). When this conservative aesthetic enters the realm of politics, Eagleton contends, the “right turn, from Burke” onwards follows a dark trajectory: “forget about theoretical analysis… view society as a self-grounding organism, all of whose parts miraculously interpenetrate without conflict and require no rational justification. Think with the blood and the body. Remember that tradition is always wiser and richer than one’s own poor, pitiable ego. It is this line of descent, in one of its tributaries, which will lead to the Third Reich” (368–9).2. Jean Baudrillard, the Nazis and Public MemoryIn 1937, during the Spanish Civil War, the Third Reich’s Condor Legion of the Luftwaffe was on loan to Franco’s forces. On 26 April that year, the Condor Legion bombed the market-town of Guernica: the first deliberate attempt to obliterate an entire town from the air and the first experiment in what became known as “terror bombing”—the targeting of civilians. A legacy of this violence was Pablo Picasso’s monumental canvas Guernica – the best-known anti-war painting in art history.When US Secretary of State Colin Powell addressed the United Nations on 5 February 2003 to make the case for war on Iraq, he stopped to face the press in the UN building’s lobby. The doorstop was globally televised, packaged as a moment of incredible significance: history in the making. It was also theatre: a moment in which history was staged as “event” and the real traces of history were carefully erased. Millions of viewers world-wide were undoubtedly unaware that the blue backdrop before which Powell stood was specifically designed to cover the full-scale tapestry copy of Picasso’s Guernica. This one-act, agitprop drama was a splendid example of politics as aesthetic action: a “performance” of history in the making which required the loss of actual historical memory enshrined in Guernica. Powell’s performance took its cues from the culture wars, which require the ceaseless erasure of history and public memory—on this occasion enacted on a breathtaking global, rather than national, scale.Inside the UN chamber, Powell’s performance was equally staged-crafted. As he brandished vials of ersatz anthrax, the power-point behind him (the theatrical set) showed artists’ impressions of imaginary mobile chemical weapons laboratories. Powell was playing lead role in a kind of populist, hyperreal production. It was Jean Baudrillard’s postmodernism, no less, as the media space in which Powell acted out the drama was not a secondary representation of reality but a reality of its own; the overheads of mobile weapons labs were simulacra, “models of a real without origins or reality”, pictures referring to nothing but themselves (2). In short, Powell’s performance was anchored in a “semiurgic” aesthetic; and it was a dreadful real-life enactment of Walter Benjamin’s maxim that “All efforts to render politics aesthetic culminate in one thing: war” (241).For Benjamin, “Fascism attempts to organize the newly created proletarian masses without affecting the property structure which the masses strive to eliminate.” Fascism gave “these masses not their right, but instead a chance to express themselves.” In turn, this required “the introduction of aesthetics into politics”, the objective of which was “the production of ritual values” (241). Under Adolf Hitler’s Reich, people were able to express themselves but only via the rehearsal of officially produced ritual values: by their participation in the disquisition on what Germany meant and what it meant to be German, by the aesthetic regulation of their passions. As Frederic Spotts’ fine study Hitler and the Power of Aesthetics reveals, this passionate disquisition permeated public and private life, through the artfully constructed total field of national narratives, myths, symbols and iconographies. And the ritualistic reiteration of national values in Nazi Germany hinged on two things: contempt and memory loss.By April 1945, as Berlin fell, Hitler’s contempt for the German people was at its apogee. Hitler ordered a scorched earth operation: the destruction of everything from factories to farms to food stores. The Russians would get nothing, the German people would perish. Albert Speer refused to implement the plan and remembered that “Until then… Germany and Hitler had been synonymous in my mind. But now I saw two entities opposed… A passionate love of one’s country… a leader who seemed to hate his people” (Sereny 472). But Hitler’s contempt for the German people was betrayed in the blusterous pages of Mein Kampf years earlier: “The receptivity of the great masses is very limited, their intelligence is small, but their power of forgetting is enormous” (165). On the back of this belief, Hitler launched what today would be called a culture war, with its Jewish folk devils, loathsome Marxist intellectuals, incitement of popular passions, invented traditions, historical erasures and constant iteration of values.When Theodor Adorno and Max Horkheimer fled Fascism, landing in the United States, their view of capitalist democracy borrowed from Benjamin and anticipated both Baudrillard and Guy Debord. In their well-know essay on “The Culture Industry”, in Dialectic of Enlightenment, they applied Benjamin’s insight on mass self-expression and the maintenance of property relations and ritual values to American popular culture: “All are free to dance and enjoy themselves”, but the freedom to choose how to do so “proves to be the freedom to choose what is always the same”, manufactured by monopoly capital (161–162). Anticipating Baudrillard, they found a society in which “only the copy appears: in the movie theatre, the photograph; on the radio, the recording” (143). And anticipating Debord’s “perfected denial of man” they found a society where work and leisure were structured by the repetition-compulsion principles of capitalism: where people became consumers who appeared “s statistics on research organization charts” (123). “Culture” came to do people’s thinking for them: “Pleasure always means not to think about anything, to forget suffering even where it is shown” (144).In this mass-mediated environment, a culture of repetitions, simulacra, billboards and flickering screens, Adorno and Horkheimer concluded that language lost its historical anchorages: “Innumerable people use words and expressions which they have either ceased to understand or employ only because they trigger off conditioned reflexes” in precisely the same way that the illusory “free” expression of passions in Germany operated, where words were “debased by the Fascist pseudo-folk community” (166).I know that the turf of the culture wars, the US and Australia, are not Fascist states; and I know that “the first one to mention the Nazis loses the argument”. I know, too, that there are obvious shortcomings in Adorno and Horkheimer’s reactions to popular culture and these have been widely criticised. However, I would suggest that there is a great deal of value still in Frankfurt School analyses of what we might call the “authoritarian popular” which can be applied to the conservative prosecution of populist culture wars today. Think, for example, how the concept of a “pseudo folk community” might well describe the earthy, common-sense public constructed and interpellated by right-wing culture warriors: America’s Joe Six-Pack, John Howard’s battlers or Kevin Rudd’s working families.In fact, Adorno and Horkheimer’s observations on language go to the heart of a contemporary culture war strategy. Words lose their history, becoming ciphers and “triggers” in a politicised lexicon. Later, Roland Barthes would write that this is a form of myth-making: “myth is constituted by the loss of the historical quality of things.” Barthes reasoned further that “Bourgeois ideology continuously transforms the products of history into essential types”, generating a “cultural logic” and an ideological re-ordering of the world (142). Types such as “neo-Marxist”, “postmodernist” and “Burkean conservative”.Surely, Benjamin’s assessment that Fascism gives “the people” the occasion to express itself, but only through “values”, describes the right’s pernicious incitement of the mythic “dispossessed mainstream” to reclaim its voice: to shout down the noisy minorities—the gays, greenies, blacks, feminists, multiculturalists and neo-Marxist postmodernists—who’ve apparently been running the show. Even more telling, Benjamin’s insight that the incitement to self-expression is connected to the maintenance of property relations, to economic power, is crucial to understanding the contemptuous conduct of culture wars.3. Jesus Dunked in Urine from Kansas to CronullaAmerican commentator Thomas Frank bases his study What’s the Matter with Kansas? on this very point. Subtitled How Conservatives Won the Heart of America, Frank’s book is a striking analysis of the indexation of Chicago School free-market reform and the mobilisation of “explosive social issues—summoning public outrage over everything from busing to un-Christian art—which it then marries to pro-business policies”; but it is the “economic achievements” of free-market capitalism, “not the forgettable skirmishes of the never-ending culture wars” that are conservatism’s “greatest monuments.” Nevertheless, the culture wars are necessary as Chicago School economic thinking consigns American communities to the rust belt. The promise of “free-market miracles” fails ordinary Americans, Frank reasons, leaving them in “backlash” mode: angry, bewildered and broke. And in this context, culture wars are a convenient form of anger management: “Because some artist decides to shock the hicks by dunking Jesus in urine, the entire planet must remake itself along the lines preferred” by nationalist, populist moralism and free-market fundamentalism (5).When John Howard received the neo-conservative American Enterprise Institute’s Irving Kristol Award, on 6 March 2008, he gave a speech in Washington titled “Sharing Our Common Values”. The nub of the speech was Howard’s revelation that he understood the index of neo-liberal economics and culture wars precisely as Thomas Frank does. Howard told the AEI audience that under his prime ministership Australia had “pursued reform and further modernisation of our economy” and that this inevitably meant “dislocation for communities”. This “reform-dislocation” package needed the palliative of a culture war, with his government preaching the “consistency and reassurance” of “our nation’s traditional values… pride in her history”; his government “became assertive about the intrinsic worth of our national identity. In the process we ended the seemingly endless seminar about that identity which had been in progress for some years.” Howard’s boast that his government ended the “seminar” on national identity insinuates an important point. “Seminar” is a culture-war cipher for intellection, just as “pride” is code for passion; so Howard’s self-proclaimed achievement, in Terry Eagleton’s terms, was to valorise “the blood and the body” over “theoretical analysis”. This speaks stratospheric contempt: ordinary people have their identity fashioned for them; they need not think about it, only feel it deeply and passionately according to “ritual values”. Undoubtedly this paved the way to Cronulla.The rubric of Howard’s speech—“Sharing Our Common Values”—was both a homage to international neo-conservatism and a reminder that culture wars are a trans-national phenomenon. In his address, Howard said that in all his “years in politics” he had not heard a “more evocative political slogan” than Ronald Reagan’s “Morning in America”—the rhetorical catch-cry for moral re-awakening that launched the culture wars. According to Lawrence Grossberg, America’s culture wars were predicated on the perception that the nation was afflicted by “a crisis of our lack of passion, of not caring enough about the values we hold… a crisis of nihilism which, while not restructuring our ideological beliefs, has undermined our ability to organise effective action on their behalf”; and this “New Right” alarmism “operates in the conjuncture of economics and popular culture” and “a popular struggle by which culture can lead politics” in the passionate pursuit of ritual values (31–2). When popular culture leads politics in this way we are in the zone of the image, myth and Adorno and Horkheimer’s “trigger words” that have lost their history. In this context, McKenzie Wark observes that “radical writers influenced by Marx will see the idea of culture as compensation for a fragmented and alienated life as a con. Guy Debord, perhaps the last of the great revolutionary thinkers of Europe, will call it “the spectacle”’ (20). Adorno and Horkheimer might well have called it “the authoritarian popular”. As Jonathan Charteris-Black’s work capably demonstrates, all politicians have their own idiolect: their personally coded language, preferred narratives and myths; their own vision of who “the people” might or should be that is conjured in their words. But the language of the culture wars is different. It is not a personal idiolect. It is a shared vocabulary, a networked vernacular, a pervasive trans-national aesthetic that pivots on the fact that words like “neo-Marxist”, “postmodern” and “Edmund Burke” have no historical or intellectual context or content: they exist as the ciphers of “values”. And the fact that culture warriors continually mouth them is a supreme act of contempt: it robs the public of its memory. And that’s why, as Lucy and Mickler’s War on Democracy so wittily argues, if there are any postmodernists left they’ll be on the right.Benjamin, Adorno, Horkheimer and, later, Debord and Grossberg understood how the political activation of the popular constitutes a hegemonic project. The result is nothing short of persuading “the people” to collaborate in its own oppression. The activation of the popular is perfectly geared to an age where the main stage of political life is the mainstream media; an age in which, Charteris-Black notes, political classes assume the general antipathy of publics to social change and act on the principle that the most effective political messages are sold to “the people” by an appeal “to familiar experiences”—market populism (10). In her substantial study The Persuaders, Sally Young cites an Australian Labor Party survey, conducted by pollster Rod Cameron in the late 1970s, in which the party’s message machine was finely tuned to this populist position. The survey also dripped with contempt for ordinary people: their “Interest in political philosophy… is very low… They are essentially the products (and supporters) of mass market commercialism”. Young observes that this view of “the people” was the foundation of a new order of political advertising and the conduct of politics on the mass-media stage. Cameron’s profile of “ordinary people” went on to assert that they are fatally attracted to “a moderate leader who is strong… but can understand and represent their value system” (47): a prescription for populist discourse which begs the question of whether the values a politician or party represent via the media are ever really those of “the people”. More likely, people are hegemonised into a value system which they take to be theirs. Writing of the media side of the equation, David Salter raises the point that when media “moguls thunder about ‘the public interest’ what they really mean is ‘what we think the public is interested in”, which is quite another matter… Why this self-serving deception is still so sheepishly accepted by the same public it is so often used to violate remains a mystery” (40).Sally Young’s Persuaders retails a story that she sees as “symbolic” of the new world of mass-mediated political life. The story concerns Mark Latham and his “revolutionary” journeys to regional Australia to meet the people. “When a political leader who holds a public meeting is dubbed a ‘revolutionary’”, Young rightly observes, “something has gone seriously wrong”. She notes how Latham’s “use of old-fashioned ‘meet-and-greet’campaigning methods was seen as a breath of fresh air because it was unlike the type of packaged, stage-managed and media-dependent politics that have become the norm in Australia.” Except that it wasn’t. “A media pack of thirty journalists trailed Latham in a bus”, meaning, that he was not meeting the people at all (6–7). He was traducing the people as participants in a media spectacle, as his “meet and greet” was designed to fill the image-banks of print and electronic media. Even meeting the people becomes a media pseudo-event in which the people impersonate the people for the camera’s benefit; a spectacle as artfully deceitful as Colin Powell’s UN performance on Iraq.If the success of this kind of “self-serving deception” is a mystery to David Salter, it would not be so to the Frankfurt School. For them, an understanding of the processes of mass-mediated politics sits somewhere near the core of their analysis of the culture industries in the “democratic” world. I think the Frankfurt school should be restored to a more important role in the project of cultural studies. Apart from an aversion to jazz and other supposedly “elitist” heresies, thinkers like Adorno, Benjamin, Horkheimer and their progeny Debord have a functional claim to provide the theory for us to expose the machinations of the politics of contempt and its aesthetic ruses.ReferencesAdorno, Theodor and Max Horkheimer. "The Culture Industry: Enlightenment as Mass Deception." Dialectic of Enlightenment. London: Verso, 1979. 120–167.Barthes Roland. “Myth Today.” Mythologies. Trans. Annette Lavers. St Albans: Paladin, 1972. 109–58.Baudrillard, Jean. Simulations. New York: Semiotext(e), 1983.Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” Illuminations. Ed. Hannah Arendt. Trans. Harry Zorn. New York: Schocken Books, 1969. 217–251.Burke, Edmund. Reflections on the Revolution in France. Ed. Conor Cruise O’Brien. Harmondsworth: Penguin, 1969.Charteris-Black, Jonathan. Politicians and Rhetoric: The Persuasive Power of Metaphor. Houndmills: Palgrave Macmillan, 2006.Debord, Guy. The Society of the Spectacle. Trans. Donald Nicholson-Smith. New York: Zone Books, 1994.Eagleton, Terry. The Ideology of the Aesthetic. Oxford: Basil Blackwell, 1990.Frank, Thomas. What’s the Matter with Kansas?: How Conservatives Won the Heart of America. New York: Henry Holt and Company, 2004.Grossberg, Lawrence. “It’s a Sin: Politics, Post-Modernity and the Popular.” It’s a Sin: Essays on Postmodern Politics & Culture. Eds. Tony Fry, Ann Curthoys and Paul Patton. Sydney: Power Publications, 1988. 6–71.Hewett, Jennifer. “The Opportunist.” The Weekend Australian Magazine. 25–26 October 2008. 16–22.Hitler, Adolf. Mein Kampf. Trans. Ralph Manheim. London: Pimlico, 1993.Howard, John. “Sharing Our Common Values.” Washington: Irving Kristol Lecture, American Enterprise Institute. 5 March 2008. ‹http://www.theaustralian.news.com.au/story/0,25197,233328945-5014047,00html›.Lucy, Niall and Steve Mickler. The War on Democracy: Conservative Opinion in the Australian Press. Crawley: University of Western Australia Press, 2006.Pearson, Christopher. “Pray for Sense to Prevail.” The Weekend Australian. 25–26 October 2008. 30.Salter, David. The Media We Deserve: Underachievement in the Fourth Estate. Melbourne: Melbourne UP, 2007. Sereny, Gitta. Albert Speer: His Battle with Truth. London: Picador, 1996.Spotts, Frederic. Hitler and the Power of Aesthetics. London: Pimlico, 2003.Wark, McKenzie. The Virtual Republic: Australia’s Culture Wars of the 1990s. St Leonards: Allen & Unwin, 1997.Young, Sally. The Persuaders: Inside the Hidden Machine of Political Advertising. Melbourne: Pluto Press, 2004.

At the start of the twentieth century, many young Australian artists travelled abroad to expand their art education and to gain exposure to the modern art movements of Europe. Most of these artists were active members of artist associations such as the Victorian Artists Society or the New South Wales Society of Artists. Male artists from Victoria were generally also members of the Melbourne Savage Club, a club with a strong association with the arts.This paper investigates the dual function of the club, as a space where the artists felt “at home” in the familiar environment that the club offered whilst they were abroad and, at the same time, a meeting space where they could engage in a stimulating artistic environment and gain introductions to leading figures in the art world. For those artists who chose England, London’s arts clubs played a large role, for it was in these establishments that they discussed, exhibited, shared, and met with their English counterparts. The club environment in London would have a significant impact on male Australian artists, as it offered a space where they were integrated into the English art world, which enhanced their experience whilst abroad.Artists were seldom members of Australia’s early gentlemen’s clubs, however, in the late nineteenth century Melbourne, artists formed less formal social groupings with exotic names such as the Prehistoric Order of Cannibals, the Buonarotti Club, and the Ishmael Club (Mead). Melbourne artists congregated in these clubs until the Melbourne Savage Club, modelled on the London Savage Club (1857)—a club whose membership was restricted to practitioners in the performing and visual arts—opened its doors in 1894.The Melbourne Savage Club had its origins in the Metropolitan Music Club, established in the late 1880s by a group of professional and amateur musicians and music lovers. The club initially admitted musicians and people from the dramatic professions free-of-charge, however, author Randolph Bedford (1868–1941) and artist Alf Vincent (1874–1915) were not content to be treated on a different basis to the musicians and actors, and two months after Vincent joined the club, at a Special General Meeting, the club resolved to vary Rule 6, “to admit landscape or portrait painters and sculptors without entrance fee” (Melbourne Savage Club). At another Special General Meeting, a year later, the rule was altered to admit “recognised members of the musical, dramatic and artistic professions and sculptors without payment of entrance fee” (Melbourne Savage Club).This resulted in an immediate influx of prominent Victorian male artists (Williams) and the Melbourne Savage Club became their place of choice to gather and enjoy the fellowship the club offered and to share ideas in a convivial atmosphere. When the opportunity arose for them to travel to London in the early twentieth century, they met in London’s famous art clubs. Membership of the Melbourne Savage Club not only conferred rights to visit reciprocal clubs whilst in London, but also facilitated introductions to potential patrons. The London clubs were the venue of choice for visiting artists to meet their fellow artist expatriates and to share experiences and, importantly, to meet with their British counterparts, exhibit their works, and establish valuable contacts.The London Savage Club attracted many Australian expatriates. Not only is it the grandfather of London’s bohemian clubs but also it was the model for arts clubs the world over. Founded in 1857, the qualification for admission was (and still is) to be, “a working man in literature or art, and a good fellow” (Halliday vii). If a candidate met these requirements, he would be cordially received “come whence he may.” This was embodied in the club’s first rules which required applicants for membership to be from a restricted range of pursuits relating to the arts thought to be commensurate with its bohemian ideals, namely art, literature, drama, or music.The second London arts club that attracted expatriate Australian artists was the New English Arts Club, founded in 1886 by young English artists returning from studying art in Paris. Members of The New English Arts Club were influenced by the Impressionist style as opposed to the academic art shown at the Royal Academy. As a meeting place for Australia’s expatriate artists, the New English Arts Club had a particular influence, as it exposed them to significant early Modern artist members such as John Singer Sargent (1856–1925), Walter Sickert (1860–1942), William Orpen (1878–1931) and Augustus John (1878–1961) (Corbett and Perry; Thornton; Melbourne Savage Club).The third, and arguably the most popular with the expatriate Australian artists’ club, was the Chelsea Arts Club, a bohemian club formed in 1891 by local working artists looking for a place to go to “meet, talk, eat and drink” (Cross).Apart from the American-born founding member, James McNeill Whistler (1834–1903), amongst the biggest Chelsea names at the time of the influx of travelling young Australian artists were modernists Sir William Orpen, Augustus John, and John Sargent. The opportunity to mix with these leading British contemporary artists was irresistible to these antipodean artists (55).When Melbourne artist, Miles Evergood (1871–1939) arrived in London from America in 1910, he had been an active exhibiting member of the Salmagundi Club, a New York artists’ club. Almost immediately he joined the New English Arts Club and the Chelsea Arts Club. Hammer tells of him associating with “writer Israel Zangwill, sculptor Jacob Epstein, and anti-academic artists including Walter Sickert, Augustus John, John Lavery, John Singer Sargent and C.R.W. Nevison, who challenged art values in Britain at the beginning of the century” (Hammer 41).Arthur Streeton (1867–1943) used the Chelsea Arts Club as his postal address, as did many expatriate artists. The Melbourne Savage Club archives contain letters and greetings, with news from abroad, written from artist members back to their “Brother Savages” (Various).In late 1902, Streeton wrote to fellow artist and Savage Club member Tom Roberts (1856–1931) from London:I belong to the Chelsea Arts Club now, & meet the artists – MacKennel says it’s about the most artistic club (speaking in the real sense) in England. … They all seem to be here – McKennal, Longstaff, Mahony, Fullwood, Norman, Minns, Fox, Plataganet Tudor St. George Tucker, Quinn, Coates, Bunny, Alston, K, Sonny Pole, other minor lights and your old friend and admirer Smike – within 100 yards of here – there must be 30 different studios. (Streeton 94)Whilst some of the artists whom Streeton mentioned were studying at either the Royal Academy or the Slade School, it was the clubs like the Chelsea Arts Club where they were most likely to encounter fellow Australian artists. Tom Roberts was obviously attentive to Streeton’s enthusiastic account and, when he returned to London the following year to work on his commission for The Big Picture of the 1901 opening of the first Commonwealth Parliament, he soon joined. Roberts, through his expansive personality, became particularly active in London’s Australian expatriate artistic community and later became Vice-President of the Chelsea Arts Club. Along with Streeton and Roberts, other visiting Melbourne Savage Club artists joined the Chelsea Arts Club. They included, John Longstaff (1861–1941), James Quinn (1869–1951), George Coates (1869–1930), and Will Dyson (1880–1938), along with Sydney artists Henry Fullwood (1863–1930), George Lambert (1873–1930), and Will Ashton (1881–1963) (Croll 95). Smith describes the exodus to London and Paris: “It was the Chelsea Arts Club that the Heidelberg School established its last and least distinguished camp” (Smith, Smith and Heathcote 152).Streeton, who retained his Chelsea Arts Club membership when he returned for a while to Australia, wrote to Roberts in 1907, “I miss Chelsea & the Club-boys” (Streeton 107). In relation to Frederick McCubbin’s pending visit he wrote: “Prof McCubbin left here a week ago by German ‘Prinz Heinrich.’ … You’ll introduce him at the Chelsea Club and I hope they make him an Hon. Member, etc” (Streeton et al. 85). McCubbin wrote, after an evening at the Chelsea Arts Club, following a visit to the Royal Academy: “Tonight, I am dining with Australian artists in Soho, and shall be there to greet my old friends. How glad I am! Longstaff will be there, and Frank Stuart, Roberts, Fullwood, Pontin, Coates, Quinn, and Tucker’s brother, and many others from all around” (MacDonald, McCubbin and McCubbin 75). Impressed by the work of Turner he wrote to his wife Annie, following avisit to the Tate Gallery:I went yesterday with Fullwood and G. Coates and Tom Roberts for a ramble … to the Tate Gallery – a beautiful freestone building facing the river through a portico into the gallery where the lately found turners are exhibited – these are not like the greater number of pictures in the National Gallery – they represent his different periods, but are mostly in his latest style, when he had realised the quality of light (McCubbin).Clearly Turner’s paintings had a profound impression on him. In the same letter he wrote:they are mostly unfinished but they are divine – such dreams of colour – a dozen of them are like pearls … mist and cloud and sea and land, drenched in light … They glow with tender brilliancy that radiates from these canvases – how he loved the dazzling brilliancy of morning or evening – these gems with their opal colour – you feel how he gloried in these tender visions of light and air. He worked from darkness into light.The Chelsea Arts Club also served as a venue for artists to entertain and host distinguished visitors from home. These guests included; Melbourne Savage Club artist member Alf Vincent (Joske 112), National Gallery of Victoria (NGV) Trustee and popular patron of the arts, Professor Baldwin Spencer (1860–1929), Professor Frederick S. Delmer (1864–1931) and conductor George Marshall-Hall (1862–1915) (Mulvaney and Calaby 329; Streeton 111).Artist Miles Evergood arrived in London in 1910, and visited the Chelsea Arts Club. He mentions expatriate Australian artists gathering at the Club, including Will Dyson, Fred Leist (1873–1945), David Davies (1864–1939), Will Ashton (1881–1963), and Henry Fullwood (Hammer 41).Most of the Melbourne Savage Club artist members were active in the London Savage Club. On one occasion, in November 1908, Roberts, with fellow artist MacKennal in the Chair, attended the Australian Artists’ Dinner held there. This event attracted twenty-five expatriate Australian artists, all residing in London at the time (McQueen 532).These London arts clubs had a significant influence on the expatriate Australian artists for they became the “glue” that held them together whilst abroad. Although some artists travelled abroad specifically to take up places at the Royal Academy School or the Slade School, only a minority of artists arriving in London from Australia and other British colonies were offered positions at these prestigious schools. Many artists travelled to “try their luck.” The arts clubs of London, whilst similarly discerning in their membership criteria, generally offered a visiting “brother-of-the-brush” a warm welcome as a professional courtesy. They featured the familiar rollicking all-male “Smoke Nights” a feature of the Melbourne Savage Club. With a greater “artist” membership than the clubs in Australia, expatriate artists were not only able to catch up with their friends from Australia, but also they could associate with England’s finest and most progressive artists in a familiar congenial environment. The clubs were a “home away from home” and described by Underhill as, “an artistic Earl’s Court” (Underhill 99). Most importantly, the clubs were a centre for discourse, arguably even more so than were the teaching academies. Britain’s leading modernist artists were members of the Chelsea Arts Club and the New English Arts Club and mixed freely with the visiting Australian artists.Many Australian artists, such as Miles Evergood and George Bell (1878–1966), held anti-academic views similar to English club members and embraced the new artistic trends, which they would bring back to Australia. Streeton had no illusions about the relative worth of the famed institutions and the exhibitions held by clubs such as the New English. Writing to Roberts before he joins him in London, he describes the Royal Academy as having, “an inartistic atmosphere” and claims he “hasn’t the least desire to go again” (Streeton 77). His preference lay with a concurrent “International Exhibition”, which featured works by Rodin, Whistler, Condor, Degas, and others who were setting the pace rather than merely continuing the academic traditions.Architect Hardy Wilson (1881–1955) served as secretary of The Chelsea Arts Club. When he returned to Australia he brought back with him a number of British works by Streeton and Lambert for an exhibition at the Guild Hall Melbourne (Underhill 92). Artists and Bohemians, a history of the Chelsea Arts Club, makes special reference of its world-wide contacts and singles out many of its prominent Australian members for specific mention including; Sir John William (Will) Ashton OBE, later Director of the Art Gallery of New South Wales, and Will Dyson, whose illustrious career as an Australian war artist was described in some detail. Dyson’s popularity led to his later appointment as Chairman of the Chelsea Arts Club where he initiated an ambitious rebuilding program, improving staff accommodation, refurbishing the members’ areas, and adding five bedrooms for visiting members (Bross 87-90).Whilst the influence of travel abroad on Australian artists has been noted, the importance of the London Clubs has not been fully explored. These clubs offered artists a space where they felt “at home” and a familiar environment whilst they were abroad. The clubs functioned as a meeting space where they could engage in a stimulating artistic environment and gain introductions to leading figures in the art world. For those artists who chose England, London’s arts clubs played a large role, for it was in these establishments that they discussed, exhibited, shared, and met with their English counterparts. The club environment in London had a significant impact on male Australian artists as it offered a space where they were integrated into the English art world which enhanced their experience whilst abroad and influenced the direction of their art.ReferencesCorbett, David Peters, and Lara Perry, eds. English Art, 1860–1914: Modern Artists and Identity. Manchester: Manchester University Press, 2000.Croll, Robert Henderson. Tom Roberts: Father of Australian Landscape Painting. Melbourne: Robertson & Mullens, 1935.Cross, Tom. Artists and Bohemians: 100 Years with the Chelsea Arts Club. 1992. 1st ed. London: Quiller Press, 1992.Gray, Anne, and National Gallery of Australia. McCubbin: Last Impressions 1907–17. 1st ed. Parkes, A.C.T.: National Gallery of Australia, 2009.Halliday, Andrew, ed. The Savage Papers. 1867. 1st ed. London: Tinsley Brothers, 1867.Hammer, Gael. Miles Evergood: No End of Passion. Willoughby, NSW: Phillip Mathews, 2013.Joske, Prue. Debonair Jack: A Biography of Sir John Longstaff. 1st ed. Melbourne: Claremont Publishing, 1994.MacDonald, James S., Frederick McCubbin, and Alexander McCubbin. The Art of F. McCubbin. Melbourne: Lothian Book Publishing, 1916.McCaughy, Patrick. Strange Country: Why Australian Painting Matters. Ed. Paige Amor. The Miegunyah Press, 2014.McCubbin, Frederick. Papers, Ca. 1900–Ca. 1915. Melbourne.McQueen, Humphrey. Tom Roberts. Sydney: Macmillan, 1996.Mead, Stephen. "Bohemia in Melbourne: An Investigation of the Writer Marcus Clarke and Four Artistic Clubs during the Late 1860s – 1901.” PhD thesis. Melbourne: University of Melbourne, 2009.Melbourne Savage Club. Secretary. Minute Book: Melbourne Savage Club. Club Minutes (General Committee). Melbourne: Savage Archives.Mulvaney, Derek John, and J.H. Calaby. So Much That Is New: Baldwin Spencer, 1860–1929, a Biography. Carlton, Vic.: Melbourne University Press, 1985.Smith, Bernard, Terry Smith, and Christopher Heathcote. Australian Painting, 1788–2000. 4th ed. South Melbourne, Vic.: Oxford University Press, 2001.Streeton, Arthur, et al. Smike to Bulldog: Letters from Sir Arthur Streeton to Tom Roberts. Sydney: Ure Smith, 1946.Streeton, Arthur, ed. Letters from Smike: The Letters of Arthur Streeton, 1890–1943. Melbourne: Oxford University Press, 1989.Thornton, Alfred, and New English Art Club. Fifty Years of the New English Art Club, 1886–1935. London: New English Art Club, Curwen Press 1935.Underhill, Nancy D.H. Making Australian Art 1916–49: Sydney Ure Smith Patron and Publisher. South Melbourne: Oxford University Press, 1991.Various. Melbourne Savage Club Correspondence Book: 1902–1916. Melbourne: Melbourne Savage Club.Williams, Graeme Henry. "A Socio-Cultural Reading: The Melbourne Savage Club through Its Collections." Masters of Arts thesis. Melbourne: Deakin University, 2013.

My uncle, Alan Turing, was not a well-dressed man. It is a tribute to those who employed him that he was able to flourish in environments that ignored his refusal to comply with social norms as much as he disregarded mindless social conventions. Social conventions, however, became an increasingly powerful influence over his life. Here I retell the story from the family perspective. There is an old photograph in the family album that shows Alan in his last years at Sherborne (Fig. 2.1). It was taken in June 1930—a few months after his friend Christopher Morcom’s death—and Alan looks relaxed and happy. But his trousers are a complete disgrace. It is not clear who took the picture, but the timing suggests that it was done at Commemoration, the annual festival at Sherborne to which parents and dignitaries are invited, and where boys, particularly senior boys, should be smartly turned-out. Ordinarily, Alan’s mother (my grandmother) would have intervened and spruced him up. But given that Alan was, like other boarding-school boys, responsible for his own clothes, she probably had no control over him any more, if indeed she ever had done. My grandmother had had little direct control over Alan during his formative years. My grandfather was serving the Empire in India, and she, as a good memsahib, was expected to be with him to run his household. (From the distance of a century or so, this seems a waste of talent, for my grandmother had a formidable intellect as well as many other gifts, and in a later age would probably have become a scientist of distinction.) So Alan was deposited in England with foster parents in St Leonards-on-Sea, and at nine years of age was sent off to a prep school called Hazelhurst, near Frant in Sussex. School seems to have been a reasonably good experience for him—at least in his first term. There was the incident of the geography test. At that time my father, being four years older than Alan, was in the top form while Alan was in the bottom one. The whole school was made to do a geography test. Turing 1 (my father) got 59 marks and Turing 2 (Alan) got 77; my father considered this a thoroughly bad show.