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Journal articles on the topic 'British writer'
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1
Alderman, Naomi. "The British Jewish Writer and The British Jewish Press." Jewish Quarterly 60, no. 3-4 (2013): 109–12. http://dx.doi.org/10.1080/0449010x.2013.855456.
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Kapustina, Mariia. "The First British-Soviet Round Table of Writers of 1984: preparation, implementation, results." Исторический журнал: научные исследования, no. 3 (March 2021): 183–97. http://dx.doi.org/10.7256/2454-0609.2021.3.36070.
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On September 4 – 6, 1984, Moscow hosted the first round-table meeting of British and Soviet writers, which was substantiated by the emergent thawing in foreign policy relations between the countries. The goal of this article is to examine the process of organizing and hosting the writers’ conference, as well as give assessment to its contribution to the development of Anglo-Soviet cultural cooperation during the Cold War. The research methodology is founded on the concept of cultural diplomacy, as well as the principle of historicism and systematicity, which allowed analyzing the available archival materials, publications, and reminiscences of the participants. Having examined the Great Britain-U.S.S.R. Association, the author gives special attention to the perception of this event by the British side. The article traces the transformation of attitude of the British authors towards their Soviet colleagues and the Soviet literary process overall. The round table participants expressed different opinion on the role of the writer and the degree of their social responsibility, as well as on moralization in the novel. In the course of discussion, the Soviet side often turned to the topic of peacekeeping, while the British side defended the autonomy of the writer and the right to social criticism. The conclusion is made that despite the divergence of opinions, both British and Soviet writers found the discussion productive,  and positively assessed the results of the conference. Thanks to the efforts of organizers and the objective “tiredness” from using cultural events for propaganda purposes, the first British-Soviet Round Table of Writers has fulfilled its mission, becoming an important platform for intercommunication.
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Krasavchenko, Tatiana. "Oscar Wilde and Dostoevsky: vector of suffering and compassion." Literaturovedcheskii Zhurnal, no. 1 (2021): 28–37. http://dx.doi.org/10.31249/litzhur/2021.51.03.
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At first glance it would seem difficult to find more different writers than Dostoevsky, who knew the depths of suffering and poverty, and Oscar Wilde - esthete, hedonist, dandy, sybarite. And yet it was Wilde, who, one of the first in Great Britain, appreciated Dostoevsky and outlined the main parameters of his perception in British culture in the future. Life and Dostoevsky led the British writer to understanding of the most important truths, and this revelation brought new meanings into English literature.
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Mellor, Anne K. "Embodied Cosmopolitanism and the British Romantic Woman Writer." European Romantic Review 17, no. 3 (2006): 289–300. http://dx.doi.org/10.1080/10509580600816710.
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Bowta, Femilia, and Yulan Puluhulawa. "DECONSTRUCTIVE ANALYSIS OF MAIN CHARACTER IN FRANKENSTEIN NOVEL BY MERY SHELLEY." British (Jurnal Bahasa dan Sastra Inggris) 7, no. 1 (2019): 60. http://dx.doi.org/10.31314/british.7.1.60-71.2018.
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The purpose of this research is to deconstruct the main character of Frankenstein novel. This is qualitative research with deconstructive approach. Deconstruction is a method of reading texts which shows that in every text there is always an absolute presumption. Deconstruction is used to find other meanings hidden in a text. The steps taken by the writer in deconstructing Frankenstein's novel are describing Victor's character, finding binary opposition in the character then deconstructing Victor's character. The results are the portrayal of Victor after deconstruction that Victor himself was the cause of all the chaos done by his creatures. Victor's ambitions that are too deep in science make him a different person, from a good character to very selfish and cruel.Keywords: Deconstructive, Main Character, Binary Opposition, Frankenstein Novel
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Lee, J. D. "The father of British indexing: Henry Benjamin Wheatley." Indexer: The International Journal of Indexing: Volume 23, Issue 2 23, no. 2 (2002): 86–91. http://dx.doi.org/10.3828/indexer.2002.23.2.11.
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To commemorate the centenary of H. B. Wheatley’s How to make an index, facsimile reprints of his two bestknown works on indexing have been published. This article looks at the life and work of this very prolific writer.
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Klaehn, Jeffery. "An interview with British writer and game designer Alexis Kennedy." New Writing 17, no. 3 (2019): 324–32. http://dx.doi.org/10.1080/14790726.2019.1609046.
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Sidorova, O. "KAZUO ISHIGURO. THE WRITER IN THE ‘FLOATING WORLD’." Voprosy literatury, no. 4 (October 2, 2018): 301–18. http://dx.doi.org/10.31425/0042-8795-2018-4-301-318.
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Novels by the Nobel Prize winner in literature 2017 K. Ishiguro are analyzed chronologically, from the first novel A Pale View of Hills (1982) to the latest one The Buried Giant (2015). As the article shows, the author, who represents two cultural traditions, the Japanese and the British ones, reflects this quality in his works. The writer himself states that his works were mainly formed by the European literary tradition and, consequently, his novel The Remains of the Day has become a concentrated study of Englishness, one of the most vivid in contemporary British literature. Experimenting with traditional literary forms, Ishiguro uses the stream-of-conscience technique, elements of science fiction, fantasy, detective genres, but each of his novels is unique and is characterized by deep overtones. Some constant elements of the writer’s works are discussed: unreliable narrators, the opposition of memory and history, the special role of children and of old people in his novels, the significant role of periods before and after historic events that are omitted in his novels, and recognizable language and style – compact, reserved and precise.
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Sharma, Ms Shikha. "Doris Lessing’s Science Fiction." SMART MOVES JOURNAL IJELLH 8, no. 7 (2020): 167–76. http://dx.doi.org/10.24113/ijellh.v8i7.10673.
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Doris Lessing, the Nobel Laureate (1919-2007), a British novelist, poet, a writer of epic scope, playwright, librettist, biographer and short story writer. She was the “most fearless woman novelist in the world, unabashed ex-communist and uncompromising feminist”. Doris has earned the great reputation as a distinguished and outstanding writer. She raised local and private problems of England in post-war period with emphasis on man-woman relationship, feminist movement, welfare state, socio-economic and political ethos, population explosion, terrorism and social conflicts in her novels.
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Krasavshenko, Tatiana. "RUSSIA VERSUS ENGLAND: W.S. MAUGHAM - THE AUTHOR OF «ASHENDEN», «CHRISTMAS HOLIDAY» AND «WRITER’S NOTEBOOK»." RZ-Literaturovedenie, no. 1 (2021): 170–82. http://dx.doi.org/10.31249/lit/2021.01.17.
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The article demonstrates that the works by William Somerset Maugham (1874-1965) are «a real storehouse» of Western ideas about Russia, the focus of British stereotypes of Russians, because he was not an «elite», but a «minor» writer - a brilliant witty storyteller and a «copier of life». It is evident that young and mature Maugham perceived the Russian world in a book of stories «Ashenden, or the British agent» (1928), in a novel «Christmas Holiday» (1939), in «A Writer’s Notebook» through the prism of Dostoevsky’s novels, he argued with the Russian writer and in a way was even obsessed with him. But when Maugham became old he lost his attraction to the Russian world.
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Woodward, Guy. "Douglas Goldring: ‘An Englishman’ and 1916." Literature & History 26, no. 2 (2017): 195–212. http://dx.doi.org/10.1177/0306197317724666.
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In October 1914, the English writer and publisher Douglas Goldring was invalided out of the British Army. By 1916, he had become a conscientious objector and moved to Ireland, where he lived for the next two years, witnessing the aftermath of the Easter Rising. Illuminating connections between the pacifist movement in Britain and Irish Republicanism, his writings of this period – including two Irish travelogues and a propagandist semi-autobiographical bildungsroman, The Fortune (1917) – disclose transnational and transcultural networks of resistance and dissidence, and show how the Rising and its aftermath helped to radicalise pacifist writers in London.
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Round, Julia. "British girls' comics: An interview with Wilf Prigmore." Studies in Comics 10, no. 2 (2019): 325–47. http://dx.doi.org/10.1386/stic_00008_7.
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Abstract Writer and editor Wilf Prigmore worked at Fleetway/IPC in the 1970s. He was group editor for Girls' Adventure Comics, co-creator of Misty (1978‐80) and editor of Tammy (1971‐84), amongst many other roles. The following interview is taken from conversations with Wilf by telephone, e-mail and in person, between November 2016 and December 2019.
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Appleton, Jon, and Mick Gowar. "Two minds meeting: Jan Mark and Jon Appleton." Book 2.0 10, no. 1 (2020): 141–48. http://dx.doi.org/10.1386/btwo_00024_7.
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Writers and publishers have traditionally shared close working relationships, but few publishers have had such a long and formative relationship with a writer as Jon Appleton had with the British novelist, short-story writer and teacher Jan Mark. Jon began corresponding with Jan when he was a child in Australia, and as we’ll hear, Jan was instrumental in his ambition to become a publisher, an ambition which he fulfilled when he moved to England in the 1990s. A tired old cliché warns us against meeting our heroes, but from the 1990s until Jan’s death in January 2006, Jon and Jan remained close friends and occasional collaborators. Jon is now one of Jan’s literary executors and, as well as pursuing his own career as a writer and freelance publisher, he has been re-publishing some of Jan’s most challenging and interesting books in digital formats and has recently created the website <uri xlink:href="https://janmark.net">https://janmark.net</uri>, which he describes as ‘the hub for all things Jan’. At the time of this interview, Jon was compiling The One That Got Away (Mark 2020), a major retrospective collection of Jan’s short stories which was published in 2020.
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Braithwaite, Helen, and Thomas J. McCarthy. "Relationships of Sympathy: The Writer and the Reader in British Romanticism." Yearbook of English Studies 30 (2000): 318. http://dx.doi.org/10.2307/3509299.
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Forster, E. M., and Foteini Dimirouli. "Pericles in Paradise." PMLA/Publications of the Modern Language Association of America 134, no. 2 (2019): 359–65. http://dx.doi.org/10.1632/pmla.2019.134.2.359.
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E. M. Forster's immersion in the thriving community of european writers and artists in alexandria increased his confidence as a writer; it also mitigated the social alienation he had experienced on his arrival in Egypt in 1915 to volunteer with the Red Cross. His theatrical sketch “Pericles in Paradise” (1918), published here for the irst time, is populated by characters modeled on the Alexandrian elite that fostered his sense of belonging. In addition, it bears the mark of a privileged position Forster himself was uneasy about: that of an En glishman navigating a city under British rule and removed from the realities faced by the native Egyptian population.
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Brakovska, Jelena. "JOSEPH SHERIDAN LE FANU: METAMORPHOSES AND INNOVATIONS IN GOTHIC FICTION." CBU International Conference Proceedings 1 (June 30, 2013): 182–87. http://dx.doi.org/10.12955/cbup.v1.32.
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Notwithstanding the fact that the Anglo-Irish writer Joseph Sheridan Le Fanu was one of the most popular writers of the British Victorian era, his name and most of his works are not well-known to a common reader. The present research investigates how the author inventively modifies traditional Gothic elements and penetrates them into human’s consciousness. Such Le Fanu’s metamorphoses and innovations make the artistic world of his prose more realistic and psychological. As a result, the article presents a comparative literary study of Le Fanu’s text manipulations which seem to lead to the creation of Le Fanu’s own kind of “psychological” Gothic.
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deGategno, Paul J. "Replying to a Crisis: James Macpherson's The Rights of Great Britain Asserted against the Claims of America." Britain and the World 11, no. 2 (2018): 195–211. http://dx.doi.org/10.3366/brw.2018.0299.
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The chaotic period of the American Revolution engaged many writers on both sides of the Atlantic arguing for and against the claims of the American colonists. One of the most popular and effective statements of the British position regarding the rebellion emerged from James Macpherson, poet of Ossian, historian, and government writer. As an accomplished literary talent in the service of politics, Macpherson wrote the pamphlet, The Rights of Great Britain Asserted against the Claims of America (1775), designing a persuasive appeal to the British public for preserving order and supporting the Monarchy. Macpherson displays a controlled, often dispassionate voice in dealing with the American rebellion, while seeking humane solutions with creativity, conviction, and agility in an environment of popular discontent and political instability. Finally, as a poet, he insisted on balancing the historian's empirical demand for facts with sensitivity and a liberal spirit of dialogue often in opposition to the dominant opinion of his King and ministers.
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Ritson, Philip A., and Lee D. Parker. "You’re in the Army now!" Journal of Management History 22, no. 3 (2016): 320–40. http://dx.doi.org/10.1108/jmh-02-2016-0011.
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Purpose This paper aims to examine the employment of the military metaphor by the management thinker and writer Lyndall Urwick who in the twentieth century developed and articulated his ideas over a 60-year period, arguably the longest continuous period of any management writer of his day. Design/methodology/approach This study draws on published research into Urwick as well as upon the breadth of his published writings over a 60-year period. It offers a contextualised explanatory analysis of his military theory ideas and explores their lack of traction by reference to British military, economic and social history. Findings The study reveals the wartime context that surrounded the emergence of his ideas and motivated Urwick’s faith in the military approach to management. This stood in contrast to the countervailing forces of the post-war decline in British industry and a populist mythology of British Army mismanagement and failure in the Great War. Originality/value In this case of a management idea’s failure to gain traction, the importance of the congruence between management theory and societal beliefs emerges as crucial to the likely uptake of new management thinking.
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Ostrovskaya, Elena S. "“Under the Sway of Coal,” or a Story of the British Coal Miner Harold Heslop, Who Failed to Become a Soviet Writer." Slovene 6, no. 2 (2017): 482–504. http://dx.doi.org/10.31168/2305-6754.2017.6.2.20.
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The paper focuses on the rapid and short-living Soviet writing career of the British coal miner Harold Heslop. Between 1926 and 1931, three novels by Heslop were published in the USSR (in Russian translation) and the translation of a fourth was commissioned and completed, and in 1930 the author himself travelled to the USSR as one of two members of the British delegation at the Kharkov conference of the International Union of Revolutionary Writers (IURW). However, that was the end of his success: the translated novel Red Earth was not published nor were any of his later novels. The only venue for his rare shorter essays and occasional prose excerpts was the magazine International Literature. The paper discusses this curious writer’s biography from different perspectives. It analyzes at length the critical article by Anna Elistratova, published in Na literaturnom postu and International Literature, juxtaposing the two versions and the text of Heslop’s novel to contextualize the writer and his work in the Soviet literary criticism of the time. It explores archival materials—Heslop’s correspondence with different people and institutions as well as institutional papers—to discuss the case as personal as well as institutional history, representative of the situation of the 1930s. Finally the article shifts perspective to discuss the author and his work in the context of the British working-class literature of the time.
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Rodden, John. "“The Rope That Connects Me Directly with You”: John Wain and the Movement Writers' Orwell." Albion 20, no. 1 (1988): 59–76. http://dx.doi.org/10.2307/4049798.
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No British writer has had a greater impact on the Anglo-American generation which came of age in the decade following World War II than George Orwell. His influence has been, and continues to be, deeply felt by intellectuals of all political stripes, including the Marxist Left (Raymond Williams, E. P. Thompson), the anarchist Left (George Woodcock, Nicolas Walter), the American liberal-Left (Irving Howe), American neoconservatives (Norman Podhoretz), and the Anglo-American Catholic Right (Christopher Hollis, Russell Kirk).Perhaps Orwell's broadest imprint, however, was stamped upon the only literary group which has ever regarded him as a model: the Movement writers of the 1950s. Unlike the above-mentioned groups, which have consisted almost entirely of political intellectuals rather than writers—and whose members have responded to him as a political critic first and a writer second—some of the Movement writers saw Orwell not just as a political intellectual but also as the man of letters and/or literary stylist whom they aspired to be.The Movement writers were primarily an alliance of poet-critics. The “official” members numbered nine poets and novelists; a few other writers and critics loomed on the periphery. Their acknowledged genius, if not leading publicist, was Philip Larkin, who later became Britain's poet laureate. Orwell's plain voice influenced the tone and attitude of Larkin's poetry and that of several other Movement poets, especially Robert Conquest and D. J. Enright. But Orwell shone as an even brighter presence among the poet-novelists, particularly John Wain and Kingsley Amis, whose early fictional anti-heroes were direct descendants of Gordon Comstock in Keep the Aspidistra Flying (1936) and George Bowling in Coming Up for Air (1939).
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Akai, Joanne. "Creole… English: West Indian Writing as Translation." TTR : traduction, terminologie, rédaction 10, no. 1 (2007): 165–95. http://dx.doi.org/10.7202/037283ar.
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Abstract Creole... English: West Indian Writing as Translation — This paper looks at the use of language(s) in Indo-Caribbean (i.e., West Indian of East Indian descent) writings. West Indian writers are Creole, in every sense of the term: born in (former) British colonies, they have a hybrid culture and a hybrid language. They operate from within a polylectal Creole language-culture continuum which offers them a wide and varied linguistic range (Creole to Standard English) and an extended cultural base ("primitive" oral culture to anglicized written culture). Indo-Caribbean writers, however, have access, not only to the Creole language-culture continuum, but also to the pre-colonial cultural, linguistic and religious traditions of their ancestors who came from India in the 19th century. But if Creole is the mother-tongue of all West Indians, English is the only language they know to read and write. West Indian literature in English constitutes an intricately woven textile of Creole and English : a hybrid writing made possible through the translation of Creole experience into English; oral Creole culture into written English; the Creole language into the English language. In fact, West Indian literature in English can be considered self-translation, for which the presence of the author as the translator gives authority to the hybridized product, a true extract of the West Indian writer and his Caribbean language-culture.
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Abdullayeva, Yegane. "Intertextual Dialogue in the British Postmodern Novels: On the basis of Peter Ackroyd’s Novels." International Journal of English Linguistics 8, no. 3 (2018): 239. http://dx.doi.org/10.5539/ijel.v8n3p239.
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The peculiarities of intertextual dialogue in the postmodernist novel in Britain are investigated in the article. Literary-theoretical matters of intertextuality were clarified and commented on its reflection as a form of dialogue in literature. The intertextual dialogue’s functions were analyzed on the postmodernist novel as “The house of Doctor Dee”, “The Lambs of London”, “The Casebook of Victor Frankenstein” by Peter Ackroyd, the British writer. The reminiscences, allusions, quotations, and aphorisms used in the novels in a fact form the skeleton of the works and is the means to show heroes’ characteristic features. P. Ackroyd presenting intertextual dialogue with the parallel commentary in the development of events “settles” them in certain cultural paradigms. So the writer makes open the structure of the postmodernist novel and opens the way for many interpretations.
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Marshall, Jane. "Anglo-Scottish ambiguities." English Today 3, no. 2 (1987): 31. http://dx.doi.org/10.1017/s0266078400002893.
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In the first issue of ET we took a look at the many uses of ‘Anglo’. Now, on behalf of fellow Scots, the Welsh and the Northern Irish, freelance writer JANE MARSHALL argues for less ambiguity and more accuracy in the British use of an ancient affix.
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Gygax, Franziska. "On Being Ill (in Britain and the US): Illness Narratives of the Self." European Journal of Life Writing 2 (March 12, 2013): 1–17. http://dx.doi.org/10.5463/ejlw.2.42.
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Illness narratives, pathographies and autopathographies, have been published in recent years in great number and so have critical studies on the cultural and social constructions of illness and on the impact such texts have on the writer and the reader. Yet few studies have analysed cultural differences between American and British illness narratives and addressed the issue of the different tradition of confessional writing in America and in Britain. In my paper I want to explore potential cultural differences between selected British and American illness narratives and focus on the specific ways in which the suffering self is constructed: How do the sick autobiographers theorize the act of writing about their illness? How do they represent themselves as authors and patients? How are the deteriorating body and impending death represented in these texts? My discussion of the suffering self will rely on Emmanuel Levinas and his concept of self and other that has influenced theories of affect studies, a field that also addresses notions of self and otherness. As the three British and also the three American autobiographers have all been acknowledged writers before the publication of their illness narratives, the aesthetic impact of these literary texts must be discussed as well since these narratives go beyond the personal experience of an illness.
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Hasan, Md Mahmudul. "Discovering Doris Lessing." American Journal of Islam and Society 33, no. 2 (2016): 25–49. http://dx.doi.org/10.35632/ajiss.v33i2.247.
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The 2007 Nobel literature laureate Doris Lessing (1919-2013) is one of the twentieth century’s most prolific and versatile British writers. Her literary career is marked by the robustness and diversity of her ideas. The plurality of voices in her work makes room for discovering a very different Lessing from how she is usually construed and for discussing some of her views in a new and somewhat unusual light. In this study, I intend to look at her thoughts on education, literature, racism, and women’s rights and locate possible commonalities between them and certain facets of Islamic thought. As she is considered a humanist, a secular writer of great stature, the “grande dame” of British writing of her time, and handlesexplicit sexual relationships, a sense of remoteness and incomprehension is perhaps palpable in any attempt to discover an “Islamic Doris Lessing.” However, given that she is known for her courage and outspokenness, as well as for making unconventional moves and iconoclastic statements sometimes at the expense of her literary reputation, it will be interesting to see her ideas from an Islamic perspective.
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Hasan, Md Mahmudul. "Discovering Doris Lessing." American Journal of Islam and Society 33, no. 2 (2016): 25–49. http://dx.doi.org/10.35632/ajis.v33i2.247.
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The 2007 Nobel literature laureate Doris Lessing (1919-2013) is one of the twentieth century’s most prolific and versatile British writers. Her literary career is marked by the robustness and diversity of her ideas. The plurality of voices in her work makes room for discovering a very different Lessing from how she is usually construed and for discussing some of her views in a new and somewhat unusual light. In this study, I intend to look at her thoughts on education, literature, racism, and women’s rights and locate possible commonalities between them and certain facets of Islamic thought. As she is considered a humanist, a secular writer of great stature, the “grande dame” of British writing of her time, and handlesexplicit sexual relationships, a sense of remoteness and incomprehension is perhaps palpable in any attempt to discover an “Islamic Doris Lessing.” However, given that she is known for her courage and outspokenness, as well as for making unconventional moves and iconoclastic statements sometimes at the expense of her literary reputation, it will be interesting to see her ideas from an Islamic perspective.
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., Tamanna. "Mulk Raj Anand: A Pioneer Novelist in Indo-Anglian Literature." SMART MOVES JOURNAL IJELLH 7, no. 11 (2019): 7. http://dx.doi.org/10.24113/ijellh.v7i11.10102.
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India is a Hindi reign country, it is difficult for an Indian writer to struggle oversea language i.e. English in their literary cosmos. English language was considered as a burden in pre independence period which was imposed in our education system by Lord Macaulay to get advantage for British administration in India. But Indian writers took it as a challenge in valorous way and achieved their destination with more efficiency. They drafted Indian civilization and religion thoughts through their literary pieces in a decent manner. This paper points out Anand’s efforts to raise voices against hunger, industrialization, clannishness, suffering of Indian milieu of weaker section and their absorption in the hands of opportunists and powerful through his second sequel novel-‘Coolie’.
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Fan, Xu Hong, Chun Yan Ma, and Bo Su. "Introduction and Comparison of Wind Load Codes for Advanced Structure between Chinese, American and British." Advanced Materials Research 700 (May 2013): 85–88. http://dx.doi.org/10.4028/www.scientific.net/amr.700.85.
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China is developing overseas construction projects, it is necessary for the designers to grasp codes. This paper compares and analyzes Chinese code GB50009-2001, American standard ASCE/SEI7-05 and British standard BS6399-2 about advanced structure. And the writer calculates the empirical projects' wind-loads by Chinese code, American standard and British standard, compares the difference and points out the deficiency of domestic code. So as to improve the designers to master different wind load standards and promote the improvement of inland standard.
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Ivanova, Elizaveta A. "Transformation of the Concept ‘Hero’ in Joe Abercrombie’s Works." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 20, no. 4 (2020): 478–82. http://dx.doi.org/10.18500/1817-7115-2020-20-4-478-482.
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Based on myths, epic, romance and adventure literature, classical fantasy books often depicted their heroes as warriors physically fighting evil. Nowadays the British writer Joe Abercrombie, whose works belong to the so-called grimdarkfantasy, depicts wars questioning the value of violent heroic deeds and the concept of a ‘hero’ itself.
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Fabbri, Martha. "The role by scientific publications in science communication." Journal of Science Communication 06, no. 01 (2007): C01. http://dx.doi.org/10.22323/2.06010301.
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In their contributions to this special issue, the British science writer Jon Turney and the American scholar Bruce Lewenstein discuss the validity of the book as a means for science communication in the era of the Internet, whereas the article by Vittorio Bo deals with scientific publishing in a broader sense.
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MacColl, Mary-Rose. "Listening to Noddy." Queensland Review 12, no. 1 (2005): 5–9. http://dx.doi.org/10.1017/s1321816600003858.
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As a young journalist at the Courier-Mail newspaper, my mother once met the famous British children's writer Enid Blyton, who stopped in Brisbane briefly. There was a press conference in a hangar out at the airport. Many important people were there — the Australian publisher, someone from the British High Commission, someone from the Prime Minister's Office, along with reporters from Sydney and Melbourne — and my mother, my beautiful young mother, in a panama hat with gloves and white glasses, excited to be there, to be amongst it.
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Kuchukova, Zukhra A., and Liana B. Berberova. "For What Works The Nobel Prize Is Awarded Or Artistic Measurement Of KadzuoYsiguro’s Novel “Do Not Let Me Go”." Polylinguality and Transcultural Practices 16, no. 3 (2019): 398–405. http://dx.doi.org/10.22363/2618-897x-2019-16-3-398-405.
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The British-Japanese writer Kazuo Ishiguro was awarded the Nobel Prize for the anti-utopian novel “Do not let me go” in 2017. The authors of the article in the framework of ontological poetics consider the aesthetic advantages of the work, paying close attention to the degree of its relevance, the specifics of the artistic conflict, the advantages of the female narrative, as well as an extensive system of expressive means. The final result of the analysis is a high appreciation of the artistic mastery of the writer who is able to combine the breadth of the philosophical worldview with the fine work of a literary stylist.
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Brown, Geoff. "Life Among the Rats: The Cinéaste-Writer in British Film Studios, 1926–36." Journal of British Cinema and Television 5, no. 2 (2008): 242–61. http://dx.doi.org/10.3366/e1743452108000356.
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Blank, Martin. "Eugene O'Neill in South Africa: Margaret Webster's Production of A Touch of the Poet." Theatre Survey 29, no. 1 (1988): 113–16. http://dx.doi.org/10.1017/s0040557400009133.
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Margaret Webster (1905–1972), British-American producer-director perhaps best remembered for her production of Othello with Paul Robeson, was also a distinguished writer, lecturer and actress. It was in these several capacities that Webster was invited in 1961 by the United States Department of State to visit South Africa. Webster was to lecture on theatre, offer her one-woman recitals of Shakespeare and Shaw, and direct an “American classic” for the South African National Theatre Organization. In discussions with members of the State Department and the National Theatre Organization, the plays of several writers, including Williams, Miller, Wilder, Hellman and MacLeish, were considered but eventually eliminated for reasons of suitability, individual taste or because of recent productions in South Africa. Eventually, A Touch of the Poet was selected for production.
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Ilunina, Anna A. "Intertextual dialogue with Victorian literature in the novels by Sarah Ann Waters as a means of implementing feminist issues." Vestnik of Kostroma State University 27, no. 1 (2021): 141–46. http://dx.doi.org/10.34216/1998-0817-2021-27-1-141-146.
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The article presents an analysis of the implementation of the category of intertextuality in the novel «Affinity» (1999) by the British writer Sarah Ann Waters. The aim of the work was to trace how the intertextual dialogue with the Victorian literature contributes to the formation of the feminist issues of the work. It is revealed that the main pretexts when creating a novel for Waters were «Little Dorrit» by Charles John Huffam Dickens, «Aurora Leigh» by Elizabeth Barrett Browning, «The Turn of the Screw» by Henry James, and novels by William Wilkie Collins. «Affinity» has elements of Gothic narrative, a detective, a sensational novel, the Newgate novel, picaresque novel, contributing to the formation of women's issues. The dialogue with Victorianism allows Waters to raise issues of gender inequality in the past and present, the exploitation of women, and the rights of individuals to realise their sexual identity. For Waters, turning to Victorianism is a way to draw attention to issues that, according to the writer, are still topical in British culture, such as sexuality, class and gender.
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Pocock, J. G. A. "THE UNION IN BRITISH HISTORY." Transactions of the Royal Historical Society 10 (December 2000): 181–96. http://dx.doi.org/10.1017/s0080440100000098.
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Abstract‘BRITISH history’, or ‘the new British history’ – a field which the present writer is over-generously credited with inventing some twenty-five years ago – seems to have reached a point of takeoff. At least two symposia have appeared in which the method and practice of this approach are intensively considered, and there are monographs as well as multi-author volumes – though the latter still preponderate – in which it is developed and applied to a variety of questions and periods. Its methodology remains controversial, and it may be in its nature that this should continue to be the case; for, in positing that ‘the British isles’ or ‘the Atlantic archipelago’ are and have been inhabited by several peoples with several histories, it proposes to study these histories both as they have been shaped by interacting with one another, and as they appear when contextualised by one another. There must be tensions between such a history of interaction and the several ‘national’ histories that have come to claim autonomy, and it is probable that these tensions must be re-stated each time a ‘British history’ is to be presented – as is the case in the present paper.
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Noys, Benjamin. "Crimes of the Near Future: Baudrillard / Ballard." Ícone 9, no. 2 (2007): 29. http://dx.doi.org/10.34176/icone.v9i2.230093.
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In his key work Simulacra and Simulations (1981) Jean Baudrillard lauded the British science-fiction writer J. G. Ballard's novel Crash (1973) as 'the first great novel of the universe of simulation' (1994: 119). The novel explored a world of perverse obsession with the erotic potential of the car-crash saturated by media imagery.
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McAvoy, Siriol. "‘I’ve Put a Yule Log on Your Grate’: Lynette Roberts’s ‘Naïve’ Modernism." Humanities 9, no. 1 (2019): 3. http://dx.doi.org/10.3390/h9010003.
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In this article, I suggest that Lynette Roberts develops a ‘naïve’ modernism that emphasizes tropes of folk art, home-made craft, and creative labour as a therapeutic response to war and a means of carving out a public role for the woman writer in the post-war world. Bringing high modernist strategies down to earth through an engagement with localized rural cultures, she strives to bridge the divide between the public and the private in order to open up a space for the woman writer within public life. As part of my discussion, I draw on Rebecca L. Walkowitz’s contention that literary style—conceived broadly as ‘attitude, stance, posture, and consciousness’—is crucial to modernist writers’ attempts to think in—and beyond—the nation. Embracing a liberating openness to experience and ‘amateurish’ passion, Roberts’s ‘home-made’ style challenges imperial constructions of nationhood centred in authority and control with a more collective, constructivist, improvisatory concept of belonging (Roberts 2005, p. xxxvi). Probing the intersections between folk art, national commitments, and global feminist projects in British modernism, I investigate how a radically transformed ‘naïve’ subtends the emergence of a new kind of feminist modernism, rooted in concepts of collective making and creative labour.
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Chen, Meilin. "Overuse or underuse." International Journal of Corpus Linguistics 18, no. 3 (2013): 418–42. http://dx.doi.org/10.1075/ijcl.18.3.07che.
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This study explores Chinese university students’ use of phrasal verbs in comparison with their American and British counterparts by utilizing a corpus of learner English and four native corpora of two English varieties and two genres (argumentative and academic writing). The results show that it is difficult to state whether the Chinese learners of English over- or underuse phrasal verbs in writing because a more striking difference emerges between the British and American students. American students tend to use many more phrasal verbs in both genres than British students and they also use a greater variety of phrasal verbs. Notwithstanding the differences, both American and British students tend to use fewer phrasal verbs in academic writing than in argumentative writing. The learners do not show a fundamental difference from the British students regarding overall frequencies of phrasal verbs; however, the learner-native writer gap does exist between the Chinese and American students.
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Cruwys, Liz, and Beau Riffenburgh. "Bernard Stonehouse: biologist, writer, and educator." Polar Record 38, no. 205 (2002): 157–69. http://dx.doi.org/10.1017/s003224740001754x.
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AbstractThis is the first in a series of biographies entitled ‘Children of the Golden Age’, the purpose of which is to describe the background and contributions of a number of significant living figures in polar research, all of whom began their scientific careers and earned their Antarctic spurs in the years following World War II. Bernard Stonehouse was born in Hull on 1 May 1926. Joining the Royal Navy in 1944, he trained as a pilot, and in 1946–50 served as meteorologist, second pilot, dog-sledger, and ultimately biologist with the Falkland Islands Dependencies Survey, mainly from Base E, Stonington Island, Antarctic Peninsula. His first biological investigation was a winter study of breeding emperor penguins. Returning to Britain in 1950 he read zoology and geology at University College, London. Doctoral research at the Edward Grey Institute of Field Ornithology and Merton College, Oxford, involved an 18-month field study of king penguins on South Georgia. Between 1960 and 1968, as senior lecturer, later reader, in zoology, at University of Canterbury, Christchurch, New Zealand, he continued Antarctic and sub-Antarctic research in McMurdo Sound and on the New Zealand southern islands. A Commonwealth Research Fellowship at the University of British Columbia, 1970–71, gave him opportunities for research in the Yukon. After developing undergraduate and postgraduate studies in environmental science at the University of Bradford, 1972–83, he joined the Scott Polar Research Institute as editor of Polar Record, thereafter forming the Institute's Polar Ecology and Management Group, and heading a long-term study on the ecological impacts of polar tourism. At SPRI he continues to combine the two factors that have always played an important part in his life: working in polar regions and communicating with the general public on issues of biology, the environment, and conservation.
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Bowyer, Andrew D. "Inner-Space and Liquid Myths: J.G. Ballard as a Post-Secular Writer." Literature and Theology 34, no. 3 (2020): 304–21. http://dx.doi.org/10.1093/litthe/fraa010.
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Abstract British novelist James Graham Ballard (1930–2009) was an inveterate mythmaker. In this article, I characterise him as a post-secular writer who saw the imagination as a means to confront trauma, probe memory, and salvage meaning in a secular age. Anchoring the argument in a selection of novels and works that constitute his ‘autobiographical turn’, I suggest that resonances with contemporary theology may be detected, particularly the disruptive, anti-fascist, postmodern, ‘tehomic’ theology of Catherine Keller.
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Innes, Paul. "National Poets, the Status of the Epic and the Strange Case of Master William Shakespeare." Multicultural Shakespeare: Translation, Appropriation and Performance 13, no. 28 (2016): 35–50. http://dx.doi.org/10.1515/mstap-2016-0004.
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This essay contextualises Shakespeare as product of a field of forces encapsulating national identity and relative cultural status. It begins by historicising the production of national poets in Romantic and Nationalist terms. Lefevere’s conceptual grid is then used to characterise the system that underpins the production of Shakespeare as British national poet, and his place within the canon of world literature. The article defines this context first before moving onto the figure of Shakespeare, by referring to various high status texts such as the Kalevala, the Aeneid, The Faerie Queene and Paradise Lost. The position accorded Shakespeare at the apex is therefore contingent upon a series of prior operations on other texts, and their writers. Shakespeare is not conceived as attaining pre-eminence because of his own innate literary qualities. Rather, a process of elimination occurs by which the common ascription of the position of national poet to a writer of epic is shown to be a cultural impossibility for the British. Instead, via Aristotle’s privileging of tragedy over epic, the rise of Shakespeare is seen as almost a second choice because of the inappropriateness of Spenser and Milton for the position.
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Clapp-Itnyre, Alisa. "WRITING FOR, YET APART: NINETEENTH-CENTURY BRITISH WOMEN'S CONTENTIOUS STATUS AS HYMN WRITERS AND EDITORS OF HYMNBOOKS FOR CHILDREN." Victorian Literature and Culture 40, no. 1 (2012): 47–81. http://dx.doi.org/10.1017/s1060150311000246.
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When Sandra Gilbert and Susan Gubar asked in 1979, “How then – since poets are priests – can women be poets?” (Madwoman in the Attic 546), they opened up to debate the predominant ideological holdover from the Victorians that “the very nature of lyric poetry is inherently incompatible with the nature or essence of femaleness” (541). More than thirty years later, while women's poetic contributions are regularly considered by literary scholarship, I would now advocate for the woman hymn writer for children – she who, as hymn writer or editor, surely enacted the role of religious “priest” for countless generations of children during and after her lifetime, but who is all but forgotten today.
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Giangiulio Lobo, Alejandra. "Patricia Duncker, escritora de lectores (Patricia Duncker, a Writer for Readers)." LETRAS 1, no. 59 (2017): 99. http://dx.doi.org/10.15359/rl.1-59.5.
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Es una sucinta descripción del proceso, en doble dirección, que vincula al autor con su lector personal, y los efectos mutuos de simpatía, entendida como un efecto semiótico tanto en el proceso de escritura como de lectura. Se centra en el caso de la obra narrativa de la escritora británica contemporánea Patricia Duncker.This succinct description refers to a two-fold process that links the author with a personal reader, and the mutual effects of attraction, understood as a semiotic effect concerning both the reading and writing process. It focuses on the case of the narrative work of the contemporary British writer Patricia Duncker.
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Findlay, Michael. "So High you can't get over it: Neo-classicism, Modernism and Colonial Practice in the forming of a Twenieth Century Architectural Landmark." Architectural History Aotearoa 3 (October 30, 2006): 7–19. http://dx.doi.org/10.26686/aha.v3i.6795.
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Amyas Connell (1901-80) was a New Zealand architect and a leading figure in British modernism. His first commission, High and Over (1929-31) for the archaeologist and classical scholar Bernard Ashmole was described as the first fully worked out modernist house built in England. The project drew attention from a wide range of architectural critics including Howard Robertson and the Country Life writer Christopher Hussey. A short film entitled The House of a Dream made by British Pathé ensured the house was seen by the large cinema audience in 1931. High and Over became more contentious over time when Connell's intention to combine classical and modern design tendencies was criticised by more doctrinaire modernists. High and Over occupies a place where the traditions of classicism and the emergent features of modernism intersect. Connell's path, if taken, may have produced a distinctively British form of classical modernism. [NEW PARAGRAPH] This paper seeks to establish the context for High and Over from a New Zealand perspective and through comparison with other projects by colonial architects in Britain. Connell's critical profile has been shaped by the notion that British modernism was in the hands of "Wild Colonial Boys," a soubriquet used to frame Connell's work in the 1930s by the British writer Dennis Sharp. In this interpretation, the depth of Connell's experience prior to High and Over is overlooked. Connell's partnership with the Australian-born Stewart Lloyd Thomson (1902-90) has not been covered in any previous study of the Connell, Ward and Lucas practice. The High and Over project included a number of related structures set in a landscape plan not usually included in analysis of the complex whole. The relationship between the garden plan and the designs of the Armenian architect Gabriel Guévrékian seen at the Paris Exposition and the Villa Noailles at Hyéres (1927) has also not been traversed.
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Waters, Julie. "The Influence of Christopher Caudwell on Alan Bush’s Early Response to Socialist Realism." Transcultural Studies 9, no. 1 (2013): 83–91. http://dx.doi.org/10.1163/23751606-00901007.
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The ideas and music of British composer Alan Bush (1900–1995)—a lifelong member of the British Communist Party—were significantly shaped by the doctrine of socialist realism. His defence of the Zhdanov Decree identified him publically with Soviet aesthetics. However, little is known of his attempts to develop a Marxist aesthetic by drawing on a radical tradition closer to home, namely, the theories of the English Marxist writer Christopher Caudwell. Utilising a range of sources, including Bush’s lecture in 1948 to the Second International Congress of Composers and Musicologists at Prague, the paper explores Caudwell’s seminal influence on Bush.
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Culea, Mihaela. "Revisiting British royalty myths in Alan Bennett’s The Uncommon Reader." Khazar Journal of Humanities and Social Sciences 17, no. 1 (2014): 5–24. http://dx.doi.org/10.5782/2223-2621.2014.17.1.5.
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In his novella The Uncommon Reader (2006/2008) English writer Alan Bennett (1934 – ) fictionally depicts the way in which one of the most prestigious institutions of Britishness, Queen Elizabeth II (1952 – ), turns from a highly institutionalized symbol into a real person and a very uncommon reader. The article explores Bennett’s fictional reconsideration of common myths connected to the British monarchy, a process which is activated by the Queen’s new fondness for reading. The paper develops a possible reinterpretation of these myths, seeking to prove that Bennett’s fictional exercise also sparks off the reflection of a number of common public concerns connected to the British monarchy and its position in relation to the social, economic or political life of contemporary Britain.
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Hopkins, Chandra Owenby. "The Natural Stage: Fanny Kemble's Journal of a Residence on a Georgian Plantation in 1838–1839." Theatre Survey 62, no. 2 (2021): 201–19. http://dx.doi.org/10.1017/s0040557421000077.
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Noted British actress Fanny Kemble lived eighty-four years on and off the theatrical and political stages of the nineteenth century. Kemble was an active writer who authored her first five-act play, Francis the First, at the age of eighteen. She would go on to write at least ten other published works, including a second full-length play, multiple journals recording her personal observations, notes on Shakespeare, and poetry collections. While Kemble remained devoted to writing as personal practice throughout her life, her most well-known piece of writing is her 1863 Journal of a Residence on a Georgian Plantation in 1838–1839. Kemble's journal documents her outrage and disgust at the living conditions, harsh daily existence, and enslaved individuals she encountered while living on the two Sea Island plantations that her husband, Pierce Butler, inherited off the coast of Georgia.
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Lassner, Phyllis. "Rachel Lichtenstein’s Narrative Mosaics." Humanities 9, no. 3 (2020): 88. http://dx.doi.org/10.3390/h9030088.
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Rachel Lichtenstein’s books, along with her multimedia art, represent her explorations of her British Jewish identity and her place in British Jewish culture as an imaginative odyssey. Her work represents research, stories, and traces from London’s Jewish past and multicultural present as well as from Poland and Israel, her family’s accounts, and the testimony of recent immigrants and long-time residents. Lichtenstein is a place writer whose artistic projects subject her relationship to the Jewish past and East End to critical interrogation through a metaphorical method composed of fragments that represent varied segments of Jewish history and memory as well as wandering as a narrative of personal exploration.
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Robles, Elizabeth. "Making Waves." Nka Journal of Contemporary African Art 2019, no. 45 (2019): 48–61. http://dx.doi.org/10.1215/10757163-7916856.
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This article proposes a rereading of the timeline of the British Black Arts Movement, and offers early work by the Pakistan-born British artist, writer, and editor Rasheed Araeen as possible starting points for reading the work of a new generation of artists who emerged in the early 1980s. Making Waves draws attention to a work by Araeen, For Oluwale, which commemorated the racist killing by police officers of David Oluwale, a Nigerian vagrant persecuted in Leeds, England, during the mid-1960s, leading to his death in 1969. While proposing a radical new timeline, the article also concedes that “beginnings are notoriously unstable things.”