Trevor Griffiths' 'Absolute Beginners': socialist humanism and the television studio

This article examines how conventional studio production strategies were active in the construction of political meaning in the 1974 television play 'Absolute Beginners' written by Trevor Griffiths. Produced for the BBC anthology series Fall of Eagles, the play dramatises Lenin's involvement with the Russian Social Democratic Workers Party (RSDWP) and explores the contradictions between personal ethics and political necessity. Through close textual analysis and contextual discussion of other plays in the series, this piece demonstrates how shot patterns and spatial and performative devices in 'Absolute Beginners' supported the drama's socialist-humanist themes. Drawing on existing writing about the studio mode, it argues that the qualities of intimacy and presentational distance that it engendered were highly appropriate for the personal and the political dialectic in 'Absolute Beginners'. While using authorship as a convenient category for referring to the coherence of Griffiths' thematic concerns and dramatic structure during this period, the article complicates notions of the television dramatist as author by arguing for the importance of visual style and showing how 'ordinary' studio form was operational in the play's political meanings.

"To strive for economic and social justice": welfare, sexuality, and party politics in San Francisco in the 1960s

This article explores how liberal politicians like Phil Burton of San Francisco joined with welfare rights lobbyists and bureaucrats to embrace late twntieth-century notions of sexual equality through a broader reconception of economic equality brought about by the expansion of the California welfare state in the early 1960s.

Oswald Mosley and the New Party

The book is a study of the New Party formed by Sir Oswald Mosley in 1931 following his leaving the Labour Party and prior to his forming the British Union of Fascists. It examines Mosley's transition from socialism to fascism within the wider context of British politics between the wars.

Burnt offerings and harpies at Nasidienus’ dinner-party (Horace, Satires 2.8)

Horace's last Satire describes a disastrous dinner party hosted by the gourmet Nasidienus, which is ruined by a collapsing tapestry. The food served afterwards is presented in a dismembered state. This chapter argues that several elements of the scene recall the greedy Harpies of Apollonius' Argonautica, and that Horace's friend Virgil shows the influence of this Satire in his own Harpy-scene in Aeneid 3. It also argues that the confusion in the middle of the dinner causes the food cooking in the kitchen to be neglected and burned. This explains the state of the subsequent courses, which Nasidienus has salvaged from a separate disaster backstage.