Peter Robinson

Profile article in Italian by Fabrizio Caramagna with sample aphorisms in English by Peter Robinson and Italian translation by Caramagna with Sara Bauducco and Ornella Trevisan

A double-decker bus, an elephant and 300 Girl Guides: analyzing 'space' and 'place' in Blue Peter

This article draws upon Karen Lury's definitions of 'space' and 'place' in relation to the BBC children's programme Blue Peter (1958���present). Through an analysis of the Blue Peter studio over the past 53 years, Amanda Beauchamp highlights its evolution from a 'space' to a 'place' within the history of children's television. Her article considers how the Blue Peter studio's 'infinite nature' was achieved, alongside the role it played in creating the programme institution. She addresses the impact of major changes in the studio layout since 2005, when the studio went from being 'tardis-like' to a 'cosy cubbyhole'. Amanda concludes by questioning the impact that this change has had on programme identity and whether the 'place' that pre-2005 Blue Peter took 47 years to create has been compromised.

Ensemble forecasts of a flood-producing storm: comparison of the influence of model-state perturbations and parameter modifications

High-resolution ensemble simulations (��x = 1 km) are performed with the Met Office Unified Model for the Boscastle (Cornwall, UK) flash-flooding event of 16 August 2004. Forecast uncertainties arising from imperfections in the forecast model are analysed by comparing the simulation results produced by two types of perturbation strategy. Motivated by the meteorology of the event, one type of perturbation alters relevant physics choices or parameter settings in the model's parametrization schemes. The other type of perturbation is designed to account for representativity error in the boundary-layer parametrization. It makes direct changes to the model state and provides a lower bound against which to judge the spread produced by other uncertainties. The Boscastle has genuine skill at scales of approximately 60 km and an ensemble spread which can be estimated to within ��� 10% with only eight members. Differences between the model-state perturbation and physics modification strategies are discussed, the former being more important for triggering and the latter for subsequent cell development, including the average internal structure of convective cells. Despite such differences, the spread in rainfall evaluated at skilful scales is shown to be only weakly sensitive to the perturbation strategy. This suggests that relatively simple strategies for treating model uncertainty may be sufficient for practical, convective-scale ensemble forecasting.

Prizes for modernity in the provinces: The Arts Council���s 1950-1951 regional playwriting competition

As part of its contribution to the 1951 Festival of Britain, the Arts Council ran what can be seen in retrospect to be an important playwriting competition. Disregarding the London stage entirely, it invited regional theatres throughout the UK to put forward nominations for new plays within their repertoire for 1950-1951. Each of the five winning plays would receive, what was then, the substantial sum of ��100. Originality and innovation featured highly amongst the selection criteria, with 40 per cent of the judges��� marks being awarded for ���interest of subject matter and inventiveness of treatment���. This article will assess some of the surprising outcomes of the competition and argue that it served as an important nexus point in British theatrical historiography between two key moments in post-war Britain: the first being the inauguration of the Festival of Britain in 1951, the other being the debut of John Osborne���s Look Back in Anger in May 1956. The article will also argue that the Arts Council���s play competition was significant for two other reasons. By circumventing the London stage, it provides a useful tool by which to reassess the state of new writing in regional theatre at the beginning of the 1950s and to question how far received views of parochialism and conservatism held true. The paper will also put forward a case for the competition significantly anticipating the work of George Devine at the English Stage Company, which during its early years established a reputation for itself by heavily exploiting the repertoire of new plays originally commissioned by regional theatres. This article forms part of a five year funded Arts and Humanities Research Council (AHRC) project, ���Giving Voice to the Nation: The Arts Council of Great Britain and the Development of Theatre and Performance in Britain 1945-1994���. Details of the Arts Council���s archvie, which is housed at the Victoria & Albert Museum in London can be found at http://www.vam.ac.uk/vastatic/wid/ead/acgb/acgbf.html Keywords: Arts Council of Great Britain, regional theatre, playwriting, Festival of Britain, English Stage Company (Royal Court) , Yvonne Mitchell

Dancing in translation: Irina Brook���s mise en sc��ne of 'Danser �� Lughnasa', Jean-Marie Besset���s translation of Brian Friel���s 'Dancing at Lughnasa'

This essay contributes to debates about theatre and cross-cultural encounter through an analysis of Irina Brook���s 1999 Swiss / French co-production of Irish playwright Brian Friel���s Dancing at Lughnasa, in a French translation by Jean-Marie Besset. While the translation and Brook���s mise en sc��ne clearly identified the source text and culture as Irish, they avoided cultural stereotypes, and rendered the play accessible to francophone audiences without entirely assimilating it to a specific Swiss or French cultural context. Drawing on discourses of theatre translation, and concepts of cosmopolitanism and conviviality, the essay focuses on the potential of such textual and theatrical translation to acknowledge specific cultural traces but also to estrange the familiar perceptions and boundaries of both the source and target cultures, offering modes of interconnection across diverse cultural affiliations.

Dancing, skating and sex: action and text in the digital age

This paper explores the relationship between discourse and action in practices involved in making and consuming texts. Texts are produced through the process of ���entextualization��� in which strips of action and discourse are extracted from their original contexts and recontextualized into other situations. Different technologies for turning actions into texts affect the kinds of social actions and social identities that are made possible both at moments of entextualization and at future moments of recontextualization. In particular, I focus on how digital technologies affect the practices and participation structures around entextualization. Digital photography and video have had a profound effect on social practices and relationships around the making of texts. Specifically, they have made processes of entextualization more immediate, more contingent and more communal. Implications of these features of digital text making are discussed in light of previous work on literacy and orality.