Mesolithic to Neolithic and medieval coastal environmental change: intertidal survey at Woolaston, Gloucestershire

At Woolaston on the western shores of the middle Severn Estuary c. 7 km upstream of Chepstow intertidal Holocene sediment exposures have been surveyed and the stratigraphic sequence established by coring and limited excavation. There are two main peats each with a submerged forest. An existing dendrochronological sequence for the Upper Submerged Forest has been extended and the preliminary results of pollen analysis from the peat sequence are summarised. A few flint flakes were found but were not stratified in the mid-Holocene sequence. There is evidence for late Mesolithic / early Neolithic burning episodes which may relate to human activity. Evidence is reported for Medieval activity and the extensive modification of drainage in this period is suggested.

Evidence for global climate reorganization during medieval times

A synthesis of global climate model results and inferences from proxy records suggests an increased sea surface temperature gradient between the tropical Indian and Pacific Oceans during medieval times.

The Life of Galileo and Brechtian television drama

Bertolt Brecht's dramaturgy was as influential upon the development of British drama on television between the 1950s and the 1970s as it was in the theatre. His influence was made manifest through the work of writers, directors and producers such as Tony Garnett, Ken Loach, John McGrath and Dennis Potter, whose attempts to create original Brechtian forms of television drama were reflected in the frequent reference to Brecht in contemporary debate concerning the political and aesthetic direction and value of television drama. While this discussion has been framed thus far around how Brechtian techniques and theory were applied to the newer media of television, this article examines these arguments from another perspective. Through detailed analysis of a 1964 BBC production of The Life of Galileo, I assess how the primary, canonical sources of Brecht's stage plays were realised on television during this period, locating Brecht's drama in the wider context of British television drama in general during the 1960s and 1970s. I pay particular attention to the use of the television studio as a site that could replicate or reinvent the theatrical space of the stage, and the responsiveness of the television audience towards Brechtian dramaturgy.