Odd deposits and average practice. A critical history of the concept of structured deposition.

This paper presents a critical history of the concept of ‘structured deposition’. It examines the long-term development of this idea in archaeology, from its origins in the early 1980s through to the present day, looking at how it has been moulded and transformed. On the basis of this historical account, a number of problems are identified with the way that ‘structured deposition’ has generally been conceptualized and applied. It is suggested that the range of deposits described under a single banner as being ‘structured’ is unhelpfully broad, and that archaeologists have been too willing to view material culture patterning as intentionally produced – the result of symbolic or ritual action. It is also argued that the material signatures of ‘everyday’ practice have been undertheorized and all too often ignored. Ultimately, it is suggested that if we are ever to understand fully the archaeological signatures of past practice, it is vital to consider the ‘everyday’ as well as the ‘ritual’ processes which lie behind the patterns we uncover in the ground.

Preminger and Peckinpah: seeing and shaping widescreen worlds

This chapter develops a comparative analysis of sequences from the films of two directors who made eloquent use of widescreen formats but who seem to be in all other respects wholly contrasting figures. The article includes a historiographical element in grounding the argument in the critical history of widescreen aesthetics and the directors’ work. It moves from a close analysis of three sequences, and an exploration of strategies in the use of the widescreen frame, to broader questions of style and its interpretation, narration, point of view and epistemology. The article connects with other work on Preminger, and on the critical history of mise-en-scène, while extending this through the comparative analysis of two figures from different Hollywood contexts and characterised by very different approaches.

All friends now? Critical conversations, West Indian literature and 'The Quarrel with History'

In this essay Alison Donnell returns to the material object of Edward Baugh's essay, published in the pages of the Trinidadian little magazine Tapia in 1977, in order to re-read the force of its arguments in the context of its own politicocultural history and to assess the significance of its publication venue. Donnell attends to Baugh's own standing in the highly charged field of Caribbean literary criticism as a critic of both Walcott and Naipaul, and acknowledges his creative contribution to this field as a poet. She also considers how, in the years between the original publication of Baugh's article and its republication, the questions of historical invisibility have entered newly disputed territories that demand attention to how gender, indigeneity, spirituality, and sexuality shape ideas of historical and literary legitimacy, in addition to those foundational questions around a politics of race and class.

Eternal peace, perpetual war? A critical investigation into Kant's conceptualisations of war

Most discussions of Immanuel Kant's political theory of international politics focus on his work on Eternal Peace and its normative and empirical relevance for contemporary international relations and international law. Yet for all his concern with peace, Kant's work is characterised by a fascinating preoccupation with the concept of war and its role in human history. The purpose of this essay is to investigate critically Kant's different conceptualisations of war and to evaluate his writing as a critique against contemporary versions of Liberal war and peace, as well as recent attempts to reduce war to an immanent logic of biopolitics.

Daisy's diary: issues surrounding teaching history through drama

In what Williams (1975) described as a dramatised world, a great deal of children’s historical knowledge is acquired through dramatised versions of historical events. As the characters who actually took part in historical events become the dramatis personae of re-enacted accounts, their stories are edited not only to meet dramatic necessities but the social, psychological and cultural needs of both storytellers and audience. The process of popularising history in this way thus becomes as much about the effects of events on people as the events themselves, so mirroring debates within history education regarding the teaching of ‘facts’ and the development of empathy. In this article, Andy Kempe explores how stories of evacuees and other ‘war children’ have been dramatised in traditional playscripts and through structured ‘process dramas’ in schools in the British Isles. It argues that drama and history as curriculum subjects may find common ground, and indeed complement each other, in the development of a critical literacy concerned not so much with either fact or empathy as with interrogating both why and how stories are told.

A Kind of Integrity: explorations in history and drama

All of our knowledge of history is mediated in one way or another. Even the experience of first hand witnesses are, it may be argued, subject to semiotic influences such as physical and emotional position, attitudinal point of view and accuracy of recall. A great deal of historical knowledge is acquired through dramatised versions of historical events. As the characters who actually took part in historical events become the dramatis personae of re-enacted accounts, their stories are edited not only to meet dramatic necessities but the social, psychological and cultural needs of both storytellers and audience. The process of popularising history in this way thus becomes as much about the effects of events on people as the events themselves. This chapter describes and analyses the way in which four historical events have formed the basis of school based drama workshops that explore this process. The Player in Tom Stoppard’s ‘Rosencrantz and Guildenstern Are Dead’ posits that actors do on stage what others are supposed to do off, which, he claims, ‘is a kind of integrity.’ The chapter discusses how drama may be used to explore not only stories from history but how those stories may be mediated and so become open to multiple interpretations. The process of dramatising events from history provides opportunities to develop and exercise a critical literacy that is concerned not so much with either fact or empathy as with interrogating both why and how stories are told. Thus, the experience of exploring the symbiotic relationship between drama and history is dependent on an internal logic which may indeed be perceived as a kind of integrity.

Toward a scholarly edition of Beckett's critical writings

This essay outlines the case for a new, scholarly edition of Beckett's critical writings, one that would be complete and with critical annotation. For the most part these texts (critical writings, tributes, in memoria and epigraphs) have been published in a range of places. As well as in the magazines, newspapers, books and special-issue publications in which pieces originally appeared, a number were collected in Disjecta (Calder 1983 & Grove 1984). This volume, however, is not exhaustive; it misses out a number of important texts (not least Proust) and contains some textual inaccuracies. Furthermore, Beckett's critical writings are currently not available from the UK publishers Faber and the Grove Press Centenary Edition of Beckett's works, the fourth volume of which contains a section entitled ‘Criticism’, presents only three works of criticism by Beckett (Proust, ‘Dante … Bruno . Vico . . Joyce’ and ‘Three Dialogues’). In this essay, we give a brief (and far from exhaustive) overview of the publication history of Beckett's non-fiction prose texts, before outlining some of the editorial challenges they pose. Although Beckett tended to be dismissive of these works, they form an integral part of his canon.