Edward Bond & the celebrity of exile

A shibboleth has grown up around the work of Edward Bond. The tag ‘controversial dramatist’ has continued to dog both the man and his work. This article will hope to explore some of the contradictory, and sometimes frustrating manifestations that such ‘celebrity’ has produced. Since the reception of The War Plays [1985] by the Royal Shakespeare Company at the National Theatre Bond has largely withdrawn his work from mainstream British theatre. Since the late 1990s he has looked to a new home – La Colline Theatre – in France, to premiere new work and run retrospective seasons of older plays. Here, Bond's celebrity is of a different kind, and has allowed him to enhance and develop his work as a playwright, director and writer about theatre. While this article draws on secondary sources it also uses material based on personal correspondence with Edward Bond.

"Fit Cradle of the Reviving Art": An inquiry into the the Evolving Material Reality of the Murals in the Camposanto of Pisa from the Perspective of their British Reception from the 17th to the 19th century

The Camposanto of Pisa is an extraordinarily complex and evocative monument, which has captured the imagination of pilgrims, both religious and secular, for centuries. The late Medieval and early Renaissance wall paintings that line the perimeter of the portico surrounding a vast inner courtyard, are unparalleled in early Italian art, not only for their striking variety of composition and narrative complexity, but also for the sheer grandeur of their proportion. However, the passage of time has scarred the structure of the Camposanto and inflicted terrible damage on its wall paintings. This thesis explores the material reality of the Camposanto as experienced over three centuries through the eyes of British travelers. In order to situate the Camposanto mural cycle within an historical and cultural context, the first chapter provides an overview of the construction and decoration of the monument. Notably, Giorgio Vasari (1511-1574), the Italian Humanist often recognized as the father of art history, included numerous descriptions of the Camposanto murals in his highly influential text Vite de' più eccellenti pittori, scultori, ed architettori. Accordingly, the second chapter provides an analysis of Vasari’s descriptions and reflects upon the influence that the Renaissance author may have had upon the subsequent British reception of the Camposanto murals. The third chapter utilizes three centuries of travel writing in order to investigate the aesthetic impact of the Camposanto mural cycle upon British tourists from the seventeenth through to the nineteenth century.

The complete works of William Shakespeare in ten volumes /

v. 5. First part of King Henry VI. Second part of King Henry VI. Third part of King Henry VI. King Richard III. King Henry VIII.--v. 6. Troilus and Cressida. Coriolanus. Titus Andronicus. Romeo and Juliet.--v. 7. Timon of Athens. Julius Caesar. Macbeth. Hamlet.--v. 8. King Lear. Othello. Antony and Cleopatra. Cymbeline.--v. 9. Pericles. The two noble kinsmen. Venus and Adonis. Lucrece. Sonnets. A lover's complaint. The passionate pilgrim. The phoenix and turtle.--v. 10. Glossary to Shakespeare.

The works of William Shakespeare : the plays edited from the folio of MDCXXIII, with various readings from all the editions and all the commentators, notes, introductory remarks, a historical sketch of the text, an account of the rise and progress of the English drama, a memoir of the poet, and an essay upon his genius /

Publisher's advertisement (12 p.) at beginning of v. 2.

The complete works of William Shakespeare,

At head of title: New national edition.

The dramatick works of William Shakespeare : printed complete, with Dr. Samuel Johnson's preface and notes ; to which is prefixed the life of the author.

Title page engraved with vignette of the author.

The dramatic works of William Shakespeare,

Rowe's life, Johnson's preface, and Farmer's Essay on the learning of Shakespeare prefixed to v. 1.

The dramatic works of William Shakespeare ...

Rowe's life, Johnson's preface, and Farmer's Essay on the learning of Shakespeare, prefixed to v. 1.

Catalogue of the books, manuscripts, works of art, antiquities and relics at present exhibited in Shakespeare's birthplace; with 61 illustrations.

Comp. by Mr. Richard Savage. cf. Pref.

The dramatic works of William Shakespeare; with a life of the poet, and notes, original and selected.

Edited by Oliver W. B. Peabody; based on Singer's edition, "carefully compared" with the folio of 1623; with the life by Dr. Symmons, revised, and "New facts" by Collier. The first critical American edition. cf. Preface and J. Sherzer, American editions of Shakespeare (Modern lang. assoc. Publ., v. 22, pp. 658-659)

The story of the "Grafton" portrait of William Shakespeare : with an account of the sack and destruction of the manor house of Grafton Regis by the parliamentary forces on Christmas Eve, 1643 /

"The publication of this work, which it was intended shoud take place in the autumn of 1914, has unavoidably been postponed owing to illness and lamented death of the author and the outbreak of war"--Note dated June 1915 inserted.

Shakespeare and the Re/Vision of Indian Heritage in the Postcolonial British Context

As part of the 2012 World Shakespeare Festival, the Royal Shakespeare Company staged a production of Much Ado About Nothing set in India. Shakespeare’s Messina in sixteenth century Italy was transposed to twenty-first century Delhi and with a company of actors who were all of Indian heritage. The casting of individual British Asian actors in mainstream UK productions of Shakespeare is no longer unusual. What was unprecedented here, however, was that not only was the entire cast ‘Asian’ but the director was not, as is standard practice, a leading member of the white British theatrical establishment. Instead the director, Iqbal Khan, is the son of a Pakistani father who migrated to England in the 1960s. I use the term ‘Indian heritage’ with great caution conscious that what began under the British Raj in nineteenth century India led through subsequent economic imperatives and exigencies, and political schism to a history of migratory patterns which means that today’s British Asian population is a complex demographic construct representing numerous different languages and cultural and religious affiliations. The routes which brought those actors to play imagined Indian Shakespeare in Stratford-upon-Avon in July 2012 were many and various. I explore in this chapter the way in which that complexity of heritage has been brought to bear on the revisioning of Shakespeare by British Asian theatre makers operating outside the theatrical mainstream. In general because of the social, economic and institutional challenges facing British Asian theatre artists, the number of independent professional companies is comparatively small and for the most part, their work has focused on creating drama which interrogates thorny questions of identity formation and contemporary cultural practices within the ‘new’ British Asian communities. Nevertheless for artists born and/or educated in the UK the Western classical canon, including of course Shakespeare, is as much part of their heritage as the classical Indian narratives and performance traditions which so powerfully evoke collective memories of the lost ‘home’ of their elders. By far the most consistent engagement with Shakespeare has been seen in the work of Tara Arts which was the first British Asian theatre company set up in 1977. The artistic director Jatinder Verma brings his own ‘transformed and translated’ heritage as an East African-born, Punjabi-speaking, English-educated, Indian migrant to the UK to plays as diverse as A Midsummer Night’s Dream, Troilus and Cressida , The Tempest and The Merchant of Venice. I discuss examples of Tara productions in the light of the way Shakespeare’s plays have been used to forge both creative synergies between parallel cultures and provide a means of addressing the ontological ruptures and dislocations associated with the colonial past.

New perspectives on the processing and release of public information

This article discusses issues related to the organization and reception of information in the context of services and public information systems driven by technology. It stems from the assumption that in a ""technologized"" society, the distance between users and information is almost always of cognitive and socio-cultural nature, a product of our effort to design communication. In this context, we favor the approach of the information sign, seeking to answer how a documentary message turns into information, i.e. a structure recognized as socially useful. Observing the structural, cognitive and communicative aspects of the documentary message, based on Documentary Linguistics, Terminology, as well as on Textual Linguistics, the policy of knowledge management and innovation of the Government of the State of Sao Paulo is analyzed, which authorizes the use of Web 2.0, also questioning to what extent this initiative represents innovation in the environment of libraries.

Olfaction in the Queensland fruit fly, Bactrocera tryoni. I: Identification of olfactory receptor neuron types responding to environmental odors

The electroantennogram method was used to investigate the number of distinct olfactory receptor neuron types responding to a range of behaviorally active volatile chemicals in gravid Queensland fruit flies, Bactrocera tryoni. Three receptor neuron types were identified. One type responds to methyl butyrate, 2-butanone, farnesene, and carbon dioxide; a second to ethanol; and a third to n-butyric acid and ammonia. The receptor neuron type responding to methyl butyrate, 2-butanone, farnesene, and carbon dioxide consists of three subtypes. The presence of a limited number of receptor neuron types responding to a diverse set of chemicals and the reception of carbon dioxide by a receptor neuron type that responds to other odorants are novel aspects of the peripheral olfactory discrimination process.

Did they read Marx? Marx reception and social democratic party members in imperial Germany, 1890-1914

Did rank-and-file members of the German Social Democratic party before 1914 bother to read Marx? A number of studies of borrowing from trade union and other workers' libraries since the 1970s have indicated that workers who read Marx were rare, although this does not mean that workers' reading habits were not influenced by socialist ideas. However, for a broader understanding of the reception of Marx's writings among rank-and-file German socialists, it is necessary to consider not only books, but the pamphlet literature produced by the SPD in huge quantities, serialisations and other treatments in the party press, and oral communication. When the full range of sources is considered, the extent of the reception of Marx's writings, albeit often in very simplified forms, can be more fully appreciated.