Realism and politics in alienated space: Trevor Griffiths's plays of the 1970s in the television studio

The television studio play is often perceived as a somewhat compromised, problematic mode in which spatial and technological constraints inhibit the signifying and aesthetic capacity of dramatic texts. Leah Panos examines the function of the studio in the 1970s television dramas of socialist playwright Trevor Griffiths, and argues that the established verbal and visual conventions of the studio play, in its confined and ‘alienated’ space, connect with and reinforce various aspects of Griffiths's particular approach and agenda. As well as suggesting ways in which the idealist, theoretical focus of the intellectual New Left is reflexively replicated within the studio, Panos explores how the ‘intimate’ visual language of the television studio allows Griffiths to create a ‘humanized’ Marxist discourse through which he examines dialectically his dramatic characters' experiences, ideas, morality, and political objectives. Leah Panos recently completed her doctoral thesis, ‘Dramatizing New Left Contradictions: Television Texts of Ken Loach, Jim Allen, and Trevor Griffiths’, at the University of Reading and is now a Postdoctoral Researcher on the AHRC funded project, ‘Spaces of Television: Production, Site and Style’, which runs from July 2010 to March 2014.

Contested H2O: science, policy and politics in water resources management in Chile

This paper critically explores the politics that mediate the use of environmental science assessments as the basis of resource management policy. Drawing on recent literature in the political ecology tradition that has emphasised the politicised nature of the production and use of scientific knowledge in environmental management, the paper analyses a hydrological assessment in a small river basin in Chile, undertaken in response to concerns over the possible overexploitation of groundwater resources. The case study illustrates the limitations of an approach based predominantly on hydrogeological modelling to ascertain the effects of increased groundwater abstraction. In particular, it identifies the subjective ways in which the assessment was interpreted and used by the state water resources agency to underpin water allocation decisions in accordance with its own interests, and the role that a desocialised assessment played in reproducing unequal patterns of resource use and configuring uneven waterscapes. Nevertheless, as Chile’s ‘neoliberal’ political-economic framework privileges the role of science and technocracy, producing other forms of environmental knowledge to complement environmental science is likely to be contentious. In conclusion, the paper considers the potential of mobilising the concept of the hydrosocial cycle to further critically engage with environmental science.

Women in art: the last taboo

The intention of this paper is to explore traditions and current trends in art with particular reference to the depiction of female experiences such as pregnancy, abortion, birth and motherhood. The inclusion and exclusion of such images in art history over time and across societies reflects prevailing attitudes, whilst affirming various stereotypical and gendered constructions developed and sustained within those societies. These constructions in turn relate to criteria defined by class, access to education and notions of femininity. Work by artists which feature aspects of these experiences (particularly childbirth), is considered taboo by many in a Western society which continues to render the essentially female experience as private, invisible and stigmitised and confuses the natural with the sexual. The work of undergraduate art students, inspired by the artwork of women artists who make explicit or are influenced by essentially female experiences, is discussed and attempts made to connect their work to the issues outlined.