Beckett and Performance

The recent interest in genealogical criticism in Beckett Studies, fuelled by the reading notes that Beckett compiled in the 1920’s and 1930’s, has led to a particular focus on Beckett’s formative years, and on the intersections between his work, especially the novels and early criticism, and his intellectual reading. While this has produced much valuable and fascinating matrial, perhaps it is time to return to the works themselves, and especially, to the theatre. Having just published a book on Performing Embodiment in Samuel Beckett’s Drama (London, Routledge, 2010), I would like to develop further the area of presence and performance in Beckett’s theatre. Performance studies and phenomenology have offered new ways of approaching the ontology of performance in Beckett’s theatre, and I intend to analyze this, with particular reference to specific productions of Beckett’s plays. Firstly, I want to look at some of Beckett’s own comments about particular performances / productions (for example in the Barbara Bray correspondence, Trinity College Dublin), and, secondly, to analyze from the perspective / experience of an audience member a number of performances by (mainly Anglophone) ‘Beckett actors’, including Billie Whitelaw and David Warrilow. Drawing on recent discussions of presence and performance (Jane Goodall, Cormac Power), I will offer some reflections on the complexity of presence (of persona and performer, of body and voice) and its haunting power in performances of Beckett’s drama.

Community Cohesion and Social Inclusion: Unravelling a Complex Relationship

In a global context of an emphasis on identity politics and a ‘cultural turn’ in social analysis, deep concern has been expressed about multiethnic Britain becoming a broken society with many ‘sleepwalking’ into segregation and separatism. Given the close correspondence between areas of acute ethnic segregation and those of multiple deprivation, intercommunal tensions have included disputes about the equitable allocation of scarce urban resources across ethnicity. This creates the possibility that urban programmes may inadvertently accentuate intercommunal tension and confound efforts to synchronise cohesion and inclusion agendas. Following recent debates about the implications of increased diversity, influenced by arguments that multiculturalism has encouraged ‘parallel lives’, an emergent policy framework emphasises more proactive integration to promote ‘common belonging’. Criticism of this agenda includes its confusion between community and social cohesion, and its disproportionate focus on cultural aspects such as identity formation and recognition, relative to structural issues of income and class. In exploring this contested terrain in Britain, the article suggests that the longer-term debate about segregation, deprivation and community differentials in Northern Ireland can offer useful insight for Britain’s policy discourse.

Rekonstrukcja pierwotnego przesłania - rzecz o żydowskich przekładach Nowego Testamentu

Restoring the original meaning: Jewish translations of the New Testament Among dozens of new translations of the New Testament published in the last fifty years there are several versions by Jewish scholars which have not yet received enough attention. The article offers an analysis of the most characteristic features of these translations, such as criticism of the existing versions expressed in introductory sections, as well as actual techniques by means of which the Jewish origin and character of the text is emphasized in three spheres: superficial, cultural and religious, and theological, each of them illustrated with numerous examples against the background of traditional versions. It is argued that regardless of the ideological motivation underlying the origin of the Jewish translations of the New Testament they offer valuable and otherwise unavailable insights into the original message of the ancient Christian writings.

Figuring Abjection: The Slave Mother in the Early Creole Novel

While twentieth century Caribbean literature in French (particularly post-Césaire) has generated a large body of criticism, writing from the nineteenth century has been largely neglected. This article begins by contextualising the Creole novel of the early nineteenth century in cultural and historical terms, before proceeding to an analysis of two novels published in 1835 by Martinican authors: Outre-mer by Louis de Maynard, and Les Créoles by Jules Levilloux. In the few studies that exist, these texts have been read in opposition to each other in terms of their portrayal of the (male) mulatto; Levilloux has generally been considered the more progressive writer in this regard. However they are in fact in striking harmony in their depiction of the black mother, a figure (in both senses, as her physiognomy is central in her portrayal) who has until now been overlooked. For both writers, the elderly black mother is an abject and wretched creature. She has necessarily to be shown to be repulsive, filthy and morally hideous in old age in order to counteract the fascination she provokes, and to embody a phantasised repellent to the desires of the white male.

Baudelaire, Daumier and the Art of Memory

This article reassesses the importance of the Baudelaire's criticism of the art of Daumier in relation to his theorization of memory. It argues that more than Guys, Daumier may represent for the poet the quintessential 'peintre de la vie moderne'.

Modes of Griot Inscription in African Cinema

A recurring idea in criticism of African cinema has been that the films frequently deploy the narrative techniques of ‘the griot’, the storyteller of African tradition. In particular, Manthia Diawara (1989) has alerted us to the inscription of the oral narrator within the visual discourse of particular African films, while other critics have considered how the films recall the narrative forms of traditional oral tales. However, these critics’ exclusive attention to the visual track and/or narrative form overlooks another inscription of the griot - an inscription that exists at the level of music. Examining music and image relationships in an aesthetically diverse set of African films, this paper demonstrates how griot inscription emerges as a major variable, modulating between music and image within and between texts. This propels music, and the griot, to a status of primary importance in terms of understanding the ways in which the films engage with, and re-appropriate, notions of ‘African-ness’, while negotiating the tensions of address generated when oral forms of narrative meet the literate, industrial form of cinema.

Inherited defects in pedigree dogs. Part 1: Disorders related to breed standards

The United Kingdom pedigree-dog industry has faced criticism because certain aspects of dog conformation Stipulated in the UK Kennel Club breed standards have a detrimental impact oil dog welfare. A review of conformation-related disorders was carried out in the top 50 UK Kennel Club registered breeds using systematic searches of existing information A novel index to score severity of disorders along a single-scale was also developed and used to conduct statistical analyses to determine the factors affecting reported breed predisposition to defects According to the literature searched, each of the top 50 breeds was found to have at least one aspect of its conformation predisposing it to a disorder. and 84 disorders were either directly or indirectly associated with conformation. The Miniature poodle, Bulldog. Pug and Basset hound had most associations with conformation-related disorders. Further research oil prevalence and severity is required to assess the impact of different disorders oil the welfare of affected breeds (C) 2009 Elsevier Ltd. All rights reserved

Becoming a national composer: critical reception to c.1925

The centrality of Vaughan Williams to British music in the first half of the twentieth century is now a commonplace in musicology, but this has not always been so. Prior to 1914 Vaughan Williams was regarded by a number of British critics as a figure of considerable potential, but of less interest than composers like Granville Bantock, Cyril Scott, and Joseph Holbrooke: a reflection, in part, of the many different strands that existed in musical modernism in pre-war Britain, as well as scepticism that Vaughan Williams's engagement with English folksong offered anything original. In this chapter, I consider this inauspicious early period of Vaughan Williams reception, when even works considered seminal today like the Fantasia on a Theme by Thomas Tallis were received by some critics with bewilderment, and the changes that took place in the years after World War One after which Vaughan Williams became the leader of British musical modernism. I argue that Vaughan Williams's emergence reflects a change in attitude by British critics to modernism in general, to their approach to musical criticism, and to Vaughan Williams's musical language; in particular I note the distinction increasingly drawn by critics between folksong arrangements and a musical language derived from folksong.

Evidence and Ethics in Infrastructure Planning

Motivated by criticism of the new infrastructure planning process, the paper considers the role of the Infrastructure Planning Commission and National Policy Statements. Drawing upon lessons learnt from other jurisdictions where similar legislation, structures and procedures have been operational for some time, emerging issues regarding policy, practice and the role of participants are considered through an empirical investigation, in the context of professional ethics, legitimacy and evidence-based decision making. Remedies are suggested to potential operational problems and issues of structural concern are identified which have ramifications for wider planning practice.