British Bravery, or Tars Triumphant: Images of the British Navy in Nautical Melodrama

1988 ◽  
Vol 4 (14) ◽  
pp. 122-143 ◽  
Author(s):  
Jim Davis
Keyword(s):  
Nineteenth Century ◽  
New South ◽  
Real Life ◽  
Theatre History ◽  
Popular Theatre ◽  
South Wales ◽  
Theatre Studies ◽  
The University ◽  
Relationship Of ◽  
The Relationship

In recent years, melodrama has increasingly been recognized not only as an important element in popular theatre studies, but for the intrinsic importance of the form itself. Less considered has been the relationship of the material of melodrama to the ‘real life’ it reflected in a highly conventionalized yet ultimately (for its audiences), recognizable fashion. Here, Jim Davis looks at one major category, nautical melodrama, setting the images of the navy and of sailors that it created alongside factual and critical accounts of life at sea in the first half of the nineteenth century. He conveys both the pressures that existed for redress of abuses, and the consequent balance between coercion and subversion in the melodramas themselves – drawing in particular on the memoirs of Douglas Jerrold to explore aspects of the ambiguity to be found in contemporary attitudes. Jim Davis, who is the author of several books and articles in the area of nineteenth century theatre history, is presently teaching in the School of Theatre Studies at the University of New South Wales.

The Gospel of Rags: Melodrama at the Britannia, 1863–74

1991 ◽  
Vol 7 (28) ◽  
pp. 369-389 ◽  
Author(s):  
Jim Davis
Keyword(s):  
Nineteenth Century ◽  
Detailed Analysis ◽  
New South ◽  
New South Wales ◽  
Popular Theatre ◽  
South Wales ◽  
The Subject ◽  
East End ◽  
The University

We are happy to return to the Britannia Theatre, Hoxton, the subject of pioneering studies by Clive Barker in the original Theatre Quarterly, where he used the ‘Brit’ as focus for an overview of the problems of researching nineteenth-century popular theatre in TQ4 (1971), proceeding to a detailed analysis of our knowledge of the nature and composition of the theatre's audiences in TQ34 (1979). Jim Davis now turns to the repertoire of the theatre, and, for one representative decade from 1863 to 1874, explores the sources of the melodramas presented there – a great many of them specially written or adapted by popular ‘house dramatists’. He also examines the values which may be discerned to underlie the most popular plays, and in the process, by going to manuscript sources rather than to the inevitably more ‘respectable’ plays that reached print, uncovers a more radical repertoire than previous authorities had assumed. Jim Davis, who currently teaches in the Theatre Department of the University of New South Wales, has published widely in the field of nineteenth-century theatre, including a survey of nautical melodrama in NTQ14 (1988) and a study of the ‘reform’ of the East End theatres in NTQ23 (1990).

scholarly journals Picturing Nineteenth-Century Female Theatre Managers: the Iconology of Eliza Vestris and Sara Lane

2017 ◽  
Vol 33 (1) ◽  
pp. 3-21
Author(s):  
Janice Norwood
Keyword(s):  
Nineteenth Century ◽  
English Literature ◽  
Theatre History ◽  
Senior Lecturer ◽  
Personal Lives ◽  
Professional Activities ◽  
Theatrical Management ◽  
Aesthetic Practice ◽  
Theatre Studies ◽  
The University

Lucia Elizabeth Vestris (1797–1856) and Sara Lane (1822–99) were two pioneering women in nineteenth-century theatre history. Both were accomplished singers who made their names initially in comic and breeches roles and, during periods when theatrical management was almost exclusively confined to men, both ran successful theatre companies in London. Despite these parallels in their professional activities, there are substantial disparities in the scrutiny to which their personal lives were subjected and in how their contemporaries and posterity have memorialized them. In this article, Janice Norwood examines a range of portraits and cartoons of the two women, revealing how the images created and reflected the women's public identities, as well as recording changes in aesthetic practice and social attitudes. She argues that the women's iconology was fundamentally shaped by the contemporary discourse of gender difference. Janice Norwood is Senior Lecturer in English Literature, Drama, and Theatre Studies at the University of Hertfordshire. She has published on various aspects of nineteenth-century theatre history and edited a volume on Vestris for the Lives of Shakespearian Actors series (London: Pickering and Chatto, 2011).

The Red Theatre under the Bed

1987 ◽  
Vol 3 (11) ◽  
pp. 195-201 ◽  
Author(s):  
Howard Brenton
Keyword(s):  
New South ◽  
New South Wales ◽  
The Political ◽  
National Theatre ◽  
South Wales ◽  
Dario Fo ◽  
Political Impact ◽  
Theatre Studies ◽  
The University

Howard Brenton began his theatrical career in the late 'sixties as one of the ‘Portable playwrights’, but quickly felt the need to utilize the resources available on larger stages-without compromising the political impact of his plays. Now established as one of the leading playwrights of his generation, Brenton works regularly with the National Theatre, and in the interview which follows the discussion ranges from his feelings about the ‘scandal’ worked up by the production there of The Romans in Britain to how his feelings about Brecht were affected by preparing their version of The Life of Galileo, and also covers his recent collaboration with David Hare, creating a monstrous press baron, in Pravda. Touching on other recent plays such as The Genius and Bloody Poetry, the discussion thus complements an earlier Theatre Quarterly interview with Howard Brenton, included in TQ17 (1975) and reprinted in New Theatre Voices of the Seventies, edited by Simon Trussler (Methuen, 1981). The interviewer, Tony Mitchell, currently teaches in the School of Theatre Studies at the University of New South Wales, and is the author of Dario Fo: People's Court Jester (Methuen. 1984). His Methuen ‘Writer-File’ on Howard Brenton is due for publication in 1988.

Polythrinciopsis Gen.Nov, (Fungi Imperfecti) on Phragmites communis Trin

1966 ◽  
Vol 14 (2) ◽  
pp. 195 ◽  
Author(s):  
J Walker
Keyword(s):  
Leaf Spot ◽  
Type Species ◽  
New Genus ◽  
New South ◽  
Phragmites Communis ◽  
Leaf Spots ◽  
South Wales ◽  
Relationship Of ◽  
The Relationship ◽  
Fungi Imperfecti

The new genus Polythrinciopsis, with the type species P. phragmitis, is described from a leaf spot of Phragmites communis Trin, in eastern New South Wales. The genus is characterized by hypophyllous conidiophores, which develop in clusters from a few fungal cells in the stomatal opening and which show a strongly unilateral placement of spore scars; by large, hyaline to very pale olivaceous, two-celled, acrogenous conidia; and by an abundant superficial mycelium developing on the under side of the leaf spots. The relationship of this fungus to some other genera of the Fungi Imperfecti is discussed.

Preliminary observations on the effect of removal of black bluebush (Maireana pyramidata) and Pearl Bluebush (M. sedifolia) on shrub regeneration, herbage production and erosion potential.

1985 ◽  
Vol 7 (2) ◽  
pp. 103
Author(s):  
GJ Tupper ◽  
WJ Muller
Keyword(s):  
Wind Erosion ◽  
New South ◽  
Soil Surface ◽  
Critical Value ◽  
Mechanical Removal ◽  
South Wales ◽  
Erosion Index ◽  
Relationship Of ◽  
The Relationship ◽  
Over Time

The effects of mechanical removal of shrub tops and grazing on two bluebush communities, one with Maireana pyramidata (black bluebush)and the other with M. pyramidata and M. sedifolia (pearl bluebush) as co-dominants, were examined on the western edge of the Riverine Plain in New South Wales Measurements were made on shrub regeneration, the relationship of shrub units to a critical value for an erosion index, the change in soil surface levels, and the growth of herbaceous plants over time Shrub regeneration was slower under grazed than ungrazed conditions and occurred mainly from basal shoots of established plants rather than from seedling establishment. Herbage yields Increased on the mounds previously occupied by shrubs, whereas production between shrubs was not affected by shrub removal. After four years there was sufficient shrub growth to prevent wind erosion, except on the cleared and grazed plot at the M. sedifolia site.

The relationship of gully sidewall shape to sediment production

Soil Research ◽  
1987 ◽  
Vol 25 (4) ◽  
pp. 531 ◽  
Author(s):  
RJ Crouch
Keyword(s):  
Erosion Rate ◽  
New South ◽  
Sediment Sources ◽  
Relative Significance ◽  
Sediment Production ◽  
Lack Of Information ◽  
South Wales ◽  
Erosion Pins ◽  
Relationship Of ◽  
The Relationship

Reports of gully side erosion describe a range of side forms. The lack of information on the relative significance of the various forms in terms of sediment production hinders the identification of the major sediment sources within gullies. Observations of gully sides in a catchment in central New South Wales showed a range of side forms being eroded at significantly different rates. Side classification and measurement by survey and erosion pins showed that vertical sides, subject to undercutting, had the highest erosion rate (75 mm yr-l) followed by vertical fluted walls (37 mm yr-l). These different rates are critical in predicting present and future rates of erosion and identifying sediment sources within gully systems.

scholarly journals Critically Analysing the Ethical Dilemmas Arising from Lecturer and Student Relationships at the University: Pushing Social Boundaries for Institutional Revolution

2020 ◽  
Vol 9 (3) ◽  
pp. 139-152
Author(s):  
Kieran James ◽  
Richie Bain ◽  
Norman Duncan ◽  
Michael Martin ◽  
James Mole ◽  
...  
Keyword(s):  
Real Life ◽  
Social Boundaries ◽  
Social Constructs ◽  
Student Relationships ◽  
Conventional View ◽  
The Social ◽  
The University ◽  
Relationship Of ◽  
The Relationship

The basis of the ethical dilemma discussed in this article is the controversy surrounding the personal relationship between a student and their lecturer. The social constructs of university highlight that the potential for any friendship or relationship within the institution is very uncommon and both parties usually assume that integration of their social groups cannot take place. Many people argue that the relationship of this nature can adversely affect grade attainment and fairness of judgement. We assess and reflect upon the merits of this conventional view by drawing upon a real-life case-study involving the first author (a lecturer) and the remaining six authors (his students). After considering the various arguments on both sides, and drawing upon authors such as Freud, Marx, and Sartre, we conclude that, if individuals remain honest, the relationship can only mean a greater understanding for the student and a lesser alienation complex for both parties.

THOMAS MITCHELL AND THE WELLINGTON CAVES: THE RELATIONSHIP AMONG SCIENCE, RELIGION, AND AESTHETICS IN EARLY-NINETEENTH-CENTURY AUSTRALIA

2005 ◽  
Vol 33 (1) ◽  
pp. 203-218
Author(s):  
Kerry Heckenberg
Keyword(s):  
Nineteenth Century ◽  
Natural History ◽  
New South ◽  
New South Wales ◽  
Geological Material ◽  
Early Nineteenth Century ◽  
South Wales ◽  
Eastern Australia ◽  
The Relationship

THOMASMITCHELL(1792–1855), explorer and Surveyor-General in New South Wales between 1828 and 1855, was a talented and competent draughtsman who was responsible for the original sketches and even some of the lithographs he used to illustrate his two journals of exploration, published in 1838 and 1848. In this paper, I will be concerned with the 1838 journal, entitledThree Expeditions into the Interior of Eastern Australia; with descriptions of the recently explored region of Australia Felix, and of the Present Colony of New South Wales. On the whole, it is a detailed and lavishly illustrated account of the land Mitchell encountered, along with its inhabitants and natural history. My particular interest is in offering an explanation for differences between a sepia sketch depicting a cave at Wellington, NSW, that Mitchell prepared as one of the illustrations for geological material included in this journal, and the final lithograph.

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