scholarly journals Punk Rock as Popular Theatre

2007 ◽  
Vol 23 (1) ◽  
pp. 35-48 ◽  
Author(s):  
Oliver Double
Keyword(s):  
Twentieth Century ◽  
Punk Rock ◽  
Popular Theatre ◽  
Avant Garde ◽  
Stand Up Comedy ◽  
Early Twentieth Century ◽  
Wide Range ◽  
Sex Pistols ◽  
Music Hall ◽  
The University

Punk rock performance consciously draws on popular theatre forms such as music hall and stand-up comedy – as was exemplified on the occasion when Max Wall appeared with Ian Dury at the Hammersmith Odeon. Oliver Double traces the historical and stylistic connections between punk, music hall and stand-up, and argues that punk shows can be considered a form of popular theatre in their own right. He examines a wide range of punk bands and performers – including The Sex Pistols, Iggy Pop, Devo, Spizz, The Ramones, The Clash, and Dead Kennedys – to consider how they use costume, staging, personae, characterization, and audience–performer relationships, arguing that these are as important and carefully considered as the music they play. Art movements such as Dada and Futurism were important influences on the early punk scene, and Double shows how, as with early twentieth-century cabaret, punk performance manages to include avant-garde elements within popular theatre forms. Oliver Double started his career performing a comedy act alongside anarchist punk bands in Exeter, going on to spend ten years on the alternative comedy circuit. Currently, he lectures in Drama at the University of Kent, and he is the author of Stand-Up! On Being a Comedian (Methuen, 1997) and Getting the Joke: the Inner Workings of Stand-Up Comedy (Methuen, 2005).

scholarly journals Representing the War. Early Twentieth Century Maps and Models in the Fonds of the Italian War History Museum in Rovereto

2021 ◽  
Vol 4 ◽  
pp. 1-8
Author(s):  
Elena Dai Prà ◽  
Valentina De Santi ◽  
Giannantonio Scaglione
Keyword(s):  
Twentieth Century ◽  
Three Dimensional ◽  
Field Surveys ◽  
History Museum ◽  
Early Twentieth Century ◽  
Wide Range ◽  
The First World War ◽  
Three Dimensional Models ◽  
The University ◽  
First World

Abstract. The representation of the areas in which some of the most significant events of the First World War took place has produced a wide range of materials, such as cartography, aerial and terrestrial photos, textual descriptions and field surveys. In addition, war events were also represented through three-dimensional models. Topographic maps and models constitute composite figurations, which are rich in informative data useful for the preservation of the memory of places and for increasing the knowledge of cultural heritage. Hence, these sources need to be studied, described, interpreted and used for future enhancement. The focus of this paper are archival materials from the collections kept at the Italian War History Museum of Rovereto (Museo Storico Italiano della Guerra), in the Trentino-Alto Adige region. Firstly, we will investigate the cartographic fond in order to assess the composition and origin of its materials. Secondly, we will present the Museum’s collection of Early-Twentieth Century models. Such precious heritage is not yet part of an exhibition, and is kept in the Museum’s warehouses. The paper constitutes the occasion to present the initial results of a still ongoing project by the Geo-Cartographic Centre for Study and Documentation (GeCo) of the University of Trento on the study and analysis of two archival complexes preserved in the abovementioned Museum. In particular, the paper focuses on the heuristic value of such representational devices, which enable an analysis of the different methods and languages through which space is planned and designed, emphasizing the complementarity between different types of visualization.

Big gorgeous jazz machine

2018 ◽  
Author(s):  
◽  
Nick Francis Potter
Keyword(s):  
Twentieth Century ◽  
Contemporary Art ◽  
University Of Missouri ◽  
Avant Garde ◽  
Introductory Essay ◽  
Cultural Legitimacy ◽  
Wide Range ◽  
Specific Strain ◽  
Formal Relationship ◽  
The University

[ACCESS RESTRICTED TO THE UNIVERSITY OF MISSOURI AT AUTHOR'S REQUEST.] This manuscript considers the influence of twentieth-century avant-garde literature and painting in contemporary art comics, particularly the growing sub-genre of comics poetry. The introduction lays a historical groundwork for this specific strain of comics, including antecedent works and a consideration for how the genre fits into the comics medium's longstanding struggle for cultural legitimacy. Further, the introductory essay examines how the wide range of comics that fit under the umbrella of comics poetry remediate modernist practices in poetry and painting, foregrounding simultaneity and materiality over transparency and narrative. This introduction considers seminal works in the field, including Warren Craghead's How to be Everywhere (2007), which reworks the calligrammes of Apollinaire, and Erin Curry's Songs of the Sea (2016), directly inspired by Cy Twombly's series of paintings by the same name. In addition to analyzing these comics, the paper considers how these works have been utilized by comics critics (Baetens, Gronesteen, Bennett, Badman) in revising and expanding critical frameworks in comics studies and developing an artist-critic relationship that closely mirrors those documented between the modernist avant-garde and the semiotic theory of Saussure early in the twentieth century (Drucker). The subsequent manuscript follow exhibits a collection of comics works that maintain a formal relationship with those discussed in the introduction.

scholarly journals Origins of marketing thought in Britain

2015 ◽  
Vol 49 (7/8) ◽  
pp. 1016-1039 ◽  
Author(s):  
Brian Jones ◽  
Mark Tadajewski
Keyword(s):  
Twentieth Century ◽  
William James ◽  
Future Research ◽  
Business Economics ◽  
Content Type ◽  
Early Twentieth Century ◽  
Wide Range ◽  
Study And Teaching ◽  
History Of ◽  
The University

Purpose – The purpose of this paper is to document contributions to the early study and teaching of marketing at one of the first universities in Britain to do so and, in that way, to contribute to the literature about the history of marketing thought. Given that the first university business program in Britain was started in 1902, at about the same time as the earliest business programs in America, the more specific purpose of this paper was to explore whether or not the same influences were shared by pioneer marketing educators on both sides of the Atlantic. Design/methodology/approach – An historical method is used including a biographical approach. Primary source materials included unpublished correspondence (letterbooks), lecture notes, seminar minute-books, course syllabi and exams, minutes of senate and faculty meetings, university calendars and other unpublished documents in the William James Ashley Papers at the University of Birmingham. Findings – The contributions of William James Ashley and the Commerce Program at the University of Birmingham to the early twentieth-century study and teaching of marketing are documented. Drawing from influences similar to those on pioneer American marketing scholars, Ashley used an historical, inductive, descriptive approach to study and teach marketing as part of what he called “business economics”. Beginning in 1902, Ashley taught his students about a relatively wide range of marketing strategy decisions focusing mostly on channels of distribution and the functions performed by channel intermediaries. His teaching and the research of his students share much with the early twentieth-century commodity, institutional and functional approaches that dominated American marketing thought. Research limitations/implications – William James Ashley was only one scholar and the Commerce Program at the University of Birmingham was only one, although widely acknowledged as the first, of a few early twentieth-century British university programs in business. This justifies future research into the possible contributions to marketing knowledge made by other programs such as those at the University of Manchester (1903), University of Liverpool (1910) and University of London (1919). Originality/value – This paper adds an important chapter to the history of marketing thought which has been dominated by American pioneer scholars, courses, literature and ideas.

Teddy Brown and the Art of Performing for the British Variety Stage

2009 ◽  
Vol 25 (4) ◽  
pp. 379-390
Author(s):  
Oliver Double
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Complex Relationship ◽  
Musical Style ◽  
Popular Entertainment ◽  
Senior Lecturer ◽  
Stand Up Comedy ◽  
Early Twentieth Century ◽  
The University ◽  
British Variety

British variety theatre has been largely ignored by theatre historians, in spite of its huge popularity in the early twentieth century. Here, Oliver Double examines variety through its exemplification in the work of one performer, Teddy Brown, a virtuoso xylophone player whose career coincided with the heyday of the variety stage between and just after the two world wars. The key historical and stylistic aspects of the form typified by Brown's success included the development of a stage persona, novelty, skill, participation, a distinctive musical style, and the ability to exploit the complex relationship between variety and the other types of popular entertainment of the time, notably cinema, revue, and radio. Former comedian Oliver Double is a Senior Lecturer in Drama at the University of Kent, and is the author of Stand-Up! On Being a Comedian (Methuen, 1997) and Getting the Joke: the Inner Workings of Stand-Up Comedy (Methuen, 2005). His stand-up comedy DVD Saint Pancreas is available from the University of Kent website.

Martínez Sierra, Gregorio (1881–1947)

2018 ◽  
Author(s):  
Rebecca Bender
Keyword(s):  
Twentieth Century ◽  
Publishing House ◽  
Modernist Literature ◽  
Avant Garde ◽  
Recent Scholarship ◽  
Early Twentieth Century ◽  
Literary Collaboration ◽  
La Rioja ◽  
The University ◽  
Gregorio Martinez

Gregorio Martínez Sierra was a Spanish poet, playwright, and theater director who played a key role in the Spanish theatrical avant-garde and the development of art theater during the early twentieth century. He operated the publishing house Renacimiento, which was responsible for disseminating modernist literature and foreign playwrights throughout Spain. He was married to María de la O Lejárraga (María Martínez Sierra), who was apparently the true author of much of the literature that bears Gregorio’s name. Gregorio Martínez Sierra was born in Madrid in 1881. He briefly studied law and then philology before abandoning the university to dedicate himself to poetry and theater. In 1900 he married María de la O Lejárraga, a teacher and writer from Spain’s La Rioja region. The pair immediately began to collaborate in the writing and publishing of short novels and plays that today carry the name of Gregorio Martínez Sierra. Recent scholarship as well as Lejárraga’s memoirs, however, have shown that María was in fact the main author of the majority of the literature that bears her husband’s name. In 1906 Martínez Sierra fell in love with a young actress in his theater, Catalina Bárcena, though both his marriage and literary collaboration with Lejárraga would continue until Bárcena gave birth to his daughter in 1922. Despite their separation, Lejárraga continued publishing essays and novels pseudonymously under her estranged husband’s name, and curiously no new theatrical plays by "Gregorio Martínez Sierra" would premièr after 1922.

Ugliness and Beauty: the Politics of Landscape in Walter Greenwood's Love on the Dole

2013 ◽  
Vol 29 (1) ◽  
pp. 35-47
Author(s):  
Claire Warden
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
The Other ◽  
Surrounding Area ◽  
North West ◽  
Avant Garde ◽  
The North ◽  
The One ◽  
The University ◽  
Open Fields

The multi-spatial landscape of the North-West of England (Manchester–Salford and the surrounding area) provides the setting for Walter Greenwood's 1934 play Love on the Dole. Both the urban industrialized cityscape and the rural countryside that surrounds it are vital framing devices for the narrative – these spaces not simply acting as backdrops but taking on character roles. In this article Claire Warden reads the play's presentation of the North through the concept of landscape theatre, on the one hand, and Raymond Williams's city–country dialogism on the other, claiming that Love on the Dole is imbued with the revolutionary possibility that defines the very landscape in which it is set. From claustrophobic working-class kitchen to the open fields of Derbyshire, Love on the Dole has a sense of spatial ambition in which Greenwood regards all landscapes as tainted by the industrial world while maintaining their capacity to function independently. Ugliness and beauty, capitalist hegemony and socialistic hopefulness reside simultaneously in this important under-researched example of twentieth-century British theatre, thereby reflecting the ambivalent, shifting landscape of the North and producing a play that cannot be easily defined artistically or politically. Claire Warden is a Lecturer in Drama at the University of Lincoln. Her work focuses on peripheral British performances in the early to mid-twentieth century. She is the author of British Avant-Garde Theatre (Palgrave MacMillan, 2012) and is currently writing Modernist and Avant-Garde Performance: an Introduction for Edinburgh University Press, to be published in 2014.

scholarly journals Beyond Post-Tonal: A Broader Approach to the Fourth Semester Course

2020 ◽  
Vol 7 ◽  
Author(s):  
Kristina Knowles
Keyword(s):  
Twentieth Century ◽  
Core Curriculum ◽  
Undergraduate Curriculum ◽  
World Music ◽  
Degree Programs ◽  
Avant Garde ◽  
Wide Range ◽  
Twentieth Century Music ◽  
Musical Interests ◽  
Broad Overview

In this article, I argue for organizing the undergraduate curriculum around topics that are applicable to a wide variety of repertoires. Doing so allows students to continue to learn the central concepts and skills that theorists seek to impart via the core curriculum but through a wider variety of musical styles and traditions. Pairing this approach to the curriculum with a wide range of musical activities and projects that extend beyond analysis to include improvisation, arranging, performance, composition, and research helps students connect the content to their own instruments, degree programs, and musical interests. I describe my application of this philosophy towards curricular reform within the context of a fourth semester course on twentieth-century music, where twentieth-century music was treated as a broad category encompassing post-tonal and avant garde music alongside jazz, popular, and world music. This article presents a broad overview of the course, discusses the successes and failures of this approach, and offers some suggestions for how it may be implemented and adapted for various teaching contexts.

8. Co-Ownership of Land— the Basic Principles

2019 ◽  
pp. 205-258
Author(s):  
Barbara Bogusz ◽  
Roger Sexton
Keyword(s):  
Twentieth Century ◽  
Basic Principles ◽  
Early Twentieth Century ◽  
Wide Range ◽  
Explanatory Text ◽  
Ownership Of Land ◽  
Primary Materials

Titles in the Complete series combine extracts from a wide range of primary materials with clear explanatory text to provide readers with a complete introductory resource. This chapter discusses the basic principles of land co-ownership. It covers the two forms of co-ownership: joint tenancy and tenancy in common; the reform of co-ownership in 1925; joint tenancies in the early twentieth century; the current conveyancing practice to create an express trust; rules when there is no express declaration of a trust; resulting and constructive trusts; quantifying the beneficial interest under a constructive trust; severance of joint tenancies; and methods of severance.

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