The Legacy of the Terrible Mother Archetype in Post-War British Drama

2021 ◽  
pp. 174-192
Author(s):  
Işıl Şahin Gülter
Keyword(s):  
Special Reference ◽  
Creative Power ◽  
British Drama ◽  
The Feminine ◽  
Mother Archetype ◽  
Post War ◽  
Comprehensive Framework

The theatre provides the playwrights with a public platform through which they open up a more comprehensive framework to reinterpret the concept of the feminine. The chapter, in which translation remains a fundamental instrument that will be utilized to offer new interpretations to old ideas about the feminine, explores how the post-war British woman playwright Ann Jellicoe translates a women-related myth and reinterprets the concept of the feminine in The Sport of My Mad Mother (w.1958, r.1962). In this context, the chapter focuses on the concept of the Terrible Mother archetype which represents the female creative power as well as the potential for destruction in the play within a special reference to Jung's premises on the archetypal nature of the femininity and maternity. Thus, the chapter indicates that Ann Jellicoe, taking on board and challenging the perceived social, ideological, and psychological ideals of femininity, reclaims the legacy of the female strength.

The use and distribution of Faience in the Ancient East and Prehistoric Europe

1957 ◽  
Vol 22 ◽  
pp. 37-84 ◽  
Author(s):  
J. F. S. Stone ◽  
L. C. Thomas
Keyword(s):  
Sudden Death ◽  
Special Reference ◽  
Morphological Characters ◽  
Present Writer ◽  
British Isles ◽  
Eighteenth Dynasty ◽  
Post War ◽  
Made In ◽  
Complex Subject

Twenty years have elapsed since H. C. Beck and the present writer published a preliminary paper on the origin of British faience beads with special reference to those of the segmented variety and, except for the discovery and recognition of many new specimens over much wider areas it may be said that nothing has emerged to alter materially the general conclusions there enunciated that an Egyptian origin was the most likely for a number of the beads and that their dissemination to the British Isles took place during the Eighteenth Dynasty around about 1400 B.C.At the time of writing we not unnaturally concentrated on British specimens, as European analogues appeared to be conspicuously absent, and confined our attention primarily to morphological characters. We had, however, projected a wider study to embrace faience objects in general and, if possible, to adduce spectrographic evidence as further proof of identity or otherwise. Unfortunately the sudden death of Mr Beck in 1939 and the intervention of the war years greatly retarded progress in this direction. But the rapid recognition of old finds and the accumulation of new ones, mostly in Europe, in post-war years, coupled with a number of spectrographic analyses that have since been carried out with the help of Mr L. C. Thomas, now renders it desirable to review such progress as has been made in this most difficult and complex subject.

Who Framed Theatre? The ‘Moment of Change’ in British TV Drama

1999 ◽  
Vol 15 (1) ◽  
pp. 58-74 ◽  
Author(s):  
Madeleine MacMurraugh-Kavanagh ◽  
Stephen Lacey
Keyword(s):  
Cultural Context ◽  
New Technology ◽  
Television Drama ◽  
Doctoral Research ◽  
British Drama ◽  
History Of ◽  
Post War ◽  
The 1960S ◽  
The Moment ◽  
The University

It has long been the received wisdom that television drama has become increasingly ‘filmic’ in orientation, moving away from the ‘theatrical’ as its point of aesthetic reference. This development, which is associated with the rejection of the studio in favour of location shooting – made possible by the increased use of new technology in the 1960s – and with the adoption of cinematic as opposed to theatrical genres, is generally regarded as a sign that the medium has come into its own. By examining a key ‘moment of change’ in the history of television drama, the BBC ‘Wednesday Play’ series of 1964 to 1970, this article asks what was lost in the movement out of the studio and into the streets, and questions the notion that the transition from ‘theatre’ to ‘film’, in the wake of Ken Loach and Tony Garnett's experiments in all-film production, was without tension or contradiction. The discussion explores issues of dramatic space as well as of socio-cultural context, expectation, and audience, and incorporates detailed analyses of Nell Dunn's Up the Junction (1965) and David Mercer's Let's Murder Vivaldi (1968). Madeleine MacMurraugh-Kavanagh is the Post-Doctoral Research Fellow on the HEFCE-funded project, ‘The BBC Wednesday Plays and Post-War British Drama’, now in its third year at the University of Reading. Her publications include Peter Shaffer: Theatre and Drama (Macmillan, 1998), and papers in Screen, The British Journal of Canadian Studies, The Historical Journal of Film, Radio and Television, and Media, Culture, and Society. Stephen Lacey is a lecturer in Film and Drama at the University of Reading, where he is co-director of the ‘BBC Wednesday Plays’ project. His publications include British Realist Theatre: the New Wave and its Contexts (Routledge, 1995) and articles in New Theatre Quarterly and Studies in Theatre Production.

Joseph’s Journey: Uncovering Israel’s Unconscious

2017 ◽  
Vol 2 (Volume 2, Issue 2: Winter 2017) ◽  
pp. 95-103
Author(s):  
Raj Balkaran
Keyword(s):  
Transformational Leadership ◽  
Personal Transformation ◽  
Hero's Journey ◽  
Collective Unconscious ◽  
Creative Power ◽  
The Feminine ◽  
Individual Consciousness ◽  
To Receive

This paper decodes the story of Campbell’s namesake, Joseph of Genesis, son of Jacob. It demonstrates that Joseph, much more so than Moses, represents the archetypal hero. Joseph is called to adventure into the unknown. Due to the boundedness of the Abrahamic worldview, Joseph must leave monotheistic Israel to fulfil his potential in polytheistic Egypt. It is as viceroy of Pharaoh that he comes into his own power, his political eminence an emanation of his intuitive, creative power. Joseph’s journey itself serves as the Call to Adventure for the hero’s journey of Israel: Israel, as a people, must recognize Joseph’s creative power and follow him into Egypt to realize their own procreative power. Before returning to the familiarity of the desert, the motherless children of Israel are called into the unknown to be nourished by the Nile. It is at the banks of the Nile that they fulfil their divine mandate to multiply. Joseph’s intuitive power—the ability to receive and interpret prophetic dreams—makes explicit what is implicitly encoded in the Campbellian hero’s journey: the masculine individual consciousness venturing into the feminine collective unconscious, matrix of creativity, in pursuit of wholeness. His story moreover celebrates the centrality of personal transformation to the Campbellian heroic quest, flourishing through embodiment of transformational leadership.

Superannuation Funds: a Brief Survey, and Notes on Some Current Problems, with Special Reference to the Funds of Local Authorities

1945 ◽  
Vol 17 ◽  
pp. 227-269
Author(s):  
D. A. Porteous
Keyword(s):  
Special Reference ◽  
World War ◽  
Local Authorities ◽  
Important Paper ◽  
Post War

Nearly twenty-five years have passed since Sir George Epps read his important paper at the Institute of Actuaries on the post-war problems affecting superannuation funds.In the interval there have been many changes, great developments in the establishment of funds and another world war. Our victory in the war is now assured and although, at the time of writing, its concluding date is not known, it seems not inappropriate to invite actuaries to review the position of superannuation funds, and while I am very conscious of the inadequacy of the notes which I am privileged to submit to this meeting, I am confident that the ensuing discussion will not fail to be of profit to the profession.

scholarly journals The knowing mother: Maternal knowledge and the reinforcement of the feminine consuming subject in magazine advertisements

2019 ◽  
pp. 146954051988999
Author(s):  
Teresa Davis ◽  
Margaret K. Hogg ◽  
David Marshall ◽  
Alan Petersen ◽  
Tanja Schneider
Keyword(s):  
Expert Knowledge ◽  
Women's Magazines ◽  
Maternal Knowledge ◽  
Knowledge Change ◽  
Active Representation ◽  
The Family ◽  
The Feminine ◽  
Post War ◽  
Visual Depiction ◽  
Domestic Purpose

The caring mother is one of the most recurring images of femininity in post-war advertising. We examine how mothers are depicted as knowing consumers in advertisements in Australian Women’s Weekly and the United Kingdom’s Good Housekeeping magazines between 1950 and 2010. Our data suggest that although visual representations of maternal consumer knowledge change over this period, assumptions about the responsibilities of mothers endure in the family-related advertisements in these women’s magazines. There is a shift over time, however, from a representation of mothers as passive recipients of advice provided by external experts to a more active representation of mothers as experts themselves within both domestic and private spheres. We trace historically how the trope of the knowing mother works as a visual discursive device that helps to reinforce not just patriarchal hegemony, but a particular form of maternal hegemony. The hegemony of motherhood presents a particularly desirable/idealised femininity. However, this visual depiction also serves to gender the very way in which maternal knowledge is to be used. While maternal knowledge is depicted as changing from being merely intuitive or practical to subsuming the technique of knowledge or prescribed expertise; the purposes for which such knowledge is used remain firmly situated within the maternal/feminine realm of nurturing and caring consumption for the family. Despite shifts in discourse that appear to increasingly value mothers’ knowledge—there exists an enduring assumption that mothers should use their knowledge for domestic caring and consumption, ultimately reinforcing a heteronormativity of the use of women’s knowledge that subdues even expert knowledge for a domestic purpose.

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