Brendan in London for the launch of Borstal Boy. The first hostage of our time killed in Cyprus. There is a play in it. B.B. says he will write it, in Ireland, and goes. The Royal Court try to take over Shelagh. Gerry tries Arts Council for a bursary for her. She is given a hundred pounds. Graham Greene praises us and gives Shelagh a typewriter. Brendan returns from Ireland, drinking. Gerry chases him across Blackheath. He also attempts to stop Shelagh spending all her money, which she resents. We try everything to make Brendan write. He begins phoning bits of songs and jokes to the theatre. We patch two acts together. Three days before opening night there is no third act. We ad lib it. Shelagh’s second play not good. I tell her to study well-constructed plays. She says other people will work on it.

Joan's Book ◽  
2016 ◽  
Keyword(s):  
2014 ◽  
Vol 11 (2-3) ◽  
pp. 370-377
Author(s):  
Brian McFarlane

On stage, Lindsay Anderson directed ten plays by David Storey, who also wrote the novel on which This Sporting Life is based. Anderson directed Storey's In Celebration both in the theatre, at the Royal Court in 1969, and on television, for the American Film Theatre in 1975. Although it focuses primarily on the television version of In Celebration, a work which is all too often neglected in critical discussions of Anderson's output, this article examines Anderson as a director for both stage and screen, and also explores the numerous significant links between Storey's and Anderson's oeuvres.


2020 ◽  
pp. 109-115
Author(s):  
Anna Sharova

Anna Sharova reviews two recent books separately published by two English language authors – P. Martell and J. Young. The books are very different in style and mood. While P. Martell presents an excellent example of British journalist prose in the style of his elder compatriots Somerset Maugham and Graham Greene, who did their reporting and writing from exotic countries during fateful periods of history, J. Young offers a more academic, though no less ‘on the spot’ analysis of the situation in the youngest independent country of Africa. J. Young’s considers two possible approaches to conflict resolution as possible outcomes: non-intervention cum continuation of the war, or the introduction of international governance. P. Martell comes up with a disappointing prediction about the future of South Sudan. The war will go on, the famine will return, and the threat of genocide will not disappear. People will continue to flee the country, and refugee camps will grow. New warring groups will appear, new murders will be committed. Neighbouring states will not stop competing for influence and resources. New peacekeepers will arrive. Warlords will be accused of crimes, but, as before, they will escape punishment, while some will be promoted.


2019 ◽  
Vol 2019/2 ◽  
pp. 41-64
Author(s):  
S. C. ROWELL

CONCUBINE AND ENCHANTRESS: KATARZYNA TELNICZANKA AND HER BLACK MYTH Summary S.C. R O W E L L Katarzyna Hochstadt of Telnicz (ca 1480–1528), mistress of Sigismund the Old, mother of John of the Lithuanian Dukes, bishop of Vilnius (1519–36) and Poznań (1536–38) has come down in history as an enchanting beauty or a witch, or both. Her image is defined by her relationship with powerful men – her lover, her son, her husband (Andrzej Kościelecki, castellan of Wojnicz and sub–treasurer of the Crown of Poland) and alleged victims (various royal secretaries and high–ranking clerics). This article assesses what little by way of solid evidence is known of her life and how this can be related with the image of man–chasing vamp, interference in the running of the diocese of Vilnius (thereby allegedly provoking the appointment of bishop protectors to the see) and scandal in village and town (according to one seventeenth–century historian). There is evidence that while John of the Lithuanian Dukes was still a minor and enjoyed the rank of provost of Płock and Poznań and canon of Kraków the property associated with his office was overseen by his step–father and perhaps by his mother. After John became bishop of Vilnius, Her Magnificence the Bishop‘s Mother, the Lady Dowager Castellan of Wojnicz and Sub–Treasurer of the Crown of Poland resided for some time at her son‘s court in Vilnius and on at least two occasions exercised her maternal influence to facilitate access to the bishop for canons (Stanislaw Dambrowka, Martin of Dusniki and Albert Wielezinski) involved in a dispute with their brother canon and scholast Jakub Staszkowski. The detailed discussion of internal cathedral disputes in the presence of a lay person, and even worse, a woman, scandalised members of the Cathedral Chapter but there is no evidence that Lady Katarzyna sought to determine the outcome of this case. We also know that she patronised at least one noblewoman (the widowed sister–in–law of Bishop Albert Tabor) who subsequently adopted Bishop John as her son and heir and made financial endowments on both the bishop and his mother. After Katarzyna died in Vilnius in the late summer of 1528 her corpse was transported to Kraków for burial by a Vilnius canon, Erasmus Eustachii, whose family had connections with Andrzej Kościelecki and Bishop John of Vilnius. The satirical verse penned by Andrzej Krzycki concerning a mother–stepmother and father–stepfather (Katarzyna and King Sigismund) and „an old hag who stinks like a goat“ represents neo–Latin literary exercises provoked by fear of the influence at the royal court of Katarzyna and her family rather than an accurate and literal description of Katarzyna and her activities.


Author(s):  
Hedda, Reindl-Kiel

Abstract The motivation of the Ottoman sultans to commence and to keep diplomatic contacts with Muscovy was largely due to their demand for luxury commodities such as sable fur and walrus tusks. The royal court used furs as clear status markers, particularly when bestowing robes of honour upon dignitaries. This feature allows glimpses into the deeply hierarchical structure of Ottoman society, which had only little formal divisions. Moreover, the royal palace used sable fur in a similar function as precious stones in decorating the setting when receiving foreign diplomats. Imports from the Ottoman Empire to Russia are not documented in the Turkish archives. The same is true for diplomatic gifts from the Ottoman court to Moscow. Only from the 18thcentury onwards gift packages to the court of St. Petersburg are recorded, indicating Russias political position as a European global player in the view of the Porte.Аннотация Одной из причин инициации и поддержания дипломатических контактов с Московией для Османских султанов было желание обладать определенными предметами роскоши собольими мехами и моржовыми бивнями. При дворе меха служили маркерами статуса, особенно если мантии вручались первыми лицами как награда за какие-либо заслуги. Более того когда во дворце готовили покои к приему иностранных дипломатов, собольи меха использовались в качестве украшения интерьера, как и драгоценные камням. В Турецких архивах нет документов об импорте товаров из Османской империи в Россию, дипломатические подарки Османского двора Московии также документально не зафиксированы. Только начиная с XVIII в. велась запись подарков-подношений ко двору в Санкт-Петербурге. Согласно этим документам Россия воспринималась Османской империей в качестве значимого политического игрока.


Author(s):  
Allan Hepburn

Miracles rarely appear in novels, yet Graham Greene includes several of them in The End of the Affair. Sarah Miles heals a boy suffering from appendicitis and a man with a disfigured cheek. Like a saint, she seems to heal or revive through her compassionate touch, as when she raises her lover, who may or may not have died in a bomb blast, by touching his hand. This chapter locates Sarah’s interventions amidst debates about miracles, beginning with David Hume’s sceptical rejection of inexplicable phenomena, through such mid-century books as C. S. Lewis’s Miracles and Dorothy Sayers’ The Mind of the Maker. The inherent godlessness of novels, as Georg Lukacs puts the matter in Theory of the Novel, would seem to ban mystical content altogether from novelistic discourse. Yet this chapter argues for the revaluation of mystical content—the ordeals of the whisky priest in The Power and the Glory, for example—within the generic precincts of the novel.


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