In addition to the satires which previous scholars have discussed in this context, Mowry brings to light hitherto unexamined pornographies as well as archival texts that reveal the ways in which the satires helped shape the social policies endured by prostitutes and bawds. Her study includes substantial archival evidence of prostitution from the Middlesex Sessions and the Bridewell Courtbooks. Mowry argues that Stuart partisans cultivated representations of bawds and prostitutes because polemicists saw the public sale of sex as republicanism's ideological apotheosis.
Sex work, partisans repeatedly asserted, inherently disrupted ancestral systems of property transfer and distribution in favour of personal ownership, while the republican belief that all men owned the labour of their body achieved a nightmarish incarnation in the prostitute's understanding that the sexual favours she performed were labour. The prostitute's body thus emerged in the loyalist imagination as the epitome of the democratic body politic.
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Carefully grounded in original research, The Bawdy Politic in Stuart England, is a cultural study with broad implications for the way we understand the historical constructions and legal deployments of women's sexuality. Toon meer Toon minder. Recensie s 'This deeply learned, clearly-written book examines the cultural function of political pornography by exploring how the bawd and the prostitute figure as the denigrated representatives of mass political participation in the period as well as how this figuration relates to what we can learn about historical women who were bawds and prostitutes.
Mowry's distinctive focus and argument, and her careful grounding in original research, distinguish The Bawdy Politic from other scholarship on the topic. This book will contribute to our understanding of the histories of women, of sexuality, and of pornography, as well as of political rhetoric and its resources both in the past and today. The book will also make an important contribution to discussions about women's relationship to the emerging public sphere. Dolan, Professor of English, University of California-Davis 'This is a fascinating study of how the distopic vision of pornographic pamphlets and broadsides-particularly their representation of a monstrous bawdy politic governed by common women -provided fodder for anti-democratic politics of the late seventeenth century.
Mowry's sophisticated reading of political pornography in relation to legal discourses and practices contributes not only to a consideration of the gendered dimensions of liberalism and the public sphere, but to our understanding prostitution as a sexual identity.
Mowry widely consults and deftly engages with literary and historical scholarship on her subject, and her original research encompasses previously overlooked satires A worthwhile read, The Bawdy Politic offers much to literary critics and historians interested in the politics and pornography of the late Stuart era.
Learned, provocative and exhaustively detailed in its presentation of historical evidence, Mowry's study moves scholarship toward a balanced approach to the topic By asking us to treat with careful scrutiny works that have often been ignored by arguing that pornography was deployed in ways that helped to shape the public sphere, she has expanded both the types of historical and literary questions we can ask and the types of texts of which we can ask them. Betrokkenen Auteur Melissa M. Attendance at three live musical performances will also be required.
Recent theatrical productions as diverse in form as experimental performance, new writing, musicals and live art have shown a recurring fascination with adapting existing works by other artists, writers, filmmakers and stage practitioners. The transition of an existing source or stimulus to the stage — be it film, book, play, artwork, or other performance — is not a smooth one. It implies negotiations of numerous kinds, such as interlingual and intercultural, but also ideological, ethical, aesthetic and political.
Drawing on the work of contemporary international theatre-makers, this module will explore specific approaches to stage adaptation, study adaptation methodologies and develop an understanding of the implications of adaptation. Through seminar discussions, practical and creative work, the module will prompt a reflection on performance's near-obsessive desire to return, rewrite and repeat, establishing a dialogue across languages and cultural identities. During lectures, students will study several adaptation projects and strategies, which will form the basis for an essay.
During seminars, students will experiment with a source of their choice and produce a simple, tech-light group performance based on this source, for which they need to be able to rehearse in the classroom, without any technical assistance.creatoranswers.com/modules/gregg/sexo-gratis-arabe.php
ilpornipe.gq: Historiography and Ideology in Stuart Drama eBook: Ivo Kamps: Kindle Store
The students are expected to keep their performance time and tech to a minimum, and will not be provided with technical support or extra rehearsal space for this module. This module addresses issues that are central to performance studies and to contemporary social and political debates through its focus on the representation and performance of sex, gender and identity.
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The module explores these ideas in relation to a diverse range of trans-historical performance examples. Students will explore changing concepts of gender and sexuality and will consider how performance and performers have engaged with these social changes by examining both contemporary and historical case studies.
The module explores questions of self, authenticity, performing difference and identities in transition. Students will interrogate performance using a range of theoretical approaches drawn from gender and sexuality studies in dialogue with practical experimentation. Drawing on this knowledge, students will have the opportunity to develop contemporary performance inspired and shaped by the models of practice which they have encountered.
Issues of risk and ethics will be core concerns as students develop understanding of how sex, gender and identity can create a performance aesthetic. Students will also need to cover the costs of their own travel and accommodation during their year in industry. Going abroad as part of your degree is an amazing experience and a chance to develop personally, academically and professionally. You experience a different culture, gain a new academic perspective, establish international contacts and enhance your employability.
All full-time students within the Faculty of Humanities can apply to spend a Term or Year Abroad as part of their degree at one of our partner universities in North America, Asia or Europe. Places and destination are subject to availability, language and degree programme. Please note that students will need to cover the costs of their own travel and accommodation during their year abroad. The module gives School of Arts students across a range undergraduate programmes the opportunity to undertake a written independent research project at stage 3.
Students who wish to take the module must approach a permanent academic member of staff with a proposal, typically in advance of module registration, during the Spring term of the previous year. Students pick a research topic of their choice; however, students are only allowed to register for the module with the permission of a staff member who has agreed to supervise the project, and who has the expertise to do so.
Potential supervisors must also ensure before they agree to supervise a project that the resources required to complete the project will be available to the student, and that adequate supervisory support will be available to the student throughout their study on the module. Students will be supported in the preparation and submission of their work by their supervisor, although a central expectation of the module is that students will take increasing responsibility for their learning, consistent with expectations of Level 6 study.
Students will engage in a work-based situation of their choice. The student will be responsible for finding the work-based situation, though support from the School and CES will be available. The internship should bear relevance to their subject of study or a career they expect to pursue upon graduation. This interdisciplinary course will examine historical and current theoretical ideas and research on the ways in which art is created and perceived.
Artforms that will be considered include visual arts painting, sculpture, architecture, popular art , performing arts dance and theater , music, and film. Readings will interface with subdisciplines of psychology such as perception, psychoaesthetics, neurophysiology, social psychology, and studies of emotion. Principal areas of focus will include aesthetics, arts-experimental design, perception of art, meaning in art, the psychology of the creative process, social and cultural issues, and the ramifications of arts-sciences research.
The primary focus will be on Western art forms, though other world art traditions and aesthetics will be discussed.
Assessment methods will test understanding through a summary and critical reflection on a selected text and the proposal, research, and design and oral presentation of a potential interdisciplinary research project. This module will look at arts funding policy and public funding structures for the arts, including the formation of the Department of Culture, Media and Sport DCMS , and the Arts Council and its various models of operation since through to the present. This will serve to place productions from across the arts within the context of who makes policy and how it is formed, while acting as an introduction to arts funding and the application and measurement process.
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Students will gain an understanding of the structure of central, regional and local government in as much as they affect the arts. Trust and Foundations that support and nurture the arts are also explored in the context of how these can supplement and develop productions. Sponsorship and commercial involvement is looked at in the ways that this can be integrated into the package.
This final year, outward-facing module explores dimensions of arts and media writing and context relevant to visuals arts, heritage, gallery, museums and contemporary media sectors. Its structure and format introduces two complementary and interconnected components. Lectures will explore and discuss selected art history and media-oriented historiographic texts, considering their legacy and relevance for print and online writing genres.
Examples will start with the biographical legacy of Plato, Vasari and Bellori for traditions of ekphrasis and mimesis. Lectures will consider the connotations of materialism and embodiment associated with Schopenhauer, Nietzsche, Worringer, Chasseguet-Smirgel, bel hooks and Julia Kristeva for avant-garde and late modern practice. Differing conceptions of the visual arts, media and advertising industries will be counterposed through the perspectives of Edward Bernays, Vance Packard, Timothy Leary and the Situationist world-view of Guy Debord. Consideration will be given to how these interventions have variously helped to situate sociological discourse underpinning dimensions of visual arts and media historiography more broadly.
Seminars will discuss some of the texts considered within the lectures in addition to introducing the key principles and conventions of visual arts and online writing: standing up and presenting copy proposals for commissioning; adapting copy to differing house-styles and genres; being responsive to audience and market; preparing for and undertaking interviews for writing briefs and useful sources of information for generating ideas for prospective writing and online or virtual media projects.
This module will introduce students to practical and theoretical aspects of stand-up comedy. Initially, they will analyse the work of individual comedians, exploring such issues as comic theory, traditions of stand-up, and historical context.
Later, they will work on creating their own short stand-up acts, generating original material and developing key performance skills such as developing persona, working an audience, improvisation, and characterisation. The module will offer students the chance to work on an independent creative project of their own devising, which will be a culmination of practical elements of their degree programme. Performance, workshop, design, stagecraft, producing or other creative skills encountered in earlier modules will be developed, extended and explored in autonomous work, which will be supported by regular group supervision sessions.
Projects will also involve research which will contextualise the practical elements. Supervision will take place in timetabled teaching slots, in which students involved in several projects will be supervised together. Practical outcomes might take the form of performances, workshops or public interventions. This module will ask students to critically engage with fundamental questions about theatre, such as 'what is performance? After writing an essay focussing on one of these questions, the class will then turn its attention to a specific performance text and the various conceptual and philosophical questions that arise from it.
Once they have engaged with a range of theoretical perspectives on the text the course will culminate in an assessed presentation where the students propose a production which engages with these issues.
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It will focus on how Physical Theatre practitioners have deployed compositional techniques, and the principals that underlie such work. It differs from Physical Theatre 1 in focussing less on training for performance and much more on composition and different possibilities of structuring Physical Performance, using space, sound, movement, rhythm and the body.
Students will conduct in-depth investigations into the relationship between training and performance and devising techniques and compositional approaches through weekly practical workshops. This module explores critical and creative approaches to working with real lives in performance. You will question the concept of the 'true story' and explore the ethics and practicalities of using the personal in performance. In this module you will work with a range of dramatic material and forms, studying, for example, play texts, performance art, verbatim and documentary theatre.
You will also engage with a range of theoretical approaches and perspectives. Through weekly lectures, seminars and practical workshop sessions, the course will allow students to write scenes and experience the results and effects of their playwriting as performed by others.
In the context of on-going discussions about the practice and characteristics of playwriting students will develop an understanding of the importance of revision and development of evolving work as mediated by the constructive criticism of group and convenor response.