The College News 1995-4-4 Vol. 17 No.5

Bryn Mawr College student newspaper. Merged with The Haverford News in 1968 to form the Bi-college News (with various titles from 1968 on). Published weekly (except holidays) during the academic year

The College News 1995-4-4 Vol. 17 No.5

Bryn Mawr College student newspaper. Merged with The Haverford News in 1968 to form the Bi-college News (with various titles from 1968 on). Published weekly (except holidays) during the academic year

Annual reports of the town officers Brookfield, Carroll County, New Hampshire 2018, fiscal year ending December 31, 2018, vital statistics for 2018.

This is an annual report containing vital statistics for a town/city in the state of New Hampshire

Annual reports of the town officers Brookfield, Carroll County, New Hampshire 2018, fiscal year ending December 31, 2018, vital statistics for 2018.

This is an annual report containing vital statistics for a town/city in the state of New Hampshire

The Beginnings of Polish Musicology

The book presents the history of the only strictly scientific Polish musicological periodical Kwartalnik Muzyczny. It shows how the editorial board of the periodi-cal met with true approval and harsh criticism. The subject allows the author to present the beginnings of Polish musicology and its evolution through three epochs: the late partitioning period, the interwar period of Poland’s independ-ence, and the early years after the Second World Wa

Citizens of everywhere. Indian nationalist women and the global public sphere, 1900 – 1952

The first half of the twentieth century saw the evolution of the global public sphere as a site for political expression and social activism. In the past, this history has been marginalised by a discipline-­wide preference for national and other container-­ based frames of analysis. However, in the wake of ‘the global turn,’ historians have increasingly turned their attention to the ways historical actors thought, acted, and organised globally. Transnational histories of South Asia feed into our understanding of these processes, yet, so far, little attention has been paid to the role of Indian nationalist women, despite there being significant ‘global’ aspects to their lives and careers. Citizens of Everywhere addresses this lacuna through an examination of the transnational activities of a handful of prominent nationalist women between 1900 and 1950. These include alliances and interactions with women’s organisations, anti-­imperial supporters and the League of Nations, as well as official contributions to the business of the fledgling United Nations Organisation after 1946. This predominantly below-­state-­level activity built on and contributed to public and private networks that traversed the early twentieth century world, cutting across national, state and imperial boundaries to create transnational solidarities to transformative effect. Set against a backdrop of rising imperialist-­nationalist tension and global geopolitical conflict, these relationships enable a counter-­narrative of global citizenship -­ a concept that at once connotes a sense of belonging, a modus operandi, and an assertive political claim. However, they were also highly gendered, sometimes tenuous, and frequently complex interactions that constantly evolved according to local and global conditions. In advancing our understanding of nationalist women’s careers, Citizens of Everywhere contributes to the recovery of Indian women’s historical subjectivity, which, in turn, sheds light on gender and nationalism in South Asia. Further, Indian women’s transnational activities draw attention to a range of interventions and processes that illuminate the global history of liberal ideas and political practices, the legacies of which appear embattled in the present era

In Search of the Audience - Forty Years of German Public Television and Its Audience Driven Commercialization

The long established dichotomy between public and commercial television into elite and mass programming, or commercial and public stations, has been changing in recent years. The divide is narrowing and many public stations, especially in Europe, attract large and devoted audiences and work with the commercial sectors in their respective countries. The changing television marketplace and vast amount of available programming has created niche markets and thus programming designed to attract specific audiences. Public and commercial stations alike have to attract audiences to keep afloat, be it through advertisers or government funding. Within the constraints of its basic assumptions that television is business-oriented and that all audiences are assumed "ideal" audiences within the industry, this study argues that there is an active (symbiotic) relationship between the industry and the "ideal" audience with regards to German television and the ARD series Tatort. Rooted in Mittell's modified circuit-of-culture, this study discusses forty years of German television history via its most established television drama, Tatort (1970- ). In each decade starting in 1970, it becomes evident that the public providers, reacting to competition, altered their programming to reflect not only changes in regulation but also in audience composition and expectations. The conclusion reached is that a) the "ideal" audience does have agency, even if assumed and then executed by the broadcaster, and b) that the audience is a vital part of television production, and is therefore commodified by the networks

Contemporary Fictional Representations of Anglican Clergy on British Public Service Television

Fictional clergy on British television have come a long way since the bumbling priests portrayed by the likes of Derreck Nimmo and Rowan Atkinson. Motivated by curiosity about both the impetus for and creative development of more recent programmes depicting Anglican vicars with depth and authenticity, this research presents three detailed production studies of television series appearing in the period of the mid 1990s and following. The programmes selected as case studies are The Vicar of Dibley (BBC One, 1994-2007); Rev. (BBC Two, 2010-14); and the Welsh drama Parch (S4C, 2015-18), each of which represents a significant progression in British entertainment media's depiction of Anglican clergy. The study is contextualised within a consideration of the Church of England’s evolving status within British society over the past century, as well as an accompanying summary of the Church in Wales and its distinct origins. It is also grounded in an exploration of the development of public service broadcasting, specifically as a medium charged with producing programmes to a high standard on a variety of subjects, including those dealing with religion. This research stands alone as a production study specifically focused on fictional priest portrayals created for British public service broadcasting. The resulting discussion connects depictions of clergy with the social and religious contexts in which they arise, illuminates the potential of well-produced entertainment to impact how the public perceive the plight of priests as real people, and emphasises the value of public media as disseminator of quality, socially relevant entertainment